I like many things about the S5K Freefly Ember slow motion camera – the pricing of the body itself compared with a Phantom, the edit-friendly 10-bit ProRes codec, and the newly announced replaceable media module with SDI out. Still, I frankly didn’t love the initial batch of accessories that launched with it (with the exception of the Freefly wooden handle and monitor bracket).

One of the only large issues with the Ember (both the S5K and S2.5K version) out of the box is simply a lack of mounting points on a camera that really, really needs more of them for things like wireless transmission or an operating monitor. There are a couple of tiny M4 screw holes and two 1/4-20 threads on the exterior, but that’s the extent of it – oh, and the Record button isn’t in a great place either if your right hand is actively using the handle. There is also that pesky issue of cable management (some of them of the delicate 4-pin molex type) hanging all over the place that are prone to being snagged on something.

MUTINY Freefly Ember Accessories – the Cage

Given the box-like build of the Ember, the MUTINY team could have gone a bunch of different directions with the design of the cage, but I appreciate the modular system they created that gives the user the option of leaving open places on the camera to reduce the overall weight or cover the entire exterior with mounting points.

The cage is broken into a few interchangeable pieces named simply:

• Short Plate ($50/each)
• Long Plate ($80/each)
• Block ($25/each)

You can purchase a variety of different kits with different combinations of the above. Packages save you $10 if you go that route. In general, the pricing of the MUTINY Ember cage feels very reasonable for what you are getting in an industry rife with a film and TV upcharge pricing model.

The block pieces allow you to link either short plates or long plates together to form whatever configuration you wish. Each plate comes complete with a multitude of 1/4-20 and 3/8 – 16 tapped holes and Arri locating pin holes, too. Deciding where you want short plates and long plates gives the whole feel of building out this cage a kid-friendly building blocks vibe that I appreciate, and I would love it if MUTINY extends this system to other box-style cameras.

You also get the sense that you are paying only for what you need and not for additional plates that simply won’t be required for whatever build you have in mind. There also isn’t that annoying wiggle that you sometimes get when the cage is a separate piece from the camera without enough mounting points.

One small quibble – I didn’t mind the monitor mount that Freefly created, and you unfortunately won’t be able to use that on this cage. Plus, MUTINY doesn’t make a monitor mount, so you’ll have to source that elsewhere. In my case, I went with a monitor hinge originally designed for the Canon C70 from Wooden Camera that worked fine with my Ultra 5 Bolt 750 TX monitor.

Personally, I used the Freefly branded handle with the Freefly rail on the right side of the camera, but there are a wide variety of top handles and side handles that would work great with this cage system.

The cage gives plenty of space for all the various heat sinks on the Ember body, and the cage even has a gap at the base, which allows for additional airflow. You could also run a few FIZ motor cables through the gap at the base for a cleaner build if needed.

Keep in mind that you will still need to source a baseplate from another brand if you plan on using 15mm rods as part of your build for a matte box or a follow focus.

The Power + IO Module

My first introduction to MUTINY as a company was due to their RED KOMODO OG/X power modules, SDI isolators, and custom cables, and I appreciated their attempts to add solutions for filmmakers despite not being a KOMODO owner myself. They have since branched out to support all types of camera bodies from Sony to ARRI, Blackmagic, FUJI, and, of course, Freefly.

The $800 Power + IO feels like a return to MUTINY’s roots – instantly making a camera more useful while not getting in the way of what already worked. I also don’t want to discount the included custom MUTINY cables that are exactly the correct length to bridge the gap between the Power + IO on the back of the camera.

You need the rear Freefly brackets that are included with the Ember to mount the Power + IO to the rear of the camera, and I’ll admit that these brackets take a little finesse to line up correctly (the screws from MUTINY go through the Power + IO once the brackets are affixed to the camera).

The cables included by MUTINY are a 2pin 0B to MOLEX 4 power cable and a 6pin 0B GPIO cable. Extras will cost you $65 for another set.

Freefly, initially, only supported V-mount batteries with their battery plate, and MUTINY allows you to pick either native V-mount or Gold mount plates for your Power + IO. Core SWX makes these plates, and my Nano X Micro V-mounts fit snuggly on them.

Here is a list of all the ports on the Power + IO directly from MUTINY:

• 1x 6pin 1B DC input jack (uses same DC cable as DSMC2/ V-RAPTOR/KOMODO X) 11-17 volts (do not use higher than 17v)
• 2x D-Tap power output connectors,
• 2x 2pin 0B power outputs,
• 1x Fischer 3 power + R/S 3pin port (pin 1 ground, pin 2 +, pin 3 R/S)
• 1x 6pin GPIO 
• 1x 4pin 00b CTRL (RX/TX port for future expansion)

The Power + IO powers an additional Run / Stop button ($175) that I’ve placed on the left side of the camera (exactly where my hand falls when holding the Ember while shooting handheld). You could also mount the R/S button atop a handle on the right side or really anywhere else that works for you on the camera body. The R/S system is available a la carte from MUTINY and also works with a variety of other camera bodies, including the Canon cine line, which has been updated recently.

Oh, and you can remotely trigger the camera record with the R/S Trigger box that worked well when I tested it with my Teradek FIZ, but MUTINY promises it will also work fine with “every major FIZ on the market” from the likes of ARRI, RT Motion/Teradek, C-Motion, Preston and Tilta, too.

Conclusion

MUTINY is releasing new products at a rapid pace and their support of the Ember is making that camera much more user-friendly. The cage is excellent, but the impressive Power + IO is a standout as it cleans up the overall build and provides so many inputs and outputs. There also aren’t any competing alternative options on the market for the Ember with these features as of publishing.

Both the MUTINY cage and the Power + IO fit perfectly with the newly announced Ember Media Expander (see the above image), and the Media Expander removes the headache of losing the entire camera for media dumping while filming pauses. In fact, the quick pace of both firmware and hardware releases from Freefly suggests the Ember is here to stay. Good news for Ember owners and users who are considering purchasing MUTINY Ember accessories.

Beyond the Ember – a deep dive into MUTINY’s website shows a variety of different options for everything from a cage for the new Blackmagic PYXIS, different colored timecode cables to XLR cables, and even camera body caps where you can hide Apple AirTags. All useful stuff for filmmakers, and I’m a sucker for custom cables in different colors…

Hopefully, MUTINY will continue to make other accessories for other camera bodies as their cage solution here is affordable and works well. I can also think of several other cameras that would benefit from a solution like the Power + IO.

What do you think? Are you a Freefly Ember owner? Will you be adding the MUTINY Ember accessories to your kit? Let us know in the comments below!

We already wrote about the Trexo Converta Video Slider when it first became available. If you are interested in all the specs before diving into my review, you can quickly catch up in this article.

Now, let’s get started: First, since this is my first time working with a Trexo product, let’s start by breaking down the various configurations you can build with the Converta Video Slider. The Converta packs a lot of features into two core packages with an optional upgrade and a variety of additional accessories for various tasks:

• Converta 600 – 23.6″ (0.6m) Operation Length ($495 for the ‘Lite Package’)
• Converta 400 – 15.7″ (0.4m) Operation Length ($395 for the ‘Lite Package’)

The ‘Standard’ optional upgrade adds an additional $100 to the overall cost and adds a turntable plate to either the 600 or 400 and the necessary mounting point for the turntable. Beyond that, you have the choice of several a la carte accessories that are all compatible with the Converta and the Trexo Converta phone app.

Those optional additional accessories include:

• 3-Axis Kit ($795)
• Carry Case ($100)
• L-Brackets ($70)
• Pan Tilt V2 Module ($395)
• Phone Holder ($25)

Initially, I was confused as to whether I needed the L-brackets and the 3-Axis Kit, so I want to define the above list a bit – if you purchase the 3-Axis Kit, it includes two V2 Pan/Tilt modules and both the needed L-Brackets for motion pan and tilt moves.

Do you need the 3-Axis Kit? It depends. If you are only interested in creating a roving B-angle on interviews (a common use case) you will only need one Pan Tilt V2 module that is panning with your subject and connected to the Converta and app. However, if you want to create diagonal 3-axis moves or a timelapse (perhaps of a statue to the sky), you’ll need the 3-Axis Kit.

There is one accessory that Trexo does not provide: a timelapse trigger cable. For that, you’ll need a 2.5mm timelapse cable, and I purchased one made by Vello from B&H for my Sony a7RV. It wasn’t expensive.

First impressions

The soft case for the Converta contains different spots for each of the various components and a few pieces of pre-cut foam. Unfortunately, this is not something I would check on an airplane, and I would be cautious about transporting this kit. Exploring some kind of hard case option is definitely needed here unless you plan to keep this slider in a studio without transporting it around.

Packaging aside, one of the more impressive things that struck me when first diving into the Converta is what a Swiss army knife this slider truly is, and the fact it isn’t many thousands of dollars to purchase is pretty incredible. It’s one of those products that is tricky to talk about because I only have the space to cover a few use cases, and there are so many other options beyond what I discuss here – including stop motion!

My introduction to motion control started years ago, working on motion time-lapses and other normal slide moves for a Discovery show in Utah, and those initial experiences weren’t too fun. Tons of cables hanging everywhere, low weight capacity, motor belts that always seemed to be slipping, a tiny speck of dust seemed to make the motion of the move bumpy, and the whole rig required expensive batteries that only worked on that one rig and didn’t work on any of the other camera systems I had with me. It was, in short, a bummer.

The team at Trexo has clearly worked hard to alleviate many of the pain points of other motion control products. For one, the general weight capacity is great, and because of this, you can use a wide range of camera systems with the Converta. Here are the weight limits broken down by how you have the slider and turntable oriented:

• 22 lbs (9.98 kg) in Horizontal Mode
• 6.6 lbs (3 kg) while in Inclined Mode (defined as a 22.5-degree incline by Trexo)
• 17.6 lbs (7.98 kg) while descending in Vertical Mode
• 11 lbs (5 kg) capacity for the optional turntable

A few more weight limits to keep in mind when using the 3-axis rig and V2 module in conjunction with the Converta:

• 11lbs (5 kg) weight capacity in 3-axis mode (two V2 modules + brackets)
• 6.6lbs (3 kg) weight capacity if only using one pan/tilt V2 module

Note: Rigging the Sony a7RV on the top tilt module required me to add a Wooden Camera baseplate to move the camera back and forth to perfectly balance. It doesn’t like having a lens forward too far, or it will give you an “obstacle detected” warning in the phone app. I didn’t receive this warning when using the iPhone.

Okay, moving away from weight capacity…

The design of the slider itself is matte black with the occasional red accent point – one of the main spots painted red is a series of 1/4-20 mounting points that seem perfectly placed for a small monitor to view the camera angle during operation.

There is a warning label telling you not to touch the screw system inside the opening in the slider, and indeed, I would be careful of letting anything fall into the slider opening that could cause unwanted bumpy spots.

My main takeaway from opening the Converta box for the first time is that it seems like this whole kit should be more expensive, but who am I to complain? You have to keep in mind I just came off two shows back to back where I used a motion slider for roving wide shots, and that whole system was much, much more expensive, but I didn’t have access to the Converta at the time.

Operation

The biggest point of failure I see in the operation of motion sliders is right at the end of the track when the move stops and shifts direction – that’s where things usually start to go downhill. I’ve worked with systems where you see a noticeable shift at that point in the move, and it shows up in the footage.

Somehow, the $495 Converta shines here, and the camera slides to the end of the track and shifts direction smoothly in a way that is very, very hard for a human operator or other motion sliders to replicate. This, right here, is a reason to add the Converta to your kit. This makes it incredibly useful as a roving B-angle in an interview because you can use 100% of the motion in the edit and not have parts of your shot that are too jumpy. Also, the face tracking feature keeps the subject centered and in focus, making it ideal for filming a moving presenter. With built-in mounting ports, you can use your smartphone as a monitor or for easy setup and control.

I find both the app and the control panel to be intuitive and user-friendly. Gone are 3D representations of hundreds of keyframes and nebulous names for different features – everything is easy to navigate, making triggering time-lapses or setting moves or overall speed very simple. One thing to note is you’ll need to set your keyframes before you can move over to select the interval in the timelapse menu in the app.

Of course, you are going to still need to think about all the things you normally would when shooting a timelapse, such as star tracking or an ND filter to allow you to drag your shutter more during the day, etc. The slider is really just doing the work of moving your camera and triggering your shutter at whatever interval you decide.

Everything in the app is built around a “Timeline” tab that serves as a representation of the move you are trying to create. Simply hit the plus button at the top to add a keyframe, or use the joystick to move to a different keyframe while clicking the speed button to make it a slow or fast move. If you use the 3-axis accessory, you will suddenly be able to use the joystick to set keyframes in any direction you can think of. Cool.

Worried you might bump your tilt when panning to your preferred framing? You can lock your tilt or vice versa to allow you to focus on moving one axis at a time. All of this made a ton of sense to me (not someone who has built a career in motion control), and I appreciate how I’m not being overwhelmed by various menu options – Trexo has kept the system streamlined.

Oh, and you can even save your programmed move and use it again in the future.

Power for the Trexo Converta

Trexo has made the decision to go with USB-C chargeable internal batteries for both the Converta and the pan/tilt modules.

Battery life per charge will vary heavily with how much you are using the slider and the modules, but I found I was getting about five hours with the Pan/Tilt V2 modules running fairly often with a 3.2lbs Sony a7RV camera and smaller SIGMA lens. The slider itself lasted several hours for me before I noticed the battery indicator getting low. Still, I’ll admit it is slightly tricky to judge the overall time for this because I am constantly using it in all sorts of different modes with different rigs and lens changes.

Using my Apple Macbook Pro charger to charge the modules and slider is incredibly useful because I’m often on smaller crew travel jobs internationally, and taking fewer chargers and battery types with me means less carrying from airport to airport. Built-in batteries are a small but meaningful feature to me, and of course, you could always take a camera battery with USB out and charge the slider up that way, too, in the field.

However, lithium-ion battery technology only has a set number of recharge cycles (often measured in the hundreds and thousands, but you will have to swap out an internal battery someday, and that means a shipment back to Trexo for service at their European or US location) so, that is something to keep in mind.

Final thoughts about the Trexo Converta

For my first time working with a Trexo product, I was surprised by just how much I enjoyed using the Converta Video Slider. It’s easy to control, has a weight limit that fits most of my cameras, and is small and simple enough to bring along and add production value without the headache of multiple re-takes.

I don’t think this would make a great rental unit because of the soft case, internal components, and relatively affordable price tag, but for owner-operators, the Converta makes a lot of sense. It also takes only a minute or two to set up this slider as a B-angle on an interview, and then you can literally back away and concentrate on operating the A-camera. The fast setup time may be one of the biggest draws with the Converta.

Whether or not you need the additional cost of the 3-Axis Kit or the turntable will be up to you, but there is a case for buying the slider in your preferred length and building the kit slowly over time as you become more comfortable with its usage. In short, the Converta punches way above its weight and is worth a look.

What do you think? Will you be adding the Trexo Converta Video Slider to your kit? Let us know in the comments below!

LENSGO is a Chinese company specializing in audio accessories, teleprompters, and smoke machines. Their Smoke B and Smoke S fog machines were released a few months ago and now they are planning on releasing the younger sibling, the Smoke S Mini. It is a smaller and even more portable option, made for those who are looking for a hassle-free, easy-to-use, and extremely small smoke machine. It shares almost the same functionalities as the bigger models but with less wattage and capacity, making it perfect for small shoots.

Both simple and varied

Filmmakers have used smoke, haze, and fog since the advent of making films, and not only for effects in horror films, music videos, or advertising. In many of the movies you watch, they are also used to add haze to create volume and shape in the scenes and reduce contrast while enhancing the lighting.

The LENSGO Smoke Mini S comes in a pouch with the central unit and accessories to shape the smoke in different ways. It also has a liquid refill bottle, a remote control, and a USB cable. The pouch size is small enough to put in your backpack if you are traveling with a single bag only. In today’s era of solo photographers, filmmakers, and content creators, this unit is a perfect fit for their needs.

The Smoke S Mini has 15W and a battery of 1000 mAh that, according to my tests, lasts for about 15 minutes when used continuously. When the battery is out, a red light will appear and the unit will turn off. In real filming situations, you will most probably be using it in short bursts, so potentially, the battery will hold for more than a shooting day. I could fill an average room with a decent amount of smoke within one or two minutes of fog release. However, keep in mind that the Smoke S Mini is not suitable for large venues, considering its limited capacity in comparison to the time and effort required to fill a sizable room with smoke.

The unit can be charged with a USB cable. LENSGO specifies two hours of charging time, which is more or less what it took me after fully emptying it. Refilling the tank is also quick and easy. To do so, unscrew the cover and open the little orange rubber seal. After refilling the liquid, close the seal, attach the tank to the main unit, and put the cap back for protection since the tank gets hot when releasing the smoke. I found the refilling process pretty straightforward, just like the overall functionality of the unit.

When I first saw the amount of liquid included, I was very careful not to waste it, but after one shooting day, the tank still had about 3/4 of the liquid left. I doubt you’ll run out of fluid anytime soon for your intended purpose, however, if you do, you can easily purchase more on platforms like Amazon, for example.

Real use scenario

The LENSGO Smoke S Mini worked pretty well and was easy to use in all the tests I ran. The unit only has two buttons, one for turning the machine on and off and another one for releasing the smoke (pressing twice), and stopping it (pressing once). LENSGO categorizes the included accessories in modes like ‘Portrait’, ‘Dry Ice’, and ‘Incense Burning’, so you get the idea of the different effects you can create. I used it for video and photography with different modes.

The first thing that caught my attention was how valuable the accessories are in shaping the smoke and getting different effects, as they are not only gimmicks but really helpful tools to create different smoke shapes. That said, the smoke effects take place in the first seconds of release, with a defined shape and density. After 15-20 seconds, the smoke blends and spreads evenly, like ambient haze. That will give you the best of both worlds: the smoke for precise and stylized effects and the atmosphere to create volume and separation.

The liquid, as advertised, has no smell, and it did not affect my eyes or my breathing. However, like with any smoke machine, it is advisable to ventilate the area after using the product.

The only thing I didn’t like about it was that some liquid leaks, especially if you release the smoke directly from the tank without any of the accessories. After using it for some time, I noticed liquid drops inside the pipes. However, this does not affect the unit’s functioning. I just cleaned the liquid before putting the unit away after I was finished.

The remote control is another helpful add-on for when solo shooters are doing all sorts of jobs on set. With a simple press of the button, you can release the smoke and film at the same time or even be in the shot if wanted. That also keeps you from wasting liquid since you won’t have to run to the camera and waste those seconds of smoke.

Conclusion

I liked this Smoke S Mini for my everyday use. It is small, portable, simple to use, gives lots of shaping options, and has enough capacity for a full shooting day. I see myself using it in food and product photography and videos, portraits, small documentaries to give the locations a film touch, and stock footage where the short length of the shots fits the output of the Smoke S Mini. The fact that you don’t need electric power to make it function is a blessing for my shooting style.

On the other hand, the features that make this unit shine are also where its limitations are. For bigger shots and locations or extended shootings, such as narrative scenes with dialogue and where one undoubtedly spends hours on a lot more takes, I would prefer a bigger unit, like the LENSGO Smoke B or even a bigger smoke generator unit. Also, the USB input is at the bottom of the unit instead of on the side, meaning that it can’t be charged standing in a vertical position. Other than that, this small Smoke S Mini offered more than I expected!

Pricing

LENSGO will sell the Smoke S Mini for $99, but during the campaign, they are offering the current specials:

Perk A: 300 units for $69, 500 units for $74, Limited exclusive early bird price $79

Perk B: Two units for $139

There are many other perks available on the crowdfunding campaign page, so please head there for additional information.

The LENSGO Smoke S Mini is now being featured on Indiegogo. As always, please take into account that backing a crowdfunding campaign has its risks. We encourage you to research and remember that there is a chance for delays and changes in the final models, and some products are never delivered. Please read Indiegogo’s terms and conditions carefully before backing a project. However, LENSGO is an established and trustworthy company in our industry.

For full disclosure: CineD receives a percentage of the revenue (affiliate share) made from backing up this project on Indiegogo.

What do you think about the LENSGO Smoke S Mini? Would you include it in your equipment for small shootings? Let us know in the comments below!

As an ICG Local 600 Director of Photography and a frequent camera operator, I mostly missed the first generation of the Tilta Nucleus. Not because I wasn’t interested – I was just using other solutions like a Preston, Teradek RT, or even a Canon LANC zoom rocker. Since I, or my ACs, were already long invested in other systems, I only started to see the Tilta Nucleus system slowly begin to arrive on set primarily as on-camera zoom rockers (devices intended to simplify smooth, mid-shot zooming for an operator) or as backups for more expensive FIZ (focus, iris, zoom) systems.

It was while working on a spin-off series for Paramount+ that a Movi Gimbal operator first introduced me to his 1^st Gen Tilta Nucleus-M zoom rocker setup. I was immediately impressed by the simplicity and overall cost. Fast forward a few years, and while working on Game Changer S7 for Dropout.tv, I needed a zoom rocker and wireless follow focus (for some specific promo moments), and it just so happened a Tilta Nucleus Nano II was in my set bag ready to go.

First impressions

The Nucleus Nano II ecosystem is made up of a handle, handwheel, and motor or motors. Notably, it doesn’t require a motor driver (typically a small box placed on the camera to help wirelessly control the motors on other systems). There is some crossover between the functionality of the handle that isn’t included in the base kit and the handwheel (both can control motors independently if needed). The handwheel (weighing a little over half a pound) even has a physical side switch called a “zoom rocker” in the menu, which complicates things because, technically, the handle wheel and handwheel knob can do the job of a zoom rocker, too. Confused? Don’t be! In short, whether you want to control your iris, zoom, or focus while holding the camera, or if you want an AC to do it — all are possible with this system. More on this later.

Having used significantly more expensive wireless focus systems, I expected something on the plasticky side with a significant wireless delay or perhaps a clunky menu system. I was wrong on all three points. If anything, the touchscreen is brighter, more responsive, and easier to navigate than its more expensive analog-feeling competitors. However, the on-screen buttons do tend to be on the smaller side, requiring a light and specific touch, or you’ll miss your intended input. I didn’t find it took long to get used to the menu screen, and the auto motor calibration is easily triggered by a long press on an exterior physical “Function” button.

Swiping left or right takes you away from the main FIZ screen to screens displaying different info where you can lens map to specific lens types and save that info for the future. Swiping up allows you to dive deeper into the menu. Accidentally swiping left or right mid-shot will disable the ability to use the focus knob. Still, a digital lock and unlock button in the bottom right of the touchscreen prevents you from accidentally opening another menu in the middle of filming.

A physical TF/DP button lets the knob spin indefinitely or allows you to set stops in either direction.

Typing out longer text on the handwheel (such as connecting to a Wi-Fi signal for Firmware updates) tends to take a while. Still, with patience, you’ll be able to type out even the longest passwords on the 1.6″ touchscreen, and the fact this even has built-in Wi-Fi and Bluetooth connectivity is pretty amazing.

Setting A and B focus points is easy (a single button press for each point), and you even get a haptic vibration response when hitting either point. I initially found the haptic response too distracting, but you can tune the vibration level easily with a quick hop into the menu.

Though the handwheel is plastic, it doesn’t feel delicate, and I’m not worried about damage during normal use. The motors are also light, and they’re easily installed on 15mm rods when powered by a USB-C cable (daisy chaining is possible, too, with multiple motors).

The rear of the handwheel has a locking nato system that is really intended for use only with a Tilta handle, or you might damage the electrical contact pins. But since I needed a zoom rocker solution on this show, I carefully used a small clamp paired with an articulating arm and a tiny nato piece from Wooden Camera to mount the handwheel to the tripod handle. Then, I used my thumb to control an S35 Canon Cine zoom.

Power

Each of the three components of the Nucleus Nano II system is powered in different ways, which annoyed me initially (standardization is always more user-friendly). Still, I quickly got used to the need for continuous USB-C power for motors, an internally charged battery (also charged with USB-C) in the case of the handwheel, and an NP-F550 / NP-F570 battery for the handle.

In my experience from on-set use, the handwheel lasts for about 10-ish hours (not constant use). At one point on a later shoot day, I even used a power bank dedicated to my iPhone to give it a quick recharge while on set.

One of the points of divergence between the Nucleus Nano II system and more expensive systems is the general use of USB-C cables. My Teradek RT kit relies on locking Lemo connectors that you really need to work to pull out accidentally. On the other hand, the included Nano II USB-C cables jut out significantly from the camera body. Perhaps a right-angle USB-C cable would be the way to go here, but I do appreciate how ubiquitous USB-C is, so replacing a broken cable would be simple.

My preferred way of powering the motors is with a D-Tap cable to USB-C, but Tilta makes a $49 power distribution plate that takes NP-F550 / NP-F570 batteries in a pinch. Tilta also makes a D-Tap to USB-C cable. Another accessories brand called Kondor Blue does, too, and both have worked for me without issue. In the case of a stage show with a stationary camera position, you could, of course, power everything off available wall power with long enough USB-C cables (the handwheel works while charging, too).

Setup

Charge the handwheel, add a battery to the handle (if you are using one), get your motors connected to your favorite power method, and you are ready to start. Power on the handwheel by long-pressing the record button (same for the handle), click on “connection” in the menu, and then go to 2.4 GHz to pick channels and assign them to various motors by clicking “search.” Double-click the single button on each of your motors to enter pairing mode, and you’ll see them pop up one at a time in the menu. Once they’re connected to the handwheel, you can assign one of four colors to each of your motors by clicking the button on the side of the motor. Pick the color that corresponds to the motor placement on your lens.

• Purple: Focus
• Blue: Zoom
• Green: Iris
• Other: Yellow (intended for the Variable ND Filter / Mirage Matte Box)

As I was initially using this system only for op-controlled zoom, I set the zoom to the large knob in the menu (normally devoted to focus in default mode) and messed with torque and sensitivity in the menu until I found a happy medium where I was able to dial in the smoothness of the zooms.

Interested in controlling additional menu settings of your camera using the handwheel? Several cameras support that functionality, and Tilta promises more are being added all the time. You can see the currently supported list for camera control HERE.

When power cycling the handwheel, it will remember the last settings and re-connect to both the motors and the Wi-Fi (if you had previously connected).

Calibration is simple, and auto-calibration worked fine for me while using lenses with hard stops. For calibrating lenses without hard stops, use the manual option. It requires you to move the motor to both close focus then infinity, and it asks for confirmation each time.

How affordable is it?

Tilta has a basic kit that includes a single motor and the handwheel for $299, and this really is enough to get you started (while being mindful of how you want to mount the handwheel. It could be hand-held in a pinch). Additional motors cost $119 (each includes a short USB-C cable and 0.8 pitch gear adapter for DSLR or Mirrorless optics).

A Tilta Nucleus Nano II Handle costs an additional $149. The handle is necessary for controlling a third motor (using the wheel), or you might find it necessary just to make it easier to hold the handwheel. The motor also charges the handwheel from the internal NP battery. Alternatively, you can use the handle as a zoom rocker, and the joystick and onboard wheel can control motors without the handwheel – all helpful for an operator.

You might consider an articulating arm, a nato rail piece for mounting the handwheel on a tripod arm, and a D-Tap to USB-C cable as additional costs.

Who is the perfect Nucleus Nano II user?

Tilta proposes in some of their marketing communications that the Nucleus Nano II be a “backup” focus system for professionals and we should unpack that statement a bit. For one, the Wi-Fi range of the Nano II system isn’t as good as the higher-priced systems I compared it to, so perhaps this isn’t the system to go to for techno cranes and car-to-car. When purchasing, consider your own needs.

The choice of USB-C comes with pros and cons. True, replacement cables are easy to source, but if an operator accidentally clips a door frame, you may lose a motor mid-shot in a situation where a locking cable would have been fine.

Each Nucleus Nano II motor provided a surprising amount of torque and worked fine with the Canon Cine series zooms, SIGMA Cine primes/zooms, and Atlas Orion Anamorphics I tested it with. I didn’t have a chance to test vintage optics with stiffer rings, but I imagine you would be in good shape there, too, given the amount of available power from these affordable motors.

If you’ve never worked with a zoom rocker or wireless follow focus, then this is the perfect starter kit for you. I also tend to agree with Tilta that this can be a perfect backup kit for professionals should a Preston, Teradek RT, or ARRI system go down on set. Also, not all cine zooms offer compatible servo units (for example, SIGMA Cine products) and this essentially turns cine zooms into servo-move-capable lenses if your project demands that type of look.

Firmware update

From the moment the Nucleus Nano II system arrived, multiple firmware updates were available for each of the handwheel, motor, and handle components. Initially, there wasn’t a ton of information about exactly what features these updates were adding, updating, or fixing, but Tilta now has a changelog giving users helpful info about each update HERE.

To update the handwheel and motor, simply connect the handwheel to available Wi-Fi, navigate over to “system,” and click “firmware update.” To place the motor in update mode, you should hold the button on the motor (while unplugged) and then plug a USB-C power cable into slot 1.

Updating the handle requires holding the power and “M” button while turning the unit on and connecting the USB-C cable to a computer. From there, drag the firmware .bin file onto the handle drive to begin the update. Alternatively, you can connect the handwheel to the handle over USB-C and click handle update in the firmware menu. In this option, the handwheel and the motors bypass the need for a computer.

Conclusion & pricing

The Tilta Nucleus Nano II system, in one of those rare times in the cinema tech industry, is priced in favor of the filmmaker – you are getting tons of bang for the buck here at $299 / €289.30. The bright 1.6″ screen of the handwheel (dimmable if needed) makes me wish other manufacturers would add screens like this to their FIZ systems, which cost thousands more.

With the Tilta Nucleus Nano II system, camera connectivity, a side effect of a 3rd party manufacturer interacting with multiple camera manufacturers, may vary. The torque is strong enough for most lenses, that is, if you aren’t too far from the camera. And the menu is easy to navigate.

Tilta’s consistent Nucleus Nano II firmware updates suggest they plan on supporting this system for years to come, and the fact that the original Nucleus-M was introduced in 2018 also supports that idea. The Nucleus Nano II is now a fixture of my DP/Operator kit alongside my Ultra 5″ SmallHD monitor, and my Ergorig.

What do you think of the Nucleus Nano II? Have you ever used one? Would you consider adding one to your kit? Let us know in the comments!

I love camera operating and try to do it wherever possible – even on larger sets where I wear different hats. There is something about the connection you get with your subject while operating that is unique and that doesn’t quite carry over to a monitor at Video Village. Towards that end, I am laser-focused on operating gear that works with me and doesn’t add pain or discomfort over long hours. Lately, I’ve been a fan of the Ergorig from Cinema Devices for support. Still, monitor placement is equally important (to avoid neck injury), and a quality shoulder rig is right at the top of the priority list. Your shoulder rig choice shouldn’t be an afterthought, and there are a bunch of affordable options out there, but keep in mind quality may vary.

Some shoulder rigs are specifically designed for a single camera system, but there are a few that could be considered “universal.” Here are just a few of the lower-mid-cost competitors:

• SmallRig Shoulder Rig Pro Kit – $335.00
• CAMVATE Pro Shoulder Mount Rig – $286.00
• SHAPE ARRI Dovetail Shoulder Mount with Handles – $666.75
• Zacuto ACT Baseplate – $295.00 (Handles sold separately)
• ikan Stratus Shoulder Rig System for Cinema Cameras – $299.99
• Kondor Blue Shoulder Pad Air Rig – $699.99
• 8Sinn Shoulder Rig Kiti with 15mm LWS Baseplate – $699.99

My history with Tilta as a brand began in the RED DSMC 1 era with a RED Epic Dragon rig. The price was competitive at the time, but it wasn’t my favorite rig overall. Since then, the brand has progressed significantly while sticking to affordable price points. I’m seeing Tilta products on larger and larger sets these days, and their Nucleus Nano II Follow Focus / Zoom Rocker is especially impressive. (Nano II review coming soon).

Tilta markets the Lightweight Shoulder Rig as geared towards “compact camera rigs.” I might be pushing the definition of “compact” a bit with my Canon C300MKIII and SIGMA Cine Zooms, but at about 5 lbs. (2.268 kg) for the body itself, this isn’t a particularly heavy camera. I just think Tilta intends this rig more for the likes of the RED Komodo, Sony FX3, Canon EOS C70, or even a Canon EOS R5 C with DSLR glass.

Either way, it works fine with my Canon EOS C300 Mark III, and I feel like other more mid-sized cine cameras like a Sony FX6 would do well, too. Moving on.

First impressions

It is hard to overstate how much I enjoy self-contained kits, and this shoulder rig comes in a semi-rigid hard case with plenty of interior room that suggests it could take a hit or two without damaging the overall rig. Having everything in a kit means I don’t need to dedicate the time to figuring out another solution. It’s also easy to throw in my vehicle for a shoot at the last minute while having the confidence it’s all good to go when I land at the location.

The main components of the Lightweight Shoulder Rig are the following:

• 15mm Rod Mounts (dual at the rear, and one near the front)
• Baseplate (Arca and Manfrotto compatibility)
• Quick Adjustable Rosette Arms (additional cost from the core kit)
• Shoulder Rig
• Back Shoulder Pad

Out of the case, everything assembles quickly. The first thing I noticed is an adjustable horizontal bar that allows the rig to be quickly set on a flat surface or for added flexibility with the two front handles. I do wish the locking screw for this bar had a safety catch element because loosening this screw while the camera is on your shoulder will tip the weight of the camera forward (something to be mindful of).

The handles are comfortable and feature a fully adjustable arm on either side, allowing for different operator body types and heights. Everyone wants their handles in different places depending on the gig, and this system lets you do just that. Add the quick-adjust rosettes (available as part of a more expensive kit), and this brings another layer of flexibility if you change your hand position often while filming. Some may prefer the locking knob over the quick-adjust rosettes. It just comes down to preference.

For power, you could install a battery plate like this one from Tilta on the back part of the rig itself, but my battery on the C300MK III affixes directly to the camera.

Unfortunately, the included camera plate only has 1/4-20 screws and not 3/8″-16 options, and it is designed in such a way that you couldn’t add 3/8″-16 screws even if you wanted to. Not a big deal for smaller cameras, but I appreciate combining both screw types for larger camera builds.

Everything is a stylish matte black made from aluminum alloy with rounded edges and no sharp points to catch on an operator or AC. A 1/4-20 mounting point on each handle gives you another spot to mount a small monitor or other accessories.

Tilta Lightweight Shoulder Rig – operation

Given the fact that “lightweight” is literally in the product name, you’ll be happy to hear that the overall rig is one of the lightest I’ve ever used. With the low weight, I was worried that corners might be cut in the strength of the overall material, but I didn’t see any sketchy bending or flexing despite having a camera rig at the top end of the overall system weight limits.

A useful design innovation here is the use of a back pad (see image below), an idea I would love to see find additional use in this accessory segment as a whole, and on future Tilta shoulder rig products – it’s that good. The back pad helps when you tilt down because it transfers weight to your back and not your biceps. If you have ever worked on a cooking show where you are often required to tilt from the chef’s face to the plate on the counter, you will immediately appreciate this design innovation.

There are also multiple mounting points on the back pad where you could add a counterweight like this one (designed specifically for this shoulder rig by Tilta).

Strangely, there isn’t a way to make this rig work with a VCT system, and that’s a bit of a bummer if you need to transition from tripod to shoulder and back. If you plan to live on your shoulder for the entire shoot day, then this lack of VCT compatibility won’t be an issue for you. Tilta, as a company, seems invested in the dovetail platform over VCT in most of their products.

And speaking of living on your shoulder – I love the cushion on both the back pad and the shoulder pad. It is incredibly comfortable and feels like you have a piece of memory foam between you and the camera: A+.

Quick moves and heavy use over a long shoot day didn’t loosen any of the knobs to the point where I felt like they were fighting my camera moves. At one point, I actually removed the left handle so I could just leave my hand on the lens barrel. Everyone is different, and having a shoulder rig that can keep up with different op styles is important.

I found the padded handle grips to be comfy, but you could upgrade one of these (depending on if you are right or left-handed) to a $157 Tilta Wooden Handle with Control Trigger – just double-check that your camera has the correct available trigger cable or the record button won’t work. The use of ARRI standard rosettes on this rig also opens up options from a few other brands as well if you want to mix and match components.

Tilta Lightweight Shoulder Rig – conclusion and price

The $339 / €344 Tilta Lightweight Shoulder Rig is priced competitively, takes lighter to mid-sized cameras, and, maybe most importantly, is very, very comfortable. The back pad is something I didn’t know I needed on a shoulder rig (can’t live without it now!), and the whole rig breaks down into a small kit for transport.

I find the adjustable horizontal bar to be a good idea, but in practice, the lack of a safety catch means it feels like a potential future failure point with extensive use – only time will tell there. The lack of a VCT mounting solution makes the overall rig a bit less flexible than it could be from job to job. The single 15mm rod mount is nice, but two would be better for lens support or additional accessories.

There are cheaper shoulder rigs on the market, but you’d be hard-pressed to find one that is this comfortable to film with. The Tilta Lightweight Shoulder Rig strikes the right balance between cost and quality.

What kind of shoulder rig do you use? Is there another one you could recommend? Let us know in the comments below!

All of us filmmakers working in the field know the drill – you generally shoot on multiple cameras throughout a shooting day. A main camera, a b-camera for interviews or on a gimbal, and a drone have become the standard everyday working equipment on my documentary shoots. But what’s happening when the long shooting day is over? Everything still needs to be transferred, labeled, and organized onto various SSDs or hard disks. It’s a lot of work that needs time and organizational skill, because there are often multiple cards from each camera, and you need to keep track of which one was already transferred and which one wasn’t … plus you need individual readers for each one. A sheer pain and it eats into your or your assistant’s evening after the shoot (or even worse, it forces you to stay on location to transfer data even after you’ve wrapped if you part ways with the producer/director and need the cards again on the next day.

Card reader stations – a possible solution

While we’re not talking about transfer management software here (yet this is something I highly recommend using to transfer data from multiple card sources and to multiple destinations at the same time), we will focus on the hardware side of things in this review. Using a combination of both transfer management software and a multi-card reader can make scenarios like the one I described above a lot less “painful” on a regular basis. Basically, it will take the stress out of your production when you are done shooting because you can plug in all the cards you shot at the same time with your computer and start transferring right away. 

There are multiple solutions on the market for card reader stations these days, but interestingly, most of them are either quite high-end (expensive) or quite low-end (inexpensive but low quality), with means that there was a gap in the market. And that’s exactly the type of gap that Pan seems to fill with their Pan’s Media Data Center. Let’s take a closer look.

Pan’s Workflow Station, a card reader hub with a small footprint

Pan’s Workflow Station Card Reader Hub is a modular card reader that holds up to 4 interchangeable readers at the same time. The station itself is built from a solid aluminum alloy shell, which gives it a nice sturdiness that surely can take a beating when shooting out and about, and at the same time, it’s reasonably light. The aluminum helps to dissipate heat that’s generated when high-speed cards are offloaded, which means it works without a fan that can generate noise and needs power, another plus. 

Pan’s will have 6 types of card reader modules available in total (they sent us 4, with two being released in the coming months). There’s a USB A+C module that gives you extra plugs for those two connectors (and essentially means you can plug in additional readers for other card types the reader doesn’t support). Then there’s a dual UHS-II SD card reader module and a separate Dual UHS-II Micro SD card reader module. Also available now is the CFExpress Type-B Card Reader module, and coming soon will be a CFExpress Type-A Card Reader – which is particularly good news for Sony shooters like myself because that type of card is the standard on Sony Alpha cameras as well as the Sony FX6 and FX3/30. They also announced a CFast 2.0 Card Reader, which should be coming soon, too. The only significant miss here for me personally is the lack of an XQD Reader – I shoot a lot on a Sony FX9, and there are also still lots of Sony FS7’s out there as well in everyday production, and it would be nice if finally, XQD would also be catered to with a dedicated reader. It’s not a huge deal though because I understand that it doesn’t make much sense to support a standard that is really on its way out now, plus, when using the USB A+C module, an XQD reader can simply be attached to the Pan’s Workflow Station as well. 

Not technically a card reader, but another module, is a small aluminum shell that allows you to mount a Samsung T7 SSD directly into the Workflow Station. A convenient solution that would also be great for other common SSDs from SanDisk, and so on.

The modularity of the system means that you can mix and match whatever combination of readers you need. For example, you might actually need 6 SD slots, and then you can simply use three of the Dual-SD readers inside the Workflow Station. Or combine it with any of the others. It’s straightforward, easy, and very adaptable to most work requirements. 

Each the module can be used individually as a reader as well – they all have a USB-C port at the back, which allows for direct connection to your computer using a USB-C cable. That, of course, makes it easy to hand off a reader to a colleague, if there’s an extra card that needs to be transferred elsewhere. If you need to work in a smaller space while on-the-go, simply bring the readers themselves, since they are so small. Plus, it allows you to connect extra readers to your computer on those rare occasions when you need more than four readers simultaneously with the Media Data Center.

Putting readers inside and taking them out of Pan’s Workflow Station Card Reader Hub is straightforward. There’s one button on the top with the “Pan’s” logo, which can be permanently illuminated by pressing a button on the back of the device. When you press it, any of the four readers can be removed from the Workflow Station. This is crucial information for anyone who is using the Media Data Center – I found myself pulling on one of the readers the first time I used it without knowing that the button on top is the release button, and I fear that the mechanism can be damaged if you pull hard enough. So the best would be to put a sticker with “Eject” next to that button to make it perfectly clear. 

Connectivity, write and read speeds, 100W power output

The Pan’s Workflow Station Card Reader Hub connects to your Mac or PC (or even iPad, for that matter) via USB 3, with the transmission speed of USB 3.2 Gen2, to be exact. It’s 10Gbps, downward compatible, which means it will work on all USB ports (even though you will need an adapter for USB-A, obviously). The Media Data Center does not work with Thunderbolt 3 or 4, which use the same USB-C-type connector, but different cables. That has some upsides and some downsides. The most obvious downside of course is that we cannot access the top speeds that Thunderbolt 3/4 allows, and Pan’s Workflow Station will practically provide up to 680MB/s transfer speeds, which is, however, fast enough for almost all kinds of applications. Also, and this is a big factor here as well, USB makes the device much more flexible than Thunderbolt: No extra power supply is required (and THAT is really so freeing for a card reader, exactly what you expect), and of course, the ability to use each and every reader individually with a USB-C cable is a big plus too. And there’s an extra bonus: Pan’s Workflow Station Card Reader Hub has an extra port that can output up to 100W of power to a connected device, which means you can power laptops or cameras via USB-C, for example.

I ran a few speed tests using various speed test tools with similar results, so I’m focusing on the results I got using the Blackmagic Disk Speed Test tool here. 

SD card reader test

With the Dual SD card reader mounted inside Pan’s Workflow Station Card Reader Hub, using an Angelbird AV PRO SD MK2 V90 card, I could get just over 250 MB/s for both read and write speeds on the card, with the read speeds reaching up to 260 MB/s. That’s very close to the card’s maximum speed of 300 MB/s. Connecting the reader only directly, without the Workflow Station, to my MacBook Pro M2 Max, the results were almost identical. It’s nice to know that the standalone reader gives the same results as the Media Data Center – great for portability. 

Apple received a lot of praise for finally putting faster SD card readers into their current M2 (and prior M1) MacBook Pro lineup, after actually dropping them completely on the last iteration of the Intel generation MacBook Pros. Prior to that, you were always much better off connecting an external reader to read your SD cards in terms of the transfer speeds you would get, rather than using the internal one. Not anymore. The current MacBook Pros actually give decent read and write speeds. But it was still interesting to compare to an external reader like Pan’s Media Data Center. Interestingly, the Workflow Station (and standalone SD reader too) were still faster than Apple’s built-in reader, which fell a bit short on write speeds at around 20-30 MB/s less, and read speeds around 10 MB/s less. Not a huge difference, but a noticeable one when you have to transfer a lot of data at once. And don’t forget that the maximum transfer speed of the Media Data Center is around 680 MB/s, which means you can transfer two SD cards (for example) at once using the dual card reader without hitting a bottleneck. You’ll even have room to spare for another transfer. 

CF Express Type B card reader test

Actually, after testing the CF Express Type B card reader mounted inside the Workflow Station, I have to revise what I wrote above: Yes, Pan’s claim that Pan’s Workflow Station tops out at around 680 MB/s, but in practical read and write speeds, we could get significantly more out of an Angelbird AV Pro SX 160 GB CF Express Type B card: 860 MB/s write and 800 MB/s read speeds! That’s a lot more. Again, results were almost identical when connecting the small reader directly via USB-C without the Media Data Center. Interestingly, it was even better: 870 MB/s write and 822 MB/s read speeds. Impressive.

Conclusion – Pan’s Workflow Station Card Reader Hub

Pan’s Workflow Station Card Reader Hub provides good value for money if you’re in the market for a professional card reader solution that allows you to transfer multiple cards at once. At around $350 including four readers, it’s cheaper than higher-end solutions on the market, but it’s more expensive than entry-level solutions. It finds a nice middle ground and so does its performance, which actually exceeds the manufacturer’s claims with a very fast card, which is a rare sight. Extra readers are around $50, and I think that’s reasonable given the performance you can get out of the solution. Great value for money, which will make many shoots less painful in their aftermath. 

Current discounts

Lastly, Pan’s currently has some discounts on their Workflow Station and readers running via Amazon worldwide, here are the links:

EU area 5%off: https://amzn.to/42JsRgp

JP area 20%off: https://amzn.to/3pyF3li

US 15% off：

HUB + USB + SD + microSD + CFB（5 pcs kit）  https://amzn.to/44RMLqG

HUB + USB + SD + microSD（4 pcs kit）   https://amzn.to/3pxGh0a

SD module:  https://amzn.to/42M1xxA

USB module:   https://www.amazon.com/dp/B0BSBJCFPB

Amazon Promotional code: 15DCFAUF (only for US areas)

What do you use as a card reader solution, and what do you think of Pan’s Workflow Station, can you see this solution being integrated into your workflows? Let us know in the comments below.

First, can we all agree that, in general, the Smart Slate or the Slate was due for an update?

The slate, timecode and why we still need it

You may recall that a slate is a device designed for syncing audio and video on a film, television, or commercial production. A “dummy” slate, sometimes called a “clapper,” displays valuable information for post-production like the scene heading, take number, production title, name of director and cinematographer, and so on. A “smart” slate takes things a step further with the introduction of timecode synchronization through a small external timecode box mounted to the slate, the camera, and the audio mixing device.

From there, the timecode synchronizes wirelessly or by physically connected cables. Sync’d timecode allows the post team to automatically (or, depending on your software, with the pressing of a few buttons) match video files with audio files. The benefit is that on larger productions, dozens of cameras and multiple teams may be capturing audio at the same time. On multi-camera projects especially, timecode is 100% necessary at every step of the production to avoid potentially expensive cost overruns in the editing bay.

As an aside, sometimes a dummy slate might be “owned” by the camera department, and the audio department might be the keeper of the smart slate, but not always.

Ok, refresher over! Now on to the Deity TC-SL1 Smart Slate.

Film slates – the competition

While there might be many brands in the general audio space, the smart slate market shrinks when we consider only those products which can compete with the new TL-SL1. Those would be smart slate devices by Ambient Recording and Denecke, which retail between $1600 and $2000. Did I miss any other competitors? Let us know in the comments below!

The drawback with those devices is that they rely on disposable and expensive AA batteries or on the need to attach a separate external timecode device — making things bulkier and less streamlined. If you need to attach a separate device, then the smart slate is acting as more of a display (stretching the definition of “smart”).

The Deity TC-SL1 is designed to work alongside (in a 2.4 GHz radio ecosystem) the competitively priced $199 TC-1 Timecode generators, and you can read more about those HERE. However, you can use the 1/4″ TRS and 5-pin LEMO timecode ports to hardline into other common LTC-compatible timecode devices. Therefore, you aren’t entirely locked into the Deity ecosystem if you’ve already invested elsewhere with other systems.

Oddly, there seems to be a lack of Bluetooth adoption amongst the competition, while the TC-SL1 allows for ease of control up to 250′ through the Sidus Audio app. More on that in a moment.

First impressions

The $999 list price felt like a steal when I first removed the stylish milled aluminum Deity Microphones TC-SL1 slate from its semi-rigid gray case that also includes a dry erase marker (thanks!), two NP-F550 batteries, USB C Cable, 1/4″ TRS to 5-pin LEMO cable, all covered by a limited 2-year warranty. There’s a net in the case that could hold additional batteries and cables, or you could even fit a few TC-1 timecode generators in there.

The slate is built out of a single piece of aluminum and feels great to the touch, with just enough traction to make it less likely to be dropped.

A little ridge at the back provides a comfortable place for a 2nd AC to hold the slate and the power button on the side has a sliding protective plate, preventing accidental powering on or off. Turning the slate, you’ll see locking doors for the NP-550 batteries that take two hours to charge and then last for a whopping 120 hours. Indicator lights on either side of the battery doors display green if both batteries are providing power to the slate.

Another standout design feature is the tiny display at the device’s rear that shows the current settings (frame rate, battery life, Bluetooth indicator, and more). A small toggle allows you to manually set everything if you prefer not to use the Sidus Audio Bluetooth app. Having manual control should alleviate concern over the possibility of a dead phone battery in the middle of a busy shooting day.

If you’re shooting exteriors at noon, know that the timecode display on the front is extremely bright. To avoid flaring the camera lens in a studio environment, you can turn down the display’s brightness. My favorite feature might be the ability to write short custom messages on the slate itself, thus providing an opportunity to impress the whole team by adding a client company name or production title. Creating that custom message takes just seconds in the app.

A series of small red LED dot lights in the upper left or bottom right of the timecode display blinks to let you know when the slate is on. Another handy feature is a “flip” button on the side that flips the timecode numbers without having to turn the slate over. There isn’t, however, a protective sliding door over the flip buttons, and I wish Deity had matched the design of the sliding door over the power buttons on the flip buttons too, but that’s a small quibble.

Another possible design feature might be to have a Velcro spot or small strap for mounting a 3rd party timecode generator to the back of the TC-SL1 slate. I also understand why Deity would have wanted to keep the clean look of the design intact.

Sidus Audio app

Back in the day, the launch of the Sidus Link app for Aputure’s lighting products wasn’t without its share of bugs, and that’s to be expected, considering it was a new software product for a company not necessarily known for software design. I’m happy to report that things went much more smoothly with the Sidus Audio app on launch day – granted, from a design perspective, less complexity may now be required.

A quick manual Bluetooth reset on the Deity TC-SL1 meant the app was able to see the slate immediately, along with three other TC1 timecode generators on my Apple iPhone 14.

Having all my TC-1 boxes in the same group worked fine for my purposes. For larger projects requiring multiple camera teams playing in different areas, you might want to configure your devices differently. Most of my time in-app was spent in the “devices” menu, although you could select the “workstation” menu for a larger scrollable display of your devices in a given group.

Clicking “sync” in the app brings all your Deity devices together with identical timecodes in just a few seconds. Obviously, this app won’t work quite this seamlessly if you use a competing product to jam your slate. In that case, a quick visual check will show you’re sync’d.

Final thoughts on the Deity TC-SL1 slate

So far, the TC-SL1 Smart Slate is one of those rare product home runs. It’s that good, and it invigorates an audio product category that hadn’t seen much iteration in years.

The TC-SL1 also does good things for Deity as its brand appeal broadens from solely content creators to including larger productions. Nothing against content creators (as I write this content!), but a wider appeal for Deity can only serve the audio space as a whole.

What do you think? Will you be adding the new Deity Microphones slate to your kit? Let us know in the comments below!

Now, I don’t know about you, but I have been wondering about this for years: All of us are almost always carrying smartphones with super-high-quality screens in our pockets, but we can’t use them as preview monitors for our professional cameras.

The few existing solutions so far were cumbersome, with a lot of lag and often inconsistent performance that made them barely useable for professional work.

In comes Accsoon with their new SeeMo adapter, and changes the game completely (read our initial coverage here). For the first time ever, we are capable to get a video signal via HDMI into an iPhone or iPad.

Accsoon SeeMo HDMI Adapter

Here’s how it works: This tiny device connects to your iPhone using a custom Lightning-to-USB-C cable, and it connects to your camera simply via its HDMI input. You power it with a Sony-style NP-F battery, switch it on, and start the Accsoon SEE app (Apple App Store), and the image will show up within seconds. Super simple and it works very reliably.

One of the most important and practical things: since Accsoon somehow managed to get the video signal via a cable connection into the phone, the lag is surprisingly low. This delay is definitely low enough to be able to use your mobile phone as a monitor to pull focus from.

I didn’t make a scientifically measured comparison, but while the Atomos Ninja V recorder has slightly less lag, the Accsoon SeeMo is not that much worse. So it really does feel like using a proper monitor.

Accsoon SEE app

And that is also because Accsoon did a great job with their app – it’s fully featured and has almost all the bells and whistles you expect from a professional monitor. There’s focus peaking, waveforms, anamorphic de-squeeze, pinch to zoom, and even external preview LUTs can be loaded into the app. A lot of LUTs for different log types for different manufacturers are already built-in.

Now, there are limits, of course – the image we get is only 1080 with up to 60 frames per second. This means that the pinch in magnification is not that useful as you are zooming into a 1080 image, not the 4K or whatever higher resolution your camera is recording. So the camera’s punch-in is a lot more useful still.

The app’s navigation is simple and straightforward, there is just one practical problem: when swiping across the toolbar, you can accidentally end up going to the home screen or swiping between apps. An easy solution would be to move that toolbar onto the top of the screen and swap it with the toolbar that is currently there. I really hope they can implement this in an app update in the near future.

On top of the monitoring features, there is also a recording feature built into the Accsoon See app that powers their SeeMo device. This is definitely not replacing professional recorder monitors, however, but it’s a nice add-on tool for a monitor if you need to quickly grab a video from your camera to work with on your phone or send it to someone. When the Accsoon SeeMo records video, it can only do so, of course, at 1080p resolution. It’s also limited to 8bit and a maximum of 30MBit/s.

I think this feature would be absolutely amazing to generate proxies on the fly if it could use some of the camera’s metadata, like for example the file name and time code, but also have a record trigger from the camera. That is currently not the case, but I heard that they might be working on something like this.

Let’s hope it will be possible – nothing would be more convenient than having automatic proxies being generated and saved to your iPhone while you are using it as a preview monitor. This could help massively with editing speed by simply airdropping all proxy files from a shoot to an editor from an iPhone, before on-lining the edit with the original files for finalizing an edit.

On top of monitoring and recording, there is also a way to stream directly from the app. Hugely useful, of course – because this basically makes all cameras with an HDMI port live-streaming-capable. You will have to use stream keys for various platforms like YouTube and Facebook, so it’s not all automatic, but it’s simply great to have this option. That means one more function we don’t need a dedicated app or even an additional hardware device for.

Hardware

Let’s take a brief look at the hardware itself: The SeeMo device itself is tiny, it’s actually just a small box – which really makes me wonder if it can be put in a cable in the future. You can take it off the phone mounting bracket and also use it separately or put it elsewhere on your rig.

The box itself has no 1/4″-20 mounting point at the bottom or anywhere else, which means you’ll need to velcro it if you use it without the phone mounting bracket. Only the phone bracket itself has a 1/4″-20 mount at the bottom, with an additional shoe mount on top which allows for attaching a microphone, if you put this on top of your camera.

The build quality isn’t anything to write home about – it’s fully plastic, and I think people must take good care of the SeeMo to make this last for a long time. It does feel relatively solid, though, but I definitely wouldn’t want this to drop on the floor from a tripod level.

There is also a power-out option with 5 Volts, which is nice to have, but too low to power the camera itself. Unfortunately, the iPhone cannot be charged through the Lightning cable, which is a downside as you are draining your phone battery fast when using it as a monitor. I hope this is something that can be added with a firmware update, as I can see this being an issue, particularly when using older phones with a battery that isn’t great.

Phones vs. monitors

Talking about older iPhones – of course, the SeeMo not only turns a phone into a monitor – but it also turns a camera …into a phone! Joking aside, you should consider using a separate iPhone on the SeeMo if you want to seriously work with this as a monitor.

Because incoming calls or messages are very impractical and quite distracting when the iPhone is attached to the camera. A lot of people still have some older generation iPhones lying around that they can use with this device, and it might make more sense to do that. But of course, that’s up to you and depends heavily on how much you need your phone otherwise while you are shooting.

Conclusion

In my opinion, the Accsoon SeeMo is a great little invention and will definitely live in my gear bag for any future shoots, especially when I need to pack lightly. It’s priced at $179 – not a lot of money, but of course enough to buy you a super cheap knock-off monitor… which however will not have a screen as good as your phone at that price point, nor will it have any recording or streaming capabilities.

The SeeMo could be a great indicator of new, innovative things coming our way and I wouldn’t be surprised if we see this capability inside a simple cable at a point not too distant in the future.

Link: Accsoon website

What do you think? Would such a device find its way into your gear bag? Share your experiences in the comments below!

The AtomX CAST for the Ninja V and Ninja V+ is an interesting device – it’s a bit hard to compare to the competition, because it offers a lot of functions in one body that are usually spread out over various devices.

So excuse me if I am jumping between various functionality sets in this hands-on CAST review, there simply is quite a bit of functionality to cover – I am just skipping all the Ninja V & V+ camera recorder capabilities which we’re all familiar of already.

What exactly is the Atomos AtomX CAST?

First of all it’s a switcher for up to four video sources via HDMI, but it also has live streaming capabilities directly out of the box. And of course because it works with the Ninja V and V+, it’s also a monitor with a 1080p screen with recording capability in ProRes and DNX codecs.

Plus apart from that of course, if you purchase the Ninja CAST package that includes both the AtomX Cast and the Ninja V, you are also getting a very powerful external recorder and monitor for your cameras for whenever you don’t need to use the switching functionality.

And since a recent firmware upgrade the Ninjas can even record ProRes RAW from the Sony FS5 and FS7 – a very nice update for some legacy cameras!

Hardware: AtomX CAST construction as a dock

Let’s start our CAST review by taking a look at the hardware first. The AtomX CAST is a docking station for the Ninja V and V+. The way it’s constructed is very smart because the Ninja just docks into the CAST and is attached with a thumbscrew on top.

There is also a quarter inch thread at the bottom of the CAST that allows you to attach the entire unit to a light stand, for example, when you are switching on set and don’t have a table. If you do have a table, the sticky feet at the bottom of the device ensure that it stays rock steady on flat surfaces. 

Inputs & outputs, switches, built-in fan

There are 4 full-size HDMI inputs, each supporting up to 1080p or 1080i, there is one HDMI Program out, also with up to Full HD resolution, and there’s a USB-C “CAST Out” with the same resolution. 

The CAST has no separate on/off switch as it only turns on when attached to a Ninja V or V+, and the CAST has to be set as the source on the recorder. 

The unit does have a built-in fan that seems to be always on – but it is quiet enough that this shouldn’t be an issue even during recording. 

AtomX CAST interface & buttons

Next up is of course the interface – as you can see, there are 4 prominent buttons on the CAST for switching, plus another 4 f-buttons. On the bottom of the screen of the Ninja you have an explanation of what the F1 trough F4 buttons on the CAST actually do. 

If F1 is active, the hardware buttons 1-4 let you select which input is the picture-in-picture, and if F4 is active, the 1-4 buttons let you switch between the camera inputs. F2 switches audio source, and F3 the overlays. 

For me, this is the biggest challenge when working with the CAST – it takes some getting used to the multiple functions of the big buttons, depending on which F button is active. And of course, errors can happen. On competing products like a Blackmagic ATEM Mini, you have dedicated buttons for everything, but on the other hand, you are missing the built-in monitor and recording capability despite a higher cost for the device.

Arguably, Atomos comes more from the camera operator side of things while Blackmagic has a “broadcast hat” on, but still – the functionality overlaps. 

Multi-switching in action with the AtomX CAST

What’s nice on the CAST with the double functionality on the buttons is that there is a preview program mode instead of just using a direct cut: when you use this, the first tap on a button switches it to green, you will see a preview of your intended switch, overlay or effect, but only a second tap on the button will turn it red and it will be applied and live. This will definitely help to prevent errors – which of course are particularly painful in live streaming scenarios where there’s no room for error. 

Having the built-in screen with the Ninja is very nice, however you can only either see the full screen program/preview, or the multiview interface. But you can connect two HDMI monitors using the program out connector on the AtomX CAST and the HDMI Output on the Ninja V. This lets you, for example, output the program or preview on an external monitor and display the multiview on the Ninja V. Or you can put the preview on one monitor, the program on a second monitor and still have the multiview on the Ninja V. 

When you are viewing the inputs on the Ninja through the preview or program view in the Switcher mode, you also have all the AtomOS standard features to expose, focus and check your camera footage.

What’s nice is that the USB-C port on the device is always available for webcam use and isn’t blocked when you want to record and stream simultaneously. On a Blackmagic ATEM Mini, you have to chose if you want to record to an SSD from that USB-C port, or output the webcam feed to a computer. Another plus for the AtomX CAST. 

Audio inputs and outputs, switching

What about audio? Well, there is an integrated headphone out with the Ninja V. For audio input, you can use the audio from the cameras through the HDMI inputs or use the Mic/Line input on the side of the ninja for external audio.

The audio menu gives you options to designate which audio source to use – either lock it to one HDMI input or the Mic/Line port, or simply have the audio follow the currently active camera input. If you do that, the audio will simply cut with the camera image. 

Picture-in-picture functionality

For picture-in-picture functionality, you have options to change the size, position, opacity and source of the window in a designated menu on the Ninja V. Atomos did not try to reinvent the wheel and we are happy about that. This functionality is basic but enough for what most of us will expect from picture-in-picture. 

Overlay graphics

When it comes to overlaying graphics, the CAST allows you to simply use 1080p PNG graphics with alpha channel to be overlaid on top of your video feed. You can save graphics from your computer to the SSD that goes into the Ninja and switch out the 8 internal slots of the Ninja on the fly. After programming all the slots, you can simply short press the overlay buttons 1-4 to preview your overlay and long-press to activate it on the program out (which is also your live stream feed).

You don’t need a computer and upstream- or downstream-keying in order to get this to work, like you have to on the ATEM switchers, which is really great. The ATEMs also don’t understand transparencies in PNGs, so that is really a huge plus of this Atomos device. Where the Ninja CAST falls short though, is the limitation to only working with still-images as overlays for now. We hope that this will be added in the future.

What features are we missing?

What else would we like to see in the future for the Atomos Ninja CAST?

At the moment, there is only black and white available as the dip-to-color transition. We would love to be able to choose custom colors for the transition. Also we would like to see more transitions than just having the dip-to-color and hard cut.

For now, the overlays are on an input-to-input basis, which means you have to program an overlay to an input and when switching to another input, the overlays disappear. This is specifically annoying when you want to have a global channel logo that is permanently on top of all inputs.

Another small feature we would like to see implemented in a future update would be the ability to dim the backlight of the hardware buttons on the AtomX CAST as they are a little bright in darker environments. Speaking about the hardware buttons – they are way softer and more silent when pressing compared to the buttons on ATEM switchers, which is great – we will have to see if they hold up as well over time as the ATEM buttons have.

Conclusion of the AtomX CAST review: powerful multi-purpose device with a great value proposition

All in all, getting the Ninja CAST package is a great value proposition compared to some other offerings on the market, and I think this will become the go-to switcher and streaming device for small camera teams who need this functionality from time to time, but are not full-time multicam teams. Giving the Ninja V and V+ more functionality than just being a recorder and monitor makes the CAST an easy buy recommendation from the CineD team. 

Shout out for this CAST review actually goes to Florian Milz from the CineD team – he’s the one who’s the multicam expert in the team and he did most of the testing with me.

Links: Atomos | MZed

What do you think about our Atomos AtomX CAST review? Is this the multiswitcher device you have been waiting for? Let us know in the comments below.

Traditionally, car shoots are notoriously hard – mounting cameras on cars is usually a complicated affair, and because of the weight of the cinema cameras involved, you need a bunch of support gear, staff, and of course permissions to actually drive the car anywhere.

Lighter cameras and gimbals of course can make that easier, and Tilta took up the challenge: Their Hydra Alien Car Mounting System is made for the quite brilliant DJI RS-2 gimbal, which is perfect for mirrorless cameras. The RS2 does have quite strong motors though, which means you can mount heavier cameras and lenses on it too, as long as you can balance it.

Tilta Hydra Alien

Smaller gimbal and smaller camera mean: you guessed it, a smaller support system. The Tilta Hydra Alien Car Mounting System comes in a suitcase and has everything you need: suction cups, a spring arm, different dovetail support plates, V-mount plates, and much more.

It’s also more affordable than other systems, so we tried it out on a quick shoot. What stands out is the Hydra Alien Car Mounting System’s versatility: there are 8 different ways to attach it to your car to achieve different types of shots. You can place it on the hood, you can mount it at the back of the car, on either side, on the doors, and so on.

For our purposes, we tried mounting it on the hood to film the driver first. Putting the rig up on the hood was effortless. We were pleasantly surprised at how tight the suction cups were holding the Hydra Alien rig in place. Just make sure to always use ratchet straps to secure any build-up on a car in case any of the suction cups go loose.

I was sitting in the car operating the RS2 remotely with the Raveneye Image Transmission and Tilta’s remote control kit for the RS2. Now while that isn’t the rig’s problem, I found it of limited use to have a gimbal on the rig while filming a person inside the car. It’s counter-productive when you take a turn with the car because the gimbal will try to follow the movement and thereby lose the center of attention.

With or without a gimbal attached

Even when tracking the person, I didn’t get it to work right. In my opinion, not using a gimbal here would have been better since vibrations would be dampened enough by the car’s suspension. Again, that is not the rig’s problem at all as it performed flawlessly, I would simply mount the camera directly to the rig next time.
With the hood-mounted rig, I also found the camera position to be quite high up with the RS2 gimbal below it, so removing the gimbal would also put the camera more at eye level with the driver.

In my opinion, the Tilta Hydra Alien Car Mounting System really shines in any car-to-car shoots. We mounted it to the front and the back of the car to film another car, which worked flawlessly. It was super fast to assemble and held perfectly without any issues, we just added ratchet straps for peace of mind. We were able to get some very nice shots.

Go by the book

While you do need some basic technical knowledge to choose the right points for the suction cups for attaching the rig, it’s easy and fast to set up if you follow the manual – and you really should follow the manual! After every drive, make sure to tighten all the bolts and test the vacuum in all the suction cups, to make sure that they didn’t get loose over time.

So in conclusion, for a price of $1300, you get a compact car mounting rig that is versatile, works safely, and is fast to set up. You should definitely have the RavenEye Transmission System for your DJI RS2 gimbal and also get Tilta’s Remote Control Kit for the RS2 so you can see the image remotely to pan and tilt the gimbal while shooting. Tilta did a great job on this system, which was also enhanced after initial customer feedback, and you can tell they really took it seriously and did their homework.

A big thank you to our friends from AV Pro who ran this test with me! AV-Pro is a great cinema rental here in Vienna, Austria, and their entire team is highly professional and knowledgeable about all things cinema.

Link: Tilta

Do you have any experience with car-to-car filming or any other application for such a car mount? Share your thoughts about the Tilta Hydra Alien System in the comments below!