SmallRig has been releasing new products that cover a wide variety of production solutions. They introduced two collaborations with popular filmmakers, including Potato Jet (Gene Nagata) on a new tripod, and Brandon Li on a special, multi-use camera cage and case for the iPhone 16 Pro / Pro Max. Additionally, they released a heavy-duty fluid head tripod with a payload of up to 13.2 lbs (6 kg).

SmallRig Rotating Side Handle with Trigger REC – features

If you’re using select Blackmagic Design BMPCC series, Canon EOS, and Sony mirrorless cameras regularly, particularly handheld and without a camera cage, you may want to take a look at the new SmallRig Rotating Side Handle. It’s been ergonomically designed to comfortably and securely fit in your hand and will help reduce fatigue when shooting for extended periods.

One of the main features is the record button at the top, allowing for easy start and stop of recording while filming. The REC function works with select cameras that include Canon EOS and Blackmagic Design BMPCC series. Plus the Sony Alpha 1 / Alpha 7 / Alpha 9 series, and the FX3 and FX30.

It also recharges quickly via USB-C, although certain models, including the Canon EOS and BMPCC cameras, require an NP-F550 / F570 to power.

The full list of features include:

• Ergonomically designed secure grip for smooth filming, reducing hand fatigue with 360° rotation.
• Easily start and stop recording from the SmallRig Rotating Side Handle with the REC button. Includes a control cable for the camera.
• One-click stepless rotation makes it easy to adjust the Side Handle to fit your shooting needs.
• Cold shoe mount, 1/4”-20 thread holes, and a wrist strap slot. You can add a variety of accessories to the Rotating Side Handle.
• Adjustable NATO clamp with a width range of 16mm to 20mm (0.6” to 0.8”).
• USB-C power output supporting PD (power delivery). The charging is fast, so you’ll be able to get back to filming.
• For Canon EOS and Blackmagic Design BMPCC cameras, an NP-F550 / F570 battery is required to use the REC function. Note: The Canon EOS R5C and BMPCC 6K Pro are incompatible with powering.

Price and availability 

The Canon EOS and Blackmagic BMPCC series version of the SmallRig Rotating Side Handle with Trigger REC retails for $134.99 (NP-F550 / F570 batteries sold separately). The version for selected Sony mirrorless cameras costs $129.99. Get more information on the Blackmagic and Canon versions here, and the Sony version here.

Are you using any SmallRig products? What are your thoughts on the new Rotating Side Handle with Trigger REC? Let us know in the comments below!

AltCineCam (Alternative Cinema Camera) is the brainchild of creative partners Cole and Simon. Their respective backgrounds in technology, custom electronics, 3D printing, and glass design led them to form the company to modify ‘off-the-shelf’ cameras into cinema powerhouses.

AltCine Eclipse – a modified Blackmagic Micro Cinema Camera

The Eclipse is a modified Blackmagic Micro Cinema Camera transformed into a box-style camera. It is about the size of a RED KOMODO, 120mm wide (4.7in), 105mm tall (4.1in), and 130mm (5.1in) long. The top of the Eclipse features six chrome custom buttons, including Record, plus function buttons, and the jog dial to customize the screen (false color, focus peaking, etc.).

They customized their own OLPF moire filter and worked with PixelCNC to create carbon fiber panels for the camera. However, there is no word on specific lens mounting options.

Full features include:

• Modified Blackmagic Micro Cinema Camera.
• Super 16 Fairchild sensor (1080p).
• Custom AltCine low pass filter.
• Carbon fiber, cube-style body construction. Removable side panels and vents.
• 4.3-inch display, 1000 nits, at the top (controlled by function buttons and job dial).
• Six chrome buttons including record at the top of the camera. Additional Record button on the right side, tally light on the left.
• Pogo pins on top to power proprietary accessories.
• Built-in ARRI Rosette.
• Multiple industry-standard mounting points.
• SD card slot.
• Full-sized HDMI out.
• 2x SDI out.
• Full-sized XLR in.
• 3.5mm microphone jack.
• TRS microphone in.
• 3.5mm headphone jack.
• SMA with 90 degree angled adapter, an antennae for REC remote receiver, and SMA Trough.
• Additional I/O ports: 12V DC in, REF in, S.BUS, Analog servo Ch.1, LANC, and USB-C 5V out.

Another Blackmagic Cinema Camera mod

Another company modifying Blackmagic Cinema Cameras is Nexus, who just announced that their G1 has reached the final design. It is a box camera made of magnesium alloy and carbon fiber and uses the Blackmagic Design 6K Super 35 RAW imaging system.

The working prototype has many interesting features, including a 0.71x speed booster to transform it into a full-frame camera. Plus, built-in LWS spaced 15mm rig rod mount system that slides in and out of the body itself. You can learn more about the Nexus G1 here.

Blackmagic does have its own box-style cinema camera, the PYXIS 6K, announced earlier in 2024. It has many of the features found in the mods and can accept multiple accessories. It starts at $2,995 with Canon EF, PL, and L mount options.

Price and availability 

AltCine plans to unveil an ARRI mod and their CinePi camera, an affordable 16-bit RAW 4K camera. The AltCine Eclipse doesn’t yet have a price, but the company should have more details soon. You can view footage in the video above and learn more about the Eclipse on their website.

What do you think about this new modification? Let us know in the comments!

Gunther also shares fascinating insights gained from conducting various lab tests in 2024. Also revealing some techniques manufacturers use to enhance dynamic range in their cameras. Plus, he offers an exciting glimpse into the potential advancements in camera sensor technology we might see by 2025.

All the results of the CineD Lab Tests of course end up in the CineD Camera Database, so you can compare all the cameras.

So, grab some popcorn and stay tuned until the end for an extensive, insightful and entertaining discussion!

Apple Podcasts Spotify Amazon Music PlayerFM iHeart Radio YouTube

Sponsor: This episode is sponsored by FUJIFILM. Check it out at 38:58

Chapters & articles mentioned in this episode:

00:00 – Introduction and the Vision behind the CineD Camera Lab Tests

40:10 -Blackmagic Cinema Camera 6K Lab Test: Rolling Shutter, Dynamic Range, and Latitude

https://www.cined.com/blackmagic-cinema-camera-6k-lab-test-rolling-shutter-dynamic-range-and-latitude/

43:11 – FUJIFILM GFX100 II Lab Test – Rolling Shutter, Dynamic Range, and Latitude

https://www.cined.com/fujifilm-gfx100-ii-lab-test-rolling-shutter-dynamic-range-and-latitude/

53:00 – Sony Alpha 9 III Lab Test – Dynamic Range and Latitude

https://www.cined.com/sony-alpha-9-iii-lab-test-dynamic-range-and-latitude/

59:40 – RED V-RAPTOR [X] 8K VV Lab Test – Dynamic Range and Exposure Latitude

https://www.cined.com/red-v-raptor-x-8k-vv-lab-test-dynamic-range-and-exposure-latitude/

01:02:18 – Sony BURANO 8K Lab Test: Rolling Shutter, Dynamic Range, and Exposure Latitude

https://www.cined.com/sony-burano-8k-lab-test-rolling-shutter-dynamic-range-and-exposure-latitude/

01:08:20 – Panasonic LUMIX GH7 Lab Test – Rolling Shutter, Dynamic Range and Latitude

https://www.cined.com/panasonic-lumix-gh7-lab-test-rolling-shutter-dynamic-range-and-latitude/

01:13:53 -Blackmagic URSA Cine 12K LF Lab Test: Rolling Shutter, Dynamic Range, and Exposure Latitude

https://www.cined.com/blackmagic-ursa-cine-12k-lf-lab-test-rolling-shutter-dynamic-range-and-exposure-latitude/

01:21:50 – Outlook of 2025 in terms of Sensor technology

What do you think about the CineD Camera Lab Tests? Let us know!

We hope you enjoyed this episode!
You have feedback, comments, or suggestions? Write us at podcast@cined.com.

Instagram introduced Reels in August 2020, and TikTok has been a major player in the short-form content industry since 2018. More recently, YouTube also joined the game with YouTube Shorts in 2021.

Many filmmakers like me have been creating “traditional” 16:9 videos for decades. Then, vertical 9:16 videos started to appear, and at first, many of us didn’t believe they would be here to stay. However, whether we like it or not, especially as filmmakers, vertical videos are here to stay. To throw a bit of statistics in here:

• 82% of internet users prefer watching video content on their phones in a vertical orientation (source: Wibbitz)
• Instagram Stories and Reels report up to 80% higher engagement when using vertical video. (Source: SocialMediaToday)
• TikTok is one of the most downloaded apps worldwide, and YouTube Shorts make over 70 billion views daily (source: Google Blog)

You got it—vertical videos won’t be going anywhere anytime soon, and as professionals, we have to adapt. However, this new format also creates new challenges.

Creating vertical videos

There are two ways of creating vertical videos. The first method is to crop in a regular 4K/16:9 video to create a 9:16 version. I’m not a big fan of doing that, and I’ll only resort to it if I absolutely have to shoot in both 16:9 and 9:16 formats simultaneously—because it compromises quality and makes framing a real hassle. Indeed, even with static tripod shots, trying to frame two outputs for different aspect ratios simultaneously often results in suboptimal compositions for both formats. Let alone if you’re shooting handheld or on a gimbal, it makes framing your shots even more complicated.

The second way of shooting vertical videos is to flip your camera 90°. This is my favorite approach when delivering exclusively for social media. Indeed, in my opinion, it makes framing shots easier, as “what you see is what you get.” You also benefit from the increase in resolution/sharpness even if you (and it’s recommended) upload Reels in 1080P.

However, one of the main issues many of us face when shooting vertically is that mirrorless and cinema cameras aren’t inherently designed for it straight out of the box.

Rigging cameras to shoot vertically

Over the years, many third-party camera accessories have developed solutions for turning cameras sideways and shooting vertically. For example, we can mention the RigWheels 90-degree vertical camera mount, the foldable Arca baseplate from Tilta, or the Bright Tangerine Portrait plate, to list a few. Also, many camera cages have mounting points on the left and/or right sides, which allow you to mount quick-release plates to them.

More recently, some camera manufacturers have started recognizing that content creators need and actively request the ability to shoot vertically for social media. As such, Canon, for example, started incorporating an extra 1/4″-20 mounting point on the left side of its Canon EOS C70 and EOS C80 cinema cameras. Furthermore, some mirrorless and cinema cameras can rotate their UI when shooting vertically.

While extra mounting points and UI improvements are great additions, one major issue is that all the camera’s input and output ports and the control buttons are usually located on the left side. This means that when shooting vertically, you typically end up with a 2010-style Frankenrig that looks like a child from the early Canon EOS 5D Mark II ages. Yes, we’re back at fighting with our cameras to get the job done, where the words “ergonomy” and “usability” have left the chat.

I’ve tried dozens of different vertical camera rigging options, switching components on each side, but I still haven’t figured out an ergonomic solution. Adding wireless microphone receivers, an on-camera monitor, a wireless video transmitter, and top/side handles to a vertical camera rig makes operating it handheld or on a gimbal even more complex. Also, since most cameras nowadays have built-in flip-out displays, there is a massive point of failure and a protuberance out of your camera. It hasn’t happened to me (yet), but I can easily imagine displays being knocked out in harsh shooting conditions. Lastly, using an EVF is nearly impossible.

Vertical shooting – will we see an evolution?

So, what evolution would make our lives easier when shooting vertical content? One of the most obvious solutions would be to release cameras with vertical image sensors. Having cameras with vertical image sensors can sound like a funky and crazy idea, but it would allow us to return to cameras that have a “regular” shape and ergonomy.

If we push that idea a step further, the ability to rotate the entire image sensor—much like recent DJI drones—when shooting vertically would make perfect sense.

Would there be a demand for this type of camera from users? If a camera model offered the option to rotate the image sensor on the fly—even at an additional cost—I wouldn’t hesitate to pay for it.

On the other hand, I don’t see how third-party camera accessory manufacturers can solve all the issues I previously mentioned. Indeed, as good as the solutions are, it doesn’t change the fact that the cameras are not meant or designed for shooting vertical content out of the box.

Do you often shoot vertical content for social media? Have you found a setup or rigging solution that works for you? What do you think about cameras with vertical image sensors? Don’t hesitate to let us know in the comments down below!

XELMUS’s first 2x anamorphic lens series, called APOLLO, debuted back in 2019 and quickly gained recognition for its distinctive, cinematic look reminiscent of classic Panavision glass. Earlier this year, the APOLLO series was expanded to include a 24mm T2 and a 180mm T2.8 – for a total of 9 available focal lengths. Almost all of these cover full-frame or large-format sensors, except for the 24mm and 32mm, which are limited to Super 35mm coverage.

Now, XELMUS is setting out on a new quest with AURA, an upcoming series of 2x anamorphic lenses designed specifically for the Super 35 format. The lenses made their first public debut at EnergaCAMERIMAGE 2024 in November, but the company has only recently unveiled further details. Let’s take a quick look!

XELMUS AURA 2x anamorphic S35 series – overview

The upcoming XELMUS AURA anamorphic series will consist of 8 focal lengths divided into two sets:

• Set A: 30mm T2.2 / 50mm T2.2 / 75mm T2.2 / 135mm T2.5
• Set B: 20mm T2.2 / 40mm T2.2 / 60mm T2.2 Macro (Close focus: 9.8in/25cm) / 100mm T2.2

According to the manufacturer, the AURA lenses inherit the same anti-mump focusing system as the APOLLO lenses but take it one step further by implementing more precise mechanics.

While there isn’t any sample footage available for the AURA lenses yet, XELMUS describes their look as “modern and contrasty with beautiful waterfall bokeh, low barrel distortion, very muted white-blue flares, retro-inspired veiling glare, and controlled focus breathing.”

Price and availability

According to XELMUS, the AURA lenses will only be available to purchase as a set. Set A should start shipping on July 1st, 2025, while the company should begin taking pre-orders for Set B by the end of 2025.

There is currently no official pricing information. For reference, a set of 3 APOLLO lenses costs about $48,000.

For more information on XELMUS anamorphic lenses, please visit their website here.

Have you ever shot on XELMUS APOLLO anamorphic lenses? How do you like their look? What do you expect to be different for the upcoming AURA series? Let us know your thoughts in the comments below!

After a considerable decline in popularity over the last few years, 2024 could be the year of sliders’ return. Indeed, iFootage announced its Shark Slider Nano 2 during IBC 2024, and we recently reviewed the Trexo Converta. As someone who loves to use sliders for corporate and interview shoots, I’m glad manufacturers keep innovating in that area.

After releasing the Micro3 series in July 2022 and the AXIS series in August 2023, ZEAPON is back with the latest iteration of their sliders: the Micro4 series.

ZEAPON Micro4 Series – features

Let’s start with one of the standout features of the Micro4 sliders: its double-distance sliding mechanism. This innovative design allows the slider to offer twice the range of movement compared to its physical length, which can be very handy for filmmakers working in tight or confined spaces.

Six different versions of the Micro4 are available: the M500/M700/M1000, which are manual sliders, and the E500/E700/E1000, which are motorized sliders.

The main differences between the models are their length, travel distance, and weight. However, all slider models have a maximum payload of 12kg/26.4 lbs horizontally and 4.5kg/9.92 lbs in any other orientation. So, what’s new with this new fourth series compared to its predecessor?

What’s new?

The track design didn’t change much, but ZEAPON improved the dampening mechanism for smoother results, which is helpful for the manual versions. Also, they added support wheels at both ends of the sliders to prevent the slider from sagging when you reach the end of the track.

Most of the changes and improvements of these new slider models are located in the motor, which has been completely redesigned from the ground up. Thanks to its new control buttons and touchscreen, the Micro4 doesn’t need a cellphone or app to be operated.

On the motor, you’ll now find a speed adjustment wheel and a normal/high-speed switch button. In terms of speeds, the range goes from 0.18mm/s at 1% speed in normal mode all the way up to 17.8cm/s at 100% in high-speed mode. Furthermore, ZEAPON claims the Micro4 series motor is “ultra quiet” and should not make audible noise in normal-speed mode.

Like its predecessor, the ZEAPON Micro4 can be powered by one Sony NP-F battery. However, you now have the option to power it externally via a power bank plugged into the motor’s USB-C power input. According to ZEAPON, a single small Sony NP-F550 battery can power the slider for up to 5.5 hours at normal speed and close to 3 hours at high speed.

Price and availability

The ZEAPON Micro4 series sliders are available for preorder now, ranging from €428,95 for the M500 to €572,95 for the M1000, while the motorized version starts at €736,95 for the E500 all the way up to €879,95 for the E1000.

For more information, please visit ZEAPON’s website here.

What do you think about these new ZEAPON sliders? Are sliders still part of your shooting kit? Have you ever used ZEAPON sliders? Don’t hesitate to let us know in the comments below!

At the beginning of September 2024, Canon announced the EOS C80. This compact camera features the same 6K BSI Full Frame image sensor as the Canon EOS C400, and it includes numerous Canon EOS C70 user feedback, including a new brighter built-in screen, the addition of a 12G-SDI output port, an improved autofocus system, a new triple base ISO, and so on. My colleague Johnnie did an entire review of the camera that you can watch here. The Canon EOS C80 was even elected as one of CineD’s cameras of the year.

As the camera starts to be delivered to content creators worldwide, more manufacturers are beginning to release their rigging solutions for it. Dutch manufacturer Vocas is joining the party by releasing a cage and top cheese plate for the Canon EOS C80.

Vocas cage for the Canon EOS C80

The Vocas cage for the Canon EOS C80 is a half cage entirely made of aluminum, which won’t add much weight to your camera package since it only weighs 250g/0.55 lbs. This cage attaches to your camera via five screws at the top and bottom, so it won’t twist or come loose. On the cage, you’ll find a plethora of 1/4″-20 Pin Lock and 3/8″-16 Pin Lock mounting points. Also, it has a cold shoe mount on the top’s right side.

At the top of the cage, you’ll find a 1/4″-20 mounting point with Canon’s anti-twist ridges, making it compatible with the stock top handle. Furthermore, the cage doesn’t obstruct the hot shoe at the back of the camera. Even if the Canon EOS C80 now has a built-in electronic level, Vocas included a built-in level at the back of the cage.

Even though the Canon EOS C80 now has a 12G-SDI output, it still has an HDMI output port. This Vocas cage has a right-angle HDMI adapter and clamp, so your camera’s HDMI connector stays safe and secure.

Vocas top cheese plate for the Canon EOS C80

If you want to keep your Canon EOS C80 more minimalistic but still benefit from extra mounting points, Vocas has a top cheese plate available. This plate secures your camera via two screws and gives you three 3/8″-16 Pin Lock and six 1/4″-20 Pin Lock mounting points, a cold shoe, and the same built-in level as the cage.

Price and availability

The Vocas cage for the Canon EOS C80 is available now for $320.27/€285.11, while the top cheese plate is €123.48. Of course, both products are compatible with other Vocas accessories, such as their top handles, baseplates, and RF to PL/LPL lens mount adapters.

For more information, please visit Vocas’ website here.

What do you think about these rigging options for the Canon EOS C80? Did you already receive your EOS C80? What is your go-to third-party accessory manufacturer? Don’t hesitate to let us know in the comments below!

The importance of using a high-quality cinema monitor while filming cannot be overstated. The image is larger and oftentimes superior to what’s on the camera viewfinder or small onboard monitor. Directors will watch a scene play out on a monitor, seeing what the final shot will look like, minus any color grading and effects. These monitors can range in price from several hundred dollars to thousands of dollars or more. They are a valuable production tool that can be used on any type of shoot.

CineMon features

CineMon v1.0 has many of the features needed in a cinema monitor. The app takes full advantage of Apple’s Metal APIs for maximum performance while keeping battery use to a minimum. It also supports plenty of UVC video hardware options, with even more pro options available on a Mac.

The developers have worked on bringing the tools and features found in a professional cinema monitor to the app and, in turn, an iPad or Mac. This allows cinematographers and shooters an affordable way to check focus, exposure, composition, etc. Plus, there is plenty of customization that can be done and can be saved to switch between configurations.

Connect a pro camera to an iPad or Mac with an HDMI or SDI cable (via USB adapter) and launch the CineMon app to start monitoring your shots. The developers say input from other devices will be supported soon, including Blackmagic’s UltraStudio devices and NDI.

Features include:

• Image-Based Spot Metering: This feature is CineMon’s own spot meter tool (patent pending) that shows precise scene luminance values relative to the middle gray under each movable probe. Customize middle gray level, show contrast ratio overlay, and the probe can help set the middle gray value. Supports log profiles from Blackmagic, RED, ARRI, FUJIFILM, Sony, Canon, Nikon, and Panasonic.
• Focus Assist: Customizable focus peaking and Edge Only mode help with fine-tuning the focus.
• Zebras: Two independent Zebra levels, customizable colors, and overlay highlights and shadows.
• Composition Guides: Grid overlay, center mark, safe area, and a Framing Guide with blanking bars.
• Scopes: Histogram, waveform, and vectorscope.
• LUTs: Import as many LUTs as you wish, with support of cube LUTs up to a 33 grid. Rename and organize the LUTs easily. 
• Image Adjustments: Exposure compensation, contrast, and saturation.
• Color Key Preview: Check the overall quality of green screen backdrops, plus do composites with custom backplates. Adjust exposure to match VFX and finesse the contrast ratios.
• Image Transforms: Flip/flop and de-squeeze anamorphic video, including custom de-squeeze aspect ratio.
• Customizable false color.
• Image Overlay.

There are similar apps to CineMon that turn an iPad or iPhone into a monitor, including Accsoon’s SeeMo Pro SDI, Orion HDMI Monitor app, the Jetset Cinema app, and others. CineMon seems to really bring the full cinema monitor experience to an iPad or Mac.

Price and availability 

CineMon is currently in beta but will soon be available on the App Store for iPad and Mac. You can learn more and sign up for the beta on their website.

What are your thoughts on using CineMon and an iPad or Mac as a cinema monitor? Are you using similar apps and setups? Let us know in the comments below!

The Blackmagic PYXIS 6K camera was unveiled at NAB 2024 and featured a box-style design and a full-frame 6K sensor (36 x 24mm, 6048 x 4032) with 13 stops of dynamic range. It supports filming in open gate 3:2, full height 6:5 anamorphic, and Super 35, plus 6K, DCI 4K, and HD. Supported mounts include Canon EF, L-Mount, or PL.

Blackmagic Camera 9.2 update – New features, enhancements, and improvements 

The Blackmagic Camera 9.2 update allows the new PYXIS 6K full-frame camera to be controlled remotely with the updated Blackmagic Camera app. It also adds support for the PYXIS Monitor with the Blackmagic PYXIS 6K camera, including touchscreen and menu controls.

The full list of features and improvements includes:

• The Blackmagic PYXIS 6K camera can be used with the PYXIS Monitor with full touchscreen support and menu controls.
• Control the Blackmagic PYXIS 6K camera remotely with the Blackmagic Camera app. Using the app on an iPhone or iPad to control the PYXIS 6K’s  focus, white balance, frame rate, shutter angle and more. Start and stop recording, as well. This is great for multi-camera shoots. 
• Adds lens correction data for L-Mount lenses to Blackmagic RAW files recorded on the PYXIS 6K camera. 
• Improved battery life for the PYXIS 6K.
• Enhanced iPhone 15 Pro and iPhone 16 Pro tethering compatibility.
• When the Blackmagic PYXIS 6K’s lock switch is turned on, the built-in touchscreen is locked, but not the buttons below. That support extends to external monitors like the PYXIS monitor.
• Improves the gyro accuracy on the Blackmagic 4K G2. This helps with shot stabilization in DaVinci Resolve.

It wasn’t long ago that Blackmagic Design released the Blackmagic Camera 9.1.2 update. It added support for the PYXIS Monitor with the Blackmagic URSA Cine 12K LF along with other third-party display port USB-C monitors. Get the details of that release here.

Price and availability 

The Blackmagic 9.2 update is available now as a free download. If you own the Blackmagic PYXIS 6K camera, it’s definitely a great update. The camera’s remote control ability while using the Blackmagic Camera app for iOS is a must-have feature. Plus, full touchscreen support of the PYXIS Monitor or a third-party external monitor from the camera is another great feature. Learn more and download here.

Meanwhile, the Blackmagic PYXIS 6K full-frame camera is now shipping and starts at $2,995 (Canon EF, L-Mount, and PL), and the PYXIS Monitor is available for pre-order at $295.

Have you had a chance to shoot with the Blackmagic PYXIS 6K full-frame camera? What are your thoughts on the Blackmagic Camera 9.2 update? Let us know in the comments below!

It was a pretty big year for Tilta, which saw the release of products across multiple categories. Tripods, camera cages, matte boxes, batteries, the Tilta Hydra Alien Pro and Mini Stabilizing System, and more. The company has plenty of solutions ready for just about any aspect of production. 

Tilta offers up to 50% off, a 15% discount on most items, and more

A wide variety of products from Tilta are on sale, and the discount depends on the item. The company is offering 15% off most items and 10% off new products, and you can find discounts of up to 50%. This is a great way to add essentials to your overall production kit.

Here is a small sampling of Tilta products that are on sale:

• Hydra Alien Pro Mounting System (Gold Mount): Save up to $999 on Tilta’s new car mount that ensures smooth vehicle shots.
• The Khronos iPhone Kit is ideal for smartphone filmmakers using Apple’s pro versions of their flagship device (including Max). Kits include Ultimate, Advanced, Basic, and Lightweight, with discounts ranging from 32% to 33%. At the time of writing, the iPhone 15 Pro and 15 Pro Max are supported.
• Both the Nucleus Nano II and Nucleus-M Wireless Lens Control Systems are on sale with a discount of 15%. Both are perfect for wirelessly controlling the focus, iris, and zoom of a variety of lenses.
• Tilta Lightweight Shoulder Rig (15% off) provides a durable and lightweight shoulder rig for many cinema cameras, along with others, including the DJI Ronin 4D. It features a MANFROTTO ARCA quick-release base plate, adjustable arms, and Better Balance with a rear 15mm rod mount and NATO rail counterweights. 
• Plus, a variety of tripods, matte boxes, battery base plates, and more. If you have an idea of what you want, search around the sale page. 

Sale ends on the 3rd of January

The sale ends on 3 January 2024, so check out all the offerings on Tilta’s website (Pretty much everything is on sale)

Will you be taking advantage of the Tilta end-of-year sale? What products are you most interested in? Are you currently using any of Tilta’s products? Let us know in the comments below!