Three years after introducing the Wireless GO II, Australian audio specialist RØDE is back with its successor: the Wireless GO (Gen 3). However, in the meantime, the company launched the Wireless Micro and Wireless PRO variations of their compact wireless microphone systems. As more and more manufacturers enter the wireless audio market, RØDE had to step up their game by including many features of the PRO version in this third generation, but will it be enough?

RØDE Wireless GO (Gen 3) – features

The Wireless GO (Gen 3) is a compact and lightweight dual-channel wireless microphone system that measures only 46.5 x 44 x 20mm/1.83 x 1.69 x 0.78in – the dimensions are identical for both transmitters and the receiver – and ticks the scale at 35g/1.23oz for the transmitters, and 36g/1.27oz for the receiver.

Similarly to its predecessor, this third generation consists of two transmitters and one receiver. You can choose to capture two separate audio channels with the receiver or combine both channels into one stereo option for seamless recording on downstream cameras or recorders.

For the first time, you can get the Wireless GO (Gen 3) in no less than 14 colors, including black, white, and gray, but also funky colors like pink, cobalt, orange, or purple.

RØDE Wireless Go (Gen 3) – what’s new?

From the outside, the RØDE Wireless GO (Gen 3) doesn’t look vastly different than its predecessor. However, you’ll probably notice that the microphone input on both transmitters has been upgraded to a 3.5mm TRS locking connector, which is handy and way more professional when plugging in a Lavalier microphone.

Also, the receiver’s 3.5mm audio output can now be used as headphone output, which allows you to monitor your sound if your camera doesn’t have a headphone output. Furthermore, the screen at the top of the receiver is, according to RØDE, brighter and easier to read.

Indeed, most of the changes and improvements are located inside the units. First of all, the transmitters’ omnidirectional built-in microphones have been upgraded with new capsules and preamps. These built-in microphones are the same as those in the Wireless PRO.

Next, while the Wireless GO (Gen 3) still uses the same 2.4GHz wireless transmission “Series IV” technology as the Wireless GO II, the transmission range has been increased from 200m/656ft to 260m/850ft. Also, it is compatible with all RØDE Series IV devices, including RØDECaster Pro II and RØDECaster Duo, RØDECaster Video, Wireless PRO, and Interview PRO.

The most considerable improvement is probably the addition of 32-bit float on-board recording directly within the transmitters, with a 40-hour capacity. Also, RØDE included the Intelligent GainAssist technology, which automatically adjusts the audio output gain so your camera’s audio doesn’t clip.

You can engage a safety channel at -12 dB for even more safety and peace of mind. This means that your left audio channel will be at your set audio level, while the right one will be 12dB lower, ensuring that your camera’s audio never clips.

You can connect the Wireless GO (Gen 3) to the RØDE Central app (mobile or desktop) for easy configuration and setup. Lastly, the transmitter and receivers all feature a USB Type-C port to charge them, offload on-board recordings, or use it as an audio interface, with a maximum battery life of 7 hours.

Pricing and availability

The RØDE Wireless GO (Gen 3) is available now for $299/€281.91, and it comes with a carrying pouch, a charging hub, furry windshields, and USB-C/Lightning/TRS cables. A separate Charge Case+ is available for $89/€89.61.

If we compare the Wireless GO (Gen 3) to the RØDE Wireless PRO, which retails for $362, I’m a bit confused with this new offering. The PRO model has the same features, though with the added benefit of Timecode capabilities, and it comes with a charging case and two Lavalier mics for less than the Wireless GO (Gen 3) with the Charge Case+.

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

What do you think about this new wireless microphone system? Have you already used any of the RØDE Wireless systems? Don’t hesitate to let us know in the comments below!

There are a variety of tools from Tilta that include stabilization systems, matte boxes, lens control systems, tripods, and more. The company recently unveiled camera cages for the Canon C400 and Blackmagic PYXIS 6K, along with the introduction of the Hydra Alien Mini Stabilizing System for vehicles.

Meanwhile, the Sony ZV-E10 II compact mirrorless camera was introduced in August 2024. It comes with a 26MP APS-C sensor and can film in 4K 4:2:2 10-bit All-Intra up to 60p, along with other features. It’s priced at only $998 (the kit with the 16-50mm zoom lens retails for $1,098), making it an affordable option for production, Vloggers, and others. 

Features

The Tilta Full Camera Cage for the Sony ZV-E10 II not only provides stability while filming with the silicone handgrip but there are multiple mounting points for accessories. A light, microphone, small monitor, and other accessories can be added. When an accessory isn’t needed, all mounting plates can be removed, helping to lighten up the Camera Cage.

Additionally, the customized aluminum construction is lightweight and durable, offering extra protection for the ZV-E10 II. Camera ports are left open, and Tilta includes a handy multi-functional magnetic screwdriver that can be attached to the bottom of the cage.

Features include:

• Modular full cage with lightweight and durable aluminum construction.
• ARCA-Type/Ronin-S Base.
• Cold shoe mount at the top.
• NATO Rail side mounting plate.
• Right and Left Side Security Attachments.
• Built-in silicone handgrip.
• 1/4”-20 anti-twist threads, shoe mount.
• The bottom plate also includes a 3/8″-16 thread.
• Removable mounting plates.
• Multi-functional magnetic screwdriver (attaches to the bottom of the cage).
• Optional cooling system mount.
• Camera ports are left open and accessible.
• 5.4 x 2.6 x 4 inches (138.1 x 65.1 x 100.7 mm).
• Weighs only 0.38 lbs. (173.5 g).

Price and availability 

The Tilta Full Camera Cage for Sony ZV-E10 II is affordable at $49. This camera cage is perfect for those filming with the Sony ZV-E10 II, allowing for more stable handheld shooting. Additionally, there are plenty of removable mounting options to add a variety of accessories. Tilta suggests adding the Khronos Adjustable Handle, which costs only $39.

Learn more about the Camera Cage at Tilta’s website.

Are you currently using the Sony ZV-E10 II for your productions or the previous model? Will you be adding the camera cage as an accessory? Let us know in the comments below!

There is a wide variety of production tools and products from SmallRig, which is based in China. Their offerings include not only matte boxes, tripods, camera cages, and phone rigs but also lighting solutions, microphones, lens control systems, and much more.

SmallRig AD-01S Heavy-Duty Fluid Head Tripod Kit – features

The SmallRig AD-01S is the successor of the AD-01, which debuted nearly three years ago. Highlights include durable yet lightweight aluminum construction, 360° panning and +90/-70° tilting, and a brand new snap-on quick-release plate mount that is compatible with DJI RS Series and 501PL plates. It weighs just 9 pounds (4.1 kg) and folds down to 35 inches (89 cm), making it easy to carry.

With a maximum payload of just over 13 pounds (6 kgs), there are plenty of cameras that can be used with the SmallRig AD-01S. Cinema cameras like those from Blackmagic, along with mirrorless and DSLRs, can be mounted without a problem. SmallRig includes a smartphone mount, so you’ll be able to use an iPhone or other smartphone for mobile filmmaking.

Full features include:

• Smooth pan (360°) and tilt (+90/-70°) with a step-less adjustable tilt damping system and a fixed counterbalance system.
• Lightweight and durable aluminum with fluid head.
• Newly designed snap-on quick-release plate mount with 1/4″-20 and 3/8″-16 camera mounting screws.
• Compatible with DJI RS Series and 501PL plates.
• Working height of 33.9 to 73.2 inches (84 to 187 cm).
• Anti-dislodgment foot-spiked design.
• Maximum head load capacity of 13.2 lbs (6 kg).
• Maximum tripod load capacity of 33.07 lbs (15 kg).
• Tilt Damping Adjustment Knob and Tilt Locking Knob.
• 1/4″-20 threads.
• Smartphone mount.
• 75mm half-ball base.
• Rosettes to mount a pan bar (right- or left-hand use).
• Weighs only 9 lbs (4.1 kg).
• Folds down to 35 in (89 cm).
• Carrying bag. 

Price and availability 

The SmallRig AD-01S Heavy-Duty Fluid Head Tripod Kit is available now and costs $179. It builds upon the success of the AD-01 from 2022 while still keeping it affordably priced. The durable and lightweight aluminum construction also makes it easy to transport. Learn more at SmallRig’s AD-01S page.

What do you think of SmallRig’s new tripod kit? Do you own the previous version, the successful AD-01? Let us know in the comments below!

The great thing about overhead shots is that they can be used in a huge array of scenarios where various impacts are wished for. No, they are not just a comprehensive establisher perspective. Neither are they merely a fancy trick or eye candy. Below, we will show exactly how they work on an emotional level, as well as how they affect our unconscious perception. So, fly along and try to observe everything from above, just like an overhead shot does.

What is an overhead shot?

The answer lies in the name of this camera perspective (or rather, names in the plural, as we have already mentioned several variants above). To be absolutely clear, though, let’s settle on a common definition. In the MZed course “Fundamentals of Directing,” seasoned director and educator from the International Film Institute of NY, Kyle Wilamowski, offers the following:

A bird’s eye view is a shot in which the camera is directly above the subject, looking straight down on it, as if it were from the viewpoint of a bird.

Imagine a classic high angle where the camera is above the eye line of a character. Now, take the camera higher, place it above their head, and turn around until it reaches 90 degrees, pointing towards the floor. Here’s your overhead shot.

While the advancement of drones offered a new (and much simpler) way to frame a top-down, a lot of filmmakers still rely on traditional equipment. Shooting an overhead means a lot of rigging and creative challenges, from safety precautions and scheduling matters to location limitations. Also, a bird’s eye view is a peculiar perspective for the audience, which may often lead to a strong reaction. Thus, if you decide to frame a top-angle shot, you need to know why it is necessary for the story. Why, indeed?

Overhead shots for complex movements

The first and most straightforward reason for using an overhead shot might be to orient the viewers in space and complex action. This approach reminds us of the third-person perspective, familiar to us from video games. It crafts some emotional distance to what’s happening on screen and, at the same time, allows us to follow the meticulous choreography and not miss a beat. As an example, here is an already famous shotgun fight from “John Wick: Chapter 4,” that came out in 2023:

With one long take, overhead perspective, and smooth camera movements, this scene is almost woven from the video game aesthetic, right? That didn’t happen by chance. The whole world of the thriller franchise about a legendary hitman has this look and feel, so it’s no wonder it inspired successful games as well.

Of course, it’s not the only instance of using this tool as a stylization element, especially in fights. If you need a more “legendary” example, there’s always Quentin Tarantino’s “Kill Bill.”

Dreams and altered states of mind

As we already discussed above, overhead perspective doesn’t really feel natural to us humans. We just don’t experience it often enough in real life unless it’s a dream world or an altered state of mind, where every weird angle suddenly becomes possible. Have you guessed what iconic movie scene is a perfect example here? This one from “American Beauty,” naturally.

The protagonist, Lester, portrayed by Kevin Spacey, goes through a midlife crisis and has sexual fantasies about his teenage daughter’s best friend. He lies in bed and stares at the ceiling, but we see this young cheerleader from his dreams instead of the ceiling. She is forbidden fruit to him, but who can discover what happens in his head? The audience can. Both overhead shots here suggest that we’re inside his imagination. Apart from that, they are a truly elegant visual tool that shows how people dream. When we are close to falling asleep, we see vivid images in front of us, don’t we?

Another example of implying a dreamy sequence is from the movie “Requiem for a Dream.” Here, though, the reason for the top-angle shot is different: It reflects the characters’s drugged state of mind:

It could have been a classic romantic scene with an expression of love and gratitude, but we all know too well how Harry and Sarah’s relationship ended. This overhead shot is rather disorienting for the audience. The camera spins as their heads spin and as their thoughts spin around, far away from reality.

Achieving objective perspective with overhead shots

In films, as in literature, there are different types of narration that can be divided into two larger groups: subjective and objective (head over here to read more on this topic). We become emotionally involved in their story when we stay close to the characters’ faces and observe their reactions. However, sometimes, it’s better for the film if you let your viewers disconnect and take an objective perspective instead. That’s where an overhead shot might also be a huge help. It works like stepping back and suddenly looking at the situation from a new, unexpected angle. The more distance you gain, the easier it becomes to objectively judge the characters’ choices. Take a look at this film still from “Fargo” by the Coen brothers.

We analyzed this shot once regarding its lack of motion and negative space. But what does the deliberate choice of the top-down angle tell us here? We see the main character as he is: reaching the crossroads, both in the frame and his story. The audience gets a moment to step back and realize what he has done – ordering the kidnapping of his own wife to manipulate his father-in-law, only to fail in calling the whole thing off!  

Overhead shots – empowering the character

The angle of the camera can help to emphasize the power play in the scene. The rule of thumb here is that seeing someone from below makes them mighty and important. And vice versa: When the camera looks down at a person, they seem small and weak. However, that’s not the case with overhead shots (at least, not always).

In “Fundamentals of Directing,” Kyle demonstrates the following shot from “The Shawshank Redemption” as an example, achieving the opposite effect. What do you feel when you look at it?

Freedom. The character has just escaped from prison. Previous to this scene, he has actually crawled out of the ground. And now, here he stands, under the pouring rain, reaching towards the heavens! It feels good and empowering, and we share his elation as he looks up to us, and we look down on him.

Another example where top shots become a tool to empower the character is seen in the series “The Queen’s Gambit,” in my opinion. There, the main character, Beth Harmon, also sees things on the ceiling, but they are not dreams. They are her great gift. All the possible chess combinations play out above her head (and inside it), allowing her to win one game after another. In the final and the most important chess match, this visual element with all the light and halation feels even transcendent, as if she has gained some connection to the divine:

Connection to the divine

Speaking of that, it’s not a coincidence that overhead shots are also called the god’s eye view. They can surely create a feeling in viewers that there is a connection to God, the universe, the divine, or some other higher force. This feeling becomes especially strong in scenes where the characters are dying. For instance, take a look at the famous last shot in this “Blade Runner 2049” scene (starting from 01:48):

It’s the end of K, portrayed by Ryan Gosling. He lies on the steps under the falling snow, and then we see him from above as if his soul leaves him. It’s also a visual point to the film’s central discussion, whether or not the replicants are human, can feel, and have a soul. There is no doubt that they do.

A further movie example where creators use overhead shots to a great extent is “Midsommar.” In this folk horror film, top angle perspective also suggests a connection to some higher force, as it is used to depict all the rituals (including death, birth, sex, and so on). No worries, I’m including only the decent stills, but if you haven’t watched this film, please do. It’s a masterpiece on its own.

Let the time pass by

Coming back to the opening scene from “The Substance,” I think it speaks for itself. The single overhead shot tells us the backstory of the protagonist, Elisabeth Sparkle, without any commentary or exposition, just one image and the choreography around it. It’s Elizabeth’s walk of fame: from becoming successful and the crowd’s darling to fading with time and losing any meaning. In the end, it’s just a rusty star, impregnated into the asphalt, which people occasionally drop their hotdogs:

From this perspective, her fame feels absolutely meaningless in the grand scheme of things, as in any human’s journey. Time flies by, and at some point, we all become dust. If you want to imply this message in a scene, the top-down perspective should definitely be on your list of visual choices.

These were just some of the effects that overhead shots are capable of accomplishing. We could go on and on, but let’s continue in the comments instead! Why would you use a bird’s eye view perspective in your movie or video? Do you have other favorite film examples that have a different impact? Please share them with us in the comments below!

Full disclosure: MZed is owned by CineD.
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Feature image source: a collage of film stills from “Requiem for a Dream” by Darren Aronofsky, 2000; “American Beauty” by Sam Mendes, 1999; Neflix’s series “The Queen’s Gambit”, 2020; and “The Substance” by Coralie Fargeat, 2024.

Audiio has an extensive library of royalty-free music and sound effects from a network of independent artists and publishers. They’re available in over 180 countries, and content creators of all types can take advantage of Audiio’s wide range of professional offerings. This year, they introduced Audiio Elements, which lets you edit individual components of any song on their platform, and LinkMatch AI helps find music quickly, while Originals offers original music from some of their top artists.

How Hans AI works

Hans AI uses prompts from the creator to suggest a song that will fit a scene. Moreover, while Audiio can recommend music from their library based on a pasted link to a song, Hans AI does it based on a brief description of the scene or finding music similar to a score or popular song.

Searching for the right royalty-free music can take time – hunting around a website, sampling the music, and then adding it to your NLE timeline to see if it fits. Hans AI does it in seconds and can comprehensively list music that best fits your scene or project. Hans AI also showcases unique results that may elevate the scene further.

For example, you may have a scene involving the preparation and enjoyment of an intimate candlelit dinner or an action movie score. Simply type the description into the Hans AI search function, and a list of music options appears. From there, it’s easy to listen to the suggested song selections and give them a thumbs up or down. With an Audiio license, you can download the song and add it to your project.

You can also be more specific and ask Hans AI to find a song similar to a score from a movie or TV show or a song from an artist or band you admire.

Taking Hans AI for a test drive

We tested Hans AI to see how it performs; it is fast and intuitive. The results for “intimate candlelit dinner” were very good to excellent. I also asked for music similar to the main score in Jurassic Park, and the songs were in the spirit or very close. And not just the primary score from the Dino classic but other pieces of music from John Williams’ brilliant score.

Finally, I typed in different artists and songs, and it presented music in the vein of those bands and singers. For example, searching for music similar to Radiohead presented songs in the spirit of the band. Songs similar to those from Taylor Swift had even better results, both with and without vocals.

Audiio has a wide range of genres, from pop to country, rock, and more. The songs are very professional and quite good. They will fit into any type of project, including narrative, corporate video, a commercial, wedding, etc. Nothing sounded like standard stock music.

Price and availability

There are several licensing options to utilize Audiio, including:

• Creator: Perfect for those creating projects for social media channels. It includes music and SFX catalogs and the ability to monetize one channel. It costs $14.99 per month.
• Pro: Covers personal, clients, and small teams and includes everything in Creator, but adds unlimited monetization, local TV and OTT, LinkMatch AI, other AI features (Hans AI) and Stems. It is billed annually at $199. As of this writing, in early December 2024, they are offering it at 70% off for $59.
• Reach out to Audiio regarding their Enterprise option.

Visit Audiio’s Hans AI page to learn more and Audiio’s website for general information and pricing details.

What do you think of Hans AI? Will you use it to find the proper music for your next film or video project? Let us know in the comments below!

Based in Colchester, Essex, England, Vislink is a leading developer of live video communication solutions. Their products support all types of production, including live sports, news, and other events, plus defense and public safety.

Vislink DragonFly V – features

The 5G version of the Vislink DragonFly V HEVC wireless transmitter joins the CODFM, originally announced at NAB 2024. It supports HDR, 1080p60/50, and 720p video transmission in real time.

The Vislink DragonFly V truly is quite small and lightweight, about 1/3 the size of a deck of cards. Its compact size makes it easy to use with POV cameras, drones, action cameras, body cams, and more.

It would work well with UAVs and also POV cameras for immersive live sports action. Sporting events around the world tend to push the boundaries with broadcasts. Having the DragonFly V wirelessly transmit the point-of-view of a football game would put the audience in the middle of the action.

Meanwhile, a true action camera, the kind that is meant to be destroyed during an explosive scene or wild car chase, would also benefit from the DragonFly V. As an example, it would transmit high-quality video before the camera is destroyed in a fiery multi-car stunt.

The full feature list of the DragonFly V includes:

• Wirelessly captures high-quality, real-time video, with support up to 1080p60/50, along with 720p.
• Encodes video at HEVC HDR 4:2:2 10-bit, H.264, audio at 48 KHz MPEG 1 (Layer II).
• Compact design: 2.25″ x 1.55″ x .87″ (57 x 39 x 21.75 mm) and a weight of 2.57 oz (73 grams).
• Extended battery life thanks to low power consumption.
• Very low latency, aiding with real-time HD video transmission.
• Available in 5G or CODFM (maximum output power of 50mW).
• HD/SDI and HDMI input options.
• Wi-Fi 2.4GHz ISM Band.
• Licensable 450MHz camera control receiver, which works well with the Vislink FocalPoint camera control system.

There are wireless video transmitter options available from manufacturers like DJI, Accsoon, Hollyland, and others. However, not many are as small and lightweight as the DragonFly V.

Price and availability

The Vislink DragonFly V is available now and comes in a CODFM or 5G version. While the cost hasn’t been made public just yet, you can learn more and inquire about pricing at the Vislink DragonFly page ( link to the 5G version).

What do you think of the Vislink DragonFly V miniature wireless HEVC video transmitter? Have you used any of Vislink’s other wireless video camera systems? Let us know in the comments below!

Sponsor: This episode is sponsored by FUJIFILM. Check it out at 27:22

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Chapters & articles mentioned in this episode:

(00:00) – Intro

06:45 – GVM Pro SD300C RGB LED Monolight Review – How Does It Compare to the amaran 300c?

https://www.cined.com/gvm-pro-sd300c-rgb-led-monolight-review-how-does-it-compare-to-the-amaran-300c/

14:51 – DaVinci Resolve 19.1.1 – Incremental Update Brings Workflow and Stability Improvements

https://www.cined.com/davinci-resolve-19-1-1-incremental-update-brings-workflow-and-stability-improvements/

18:08 – Sony Alpha a1 II – Newly Added to Camera Database

https://www.cined.com/camera-database/?camera=Alpha-a1-II

21:28 – BLAZAR APEX 1.33x 50mm Anamorphic AF Lens Available Now for Preorder

https://www.cined.com/blazar-apex-1-33x-50mm-anamorphic-af-lens-available-now-for-preorder/

Johnnie’s Review of the lens:

https://www.cined.com/blazar-apex-35mm-and-50mm-autofocus-anamorphic-lenses-review-with-sample-footage-great-quality-for-the-price/

25:53 – AtomOS 11.13.00 Firmware Released – Adds HDMI RAW 6K Mode Support for Canon C80 & R1

https://www.cined.com/atomos-11-13-00-firmware-released-adds-hdmi-raw-6k-mode-support-for-canon-c80-r1/

 28:23 – Poll: Vote for Camera of the Year 2024

https://www.cined.com/poll-vote-for-camera-of-the-year-2024/

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

If you thought, “it’s the end of the year, we won’t see any new major camera announcements anymore”, or even, “We got the FUJIFILM GFX ETERNA announcement and the Blackmagic URSA Cine 12K as (super) large format cameras this year, that’s plenty!”, you have been wrong: Here we are, ARRI just dropped a new large format camera just before the holidays (but, spoiler alert: it’s not going to land under your Christmas tree).

ARRI ALEXA 265 – as small as an ALEXA 35, one third of ALEXA 65’s weight

Unexpectedly, we are seeing a “small” large format ARRI ALEXA with the new ARRI ALEXA 265, which is scheduled to be available in early 2025. It looks like this will be a rental-only camera just like the ALEXA 65, its predecessor, but it’s only marginally larger than the very popular ALEXA 35 (here’s our in-depth interview and here’s our detailed Lab Test including video), a Super35mm sensor camera, and much lighter than its predecessor (one third of the ALEXA 65’s weight). This should make large-format cinematography even more feasible for feature film and TV series production than ever before.

It’s save to say this camera is going to make a difference in the high-end market and we can’t wait to get our hands on one to put it through its paces in our renowned Lab Tests, with all the results of course also heading to the CineD Camera Database.

For the time being, I’ll leave you with the full press text from ARRI, and we look forward to your thoughts on this move in the comments below.

Full ARRI press text

ARRI announces the small and lightweight ALEXA 265 camera, revolutionizing 65 mm cinematography

• ALEXA 265 is one-third the size and weight of ALEXA 65
• Revised 65 mm sensor brings higher dynamic range and sensitivity
• Unique in-camera filter cartridge system
• Same LogC4 workflow and REVEAL Color Science as ALEXA 35

December 5, 2024; Munich – ARRI introduces ALEXA 265, a new-generation 65 mm camera that responds to feedback from users of the ALEXA 65, its predecessor. ALEXA 265 combines a small form factor with a revised 65 mm sensor, delivering higher image quality through 15 stops of dynamic range and enhanced low-light performance. Featuring the same LogC4 workflow, REVEAL Color Science, and accessories as ARRI’s state-of-the-art ALEXA 35, plus a new filter system, ALEXA 265 makes 65 mm as easy to use as any other format.

The ALEXA 265 camera body is based on the compact ALEXA 35 and despite containing a sensor three times as large, is only 4 mm longer and 11 mm wider. Using this body design means ALEXA 265 is less than one-third the ALEXA 65’s weight (3.3 kg vs. 10.5 kg) and takes advantage of ARRI’s latest cooling and power management technologies. While the camera’s small size and weight allow it to be used in ways never imagined for 65 mm—from drones and stabilizers to the most space-constrained locations—its efficiencies make it faster to work with on set. Boot-up time and power draw have been improved, and compatibility with the ALEXA 35 accessory set opens vastly more rigging options.

Feedback from ALEXA 65 users over the last decade made the dramatic reduction in form factor a design priority for ALEXA 265, but also determined the approach to image quality. Filmmakers wanted to retain the 6.5K resolution and large pixel pitch, but were interested in higher dynamic range and improved low-light performance. A brand-new and comprehensive revision of the 65 mm sensor was therefore developed for ALEXA 265, increasing the dynamic range from 14 to 15 stops and the sensitivity from 3200 to 6400 EI (ISO/ASA), with crisper blacks, greater contrast, and a lower noise floor.

Delivering this higher image quality is a simple and efficient workflow that utilizes ARRI’s latest developments. The new-generation LogC4 workflow and 3D LUTs introduced for ALEXA 35 are now shared with ALEXA 265, which records ARRIRAW in-camera to the Codex Compact Drives used in all current ARRI cameras. Standard drive readers and docks can be used, as can Codex HDE (High Density Encoding), reducing file sizes by up to 40% without diminishing image quality. On-set monitors can be set up in HD or UHD, displaying SDR or HDR, or both. ARRI is updating its SDK to ensure that ALEXA 265 images are compatible with all major third-party software tools.

A unique feature of the ALEXA 265 is its filter cartridge system, which allows special filter trays, encased in a protective cartridge, to slide in front of the sensor. ARRI FSND filters from zero to ND2.7 in single-stop increments will be available with ALEXA 265 at the time of launch, and many more creative filter options are in the works. An encoded chip on the filter tray conveys information about whatever filter has been inserted; this information is available in the user interface and is also recorded in camera metadata for use on set and in post.

ALEXA 265 images are processed in-camera using ARRI REVEAL Color Science, introduced with the ALEXA 35 and also compatible with ARRIRAW images from the ALEXA Mini LF. REVEAL is a suite of image processing steps that collectively help the camera to capture more accurate colors, with subtler tonal variations. Skin tones are rendered in a flattering, natural way, while highly saturated colors and challenging colors such as pastel shades are displayed with incredible realism. All ALEXA 265 and ALEXA 35 cameras are super color-matched to each other, simplifying color grading, and the ALEXA 265’s advanced LED calibration streamlines virtual production and LED volume work.

The list of ALEXA 65 films and filmmakers over the last 10 years is a roll call of the industry’s most visionary projects and people. While 65 mm may only be accessible to relatively few productions, this historic format inspires many and represents the pinnacle of mainstream image acquisition. Now, with the launch of ALEXA 265, a new era of 65 mm begins—one that will redefine the format’s creative possibilities.

ALEXA 265 will be available to productions from early 2025.

Astera is known for their tube lights and recently moved into LED fresnels, including the PlutoFresnel and LeoFresnel LEDs with batteries. My colleague Graham Sheldon enjoyed working with and reviewing the HydraPanel. The QuikSpot is Astera’s latest innovation in LED lighting.

Astera QuikSpot – features

The design of the Astera QuikSpot allows it to be deployed quickly. Gaffers and lighting technicians can unpack and set up the LED quickly. Meanwhile, the built-in battery boasts 4.5 hours of maximum use when OutputGain is on. Furthermore, the QuikSpot utilizes Astera’s Titan LED Engine. It’s a flexible solution, with options like a zoomable fresnel (with optional barndoors), spotlight, or an uplight.

That flexibility means the Astera QuikSpot can be used in multiple ways: A controllable light for a film or video shoot, a spotlight for a live event (concert, play, ceremony, and more), or as an uplight as a creative touch for a party or shoot.

Features include:

• 60-watt RGBMA LED light with 35 W power draw.
• Powered by the Titan LED Engine.
• High quality and intense colors and whites.
• OutputGain is great for maximum output for events. Turning it off makes the QuikSpot perfect as a key light for production.
• The beam angle is adjustable from 13º to 60º by turning the barrel. There is a click at 30º to notify when at the middle of the zoom range.
• Focus via the removable Yoke (sold separately).
• 3/8″ thread on the back for when a yoke isn’t necessary.
• Attach quickly and easily to a third-party clamp, set as an uplight (two foldable feet), and other options. Angle it with the built-in kickstand. Includes an airline track.
• FlexCover helps to ‘hide’ the light. 
• Wireless control with built-in CRMX, including LumenRadio’s wireless DMX and RDM. Compatible with controllers and lighting consoles.
• AsteraApp controls the QuikSpot and other Astera lights and fixtures.
• Other ways to control include wired DMX, remote control and on the QuikSpot itself.
• PrepBox allows for fast DMX assignment with up to 8 QuikSpots. Setup color and dimming without a controller. Conveniently, the PrepBox also charges the lights. Works with the AsteraApp.
• Up to 20 hours of battery runtime, 4.5 hours at maximum brightness (with OutputGain).
• 5-hour charging time via the ChargingPlate (up to 8 QuikSpots at once, sold separately).

Astera QuikSpot – accessories

Astera made sure to include a variety of accessories to take full advantage of the QuikSpot. These include traditional barndoors, the ChargingPlate, and more.

• 8-way, rotatable barndoors featuring a SafetyLink system when hanging the QuikSpot.
• Rotatable Filter (17º x 46º) for AX5.
• TrackPin for airline tracks with 5/8″ pin, single stud fitting.
• QuikSpot Yoke to help with focusing.
• QuikSpot ChargingCase Compact and QuikSpot ChargingCase TruckPack.
• ChargingPlate that can charge up to 8 QuikSpot’s at a time. The included cable depends on the region, i.e., U.S., UK, EU, or AU.
• PowerCON TRUE1 Cable.
• FlexCover Mirror and FlexCover White.

Price and availability 

The Astera QuikSpot is available now, but you will need to request a quote for pricing information. Astera makes it very easy, and you can add the number of QuikSpots and accessories plus information to receive a quote. Learn more at Astera’s QuikSpot page.

What do you think of the Astera QuikSpot? Are you considering using it not only for a film or video shoot, but also a live event? Please let us know in the comments below!

The DJI Power 1000 can power multiple devices at once, such as batteries, a drone, a smartphone, a laptop, and much more. It’s quiet and perfect for filming on location or in the field when power is either unreliable or unavailable. Alongside the unveiling of the DJI Power 1000 was the DJI Power 500.

DJI Power Expansion Battery 2000 – features

The DJI Power 1000 features a 1024 Wh battery with a maximum AC output power of 2200 W. The device is quiet, too, generating only 23 dB of noise during standard recharging. This makes it ideal for filming compared to a generator charging batteries and devices. It’s also far more convenient than running to a car to recharge camera and monitor batteries.

Connecting the Power 1000 with up to five units of the Power Expansion Battery gives it five flexible options for power expansion. They include 3, 5, 7, 9, and 11 kWh, resulting in 3,072 Wh, 5,120 Wh, 7,168 Wh, 9,216 Wh, and 11,264 Wh. It can also offer a consistent power supply of 2400 W and overclocked output at 2600 W.

Additionally, the DJI Power Expansion Battery 2000 allows the Power 1000’s recharging battery to reach 1500 W and 1024 kWh in only 46 minutes. This ensures power is available quickly, especially when filming in the field, in a remote area, or on location without a consistent or reliable power source.

The interface, screen, and buttons are located on the front of the unit. The sleek, compact design of both the DJI Power 1000 and the Power Expansion Battery 2000 allows them to be stacked, leaving a small footprint.

The DJI Home App is new and offers a streamlined user interface. The DJI Power 1000 can be monitored and controlled remotely with the app via the DJI Power Dongle and Bluetooth. This is a great way to keep an eye on the power station while filming without the need to step away.

Price and availability 

The DJI Power Expansion Battery 2000 retails for $1,169 and is available now on DJI’s website. Meanwhile, the DJI Power 1000 costs $699, and you can get more information here.

If you find yourself frequently filming on location, in the field, or a remote area, both the DJI Power 1000 and the DJI Power Expansion Battery 2000 are a reliable and quiet power source to recharge batteries and devices. It can also be used for personal use, such as at home if the power goes out (driving 99% of appliances) or while camping.

What do you think of the DJI Power 1000 and the Power Expansion Battery 2000? Could you use both for a consistent power source when filming in locations without reliable power? Let us know in the comments below!