Currently Sony offers the A6300 and also the A6500. Coming out with a new model called the Sony Alpha A6400 sounds a bit backwards, but i'm guessing because it lacks the in-camera sensor stabilization that the A6500 offers. I don't see that as a deal breaker as most of these small cameras end up on gimbals, and today's mirrorless lenses offer Image Stabilization already. And though it is missing in-camera IS, it does offer some interesting features that the A6500 does not have.
The new Sony A6400 has a built in timelapse feature. Normally with Sony mirrorless cameras, you would need to download an app or use an external intervalometer. The A6400 also includes the HLG profile for those who want to dabble in HDR video. They also say they have improved on the quality of the 4K video on the A6400. The LCD now flips over the top of the camera (selfie-mode) which is handy for them vloggers and product reviewers. One other thing i'm hearing is that this camera has removed the 30 minute time limit during video recording (I hate that in my A7R3), which will make it a more suitable camera for long interviews.
24.2MP APS-C Exmor CMOS Sensor
BIONZ X Image Processor
XGA Tru-Finder 2.36m-Dot OLED EVF
3.0" 921.6k-Dot Tilting Touchscreen LCD
Internal UHD 4K Video & S-Log3 Gamma
S&Q Motion in Full HD from 1-120 fps
Built-In Wi-Fi with NFC
Real-Time Eye AF
425 Phase- & Contrast-Detect AF Points
Up to 11 fps Shooting and ISO 102,400
I placed a single 1ft Came-TV Andromeda (5600K) behind the subject for hair light (rim light). Then I placed a single 2ft Andromeda LED light in front of subject as Key + Fill. These light bars throw a very broad soft light, so if positioned correctly you can make them work as a key without harsh shadows where you would normally need a fill light I set it horizontally and slightly angled, and just moved it around until I got the look I wanted. LED Lights:http://came-tv.com
Starting with a 'Door Blank' for just $16 dollars, I now have a large desk surface to place my iMac 5K, Asus PA32U UHD Monitor, and extra Apple Display.
I started with a door blank, which means there are no holes drilled for a door knob, and nothing carved out for door hinges. The door is lightweight as it's a hollow core, but solid around the edges. I chose one that had a small defect so it was hugely discounted from $65 to just $16 dollars. I then rolled on a few coats of Appliance Epoxy paint to it would be a hard glossy finish (easy to clean).
Instead of table legs, I'm using IKEA Cube shelving so I can place my LACIE RAID and other hard drives. You can also add Cube Bins to store small accessories. I also drilled holes 'inside of the cubes' so I can pass wires through from one cube to the next, or run cables up and down. It keeps things tidy.
Under the desk I mounted a large power strip with 12 outlets, and each one spaced to fit any weird sized adapters. This is plenty of power connectors for all my stuff.
For all of the loose cables, I hung them up under the desk using special zip tie mounts.
I drilled holes to pass wires through and covered with Desk Grommets. You'll be amazed what other types of Desk Grommets there are out there, including USB power adapters to charge devices if you wanted to add that.
This simple setup would also make for a great Craft table at home, or a lightweight workbench in the garage. And what I like is that it doesn't require any special tools to put a workspace like this together, and it doesn't look half bad. If I need to move to a new office, it will be easy to take apart as each piece is lightweight. I've ordered some additional parts, and there's a lot more i'll be adding so stay tuned
I've been doing a lot of traveling and run-gun style shoots lately. So I wanted an easy to travel with, Ultra lightweight, telescoping, mini boom mic setup. By starting with an inexpensive Sunpak 424MX Carbon Fiber Monopod, I cut the foot off and attached a 1/4-20 threaded stud. You can find these studs at auto parts stores, as they are used for building car engines.
The self powered Rodemic Videomic Pro attaches at technically the foot of the monopod which adds better balance and leaves a solid handle for the boom operator. A portable recorder like a Zoom H1 is attached at the (technically top) other end of monopod 1/4-20 thread.
The quick snap locks on this monopod are fast, and the poles don’t rotate when unlocked. This little bit of kit packs small, lightweight to hold, works and sounds great! Yes, I know you can create something similar with just about any telescoping pole, but my personal goal was something Carbon Fiber, thin, and with the quick snap locks. The fact that I had this monopod already saved me money as well.
Unfortunately if you want to make something similar, my Sunpak is discontinued, but here are some other good options I think would work as they are 4 section monopods (which means they fold small and telescope to a good length)
If you're looking for a solid wireless video kit, there's a discount on the new Vaxis Thor system. Especially if you're working with a professional camera that requires SDI intputs. Here's a couple of videos about the Vaxis Thor Wireless Video product.
1. Wirelessly transmit visually lossless 1080p60 Video/Audio
2. Distance: up to 200-250 meters.
3. TX: SDI In & SDI Out
RX: SDI Out x1, HDMI Out x1
4. Support HDMI & SDI embedded audio transmission.
5. TX with 2 stick antennas, RX with 3 stick antennas.
6. Power solution:
A. TX with Sony NP-970 plate, RX with V mount/ Gold mount plate.
B. 2-Pin LEMO to D-Tap Power Cable.
7. Support camera metadata, timecode, and start/stop flags.
8. Support DFS:
Operate interference-free more often in the USA and Europe by making use of introduced DFS channels.
9. Reconnect times during a dropped link are now instantaneous once you move back into range.
10. USB firmware upgrade.
11. All-metal housing, durable.
One of the items i've made a habit of bringing to my projects are RGB LED Lights. You never know when a splash of color could add something different to an otherwise plain video clip. The Timpani is one of the latest (and largest light) available from the Luxli company who specializes in RGB LED lighting. But instead of bringing a different set of lights for interviews, and a different set for accent lighting, the Timpani is all inclusive. So it keeps things simple when your packing for your next project.
The Timpani carries very high CRI Ratings at any color temperature, but can be switched over to RGB mode for any type of HUE. Along with the RGB color choice, there are built in FX that can be used to add creativity with your projects. The Timpani is able to control these effects right from the LED Light. With previous Luxli lights, the FX Modes could only be controlled through a smartphone app.
The output is bright enough to be used a key in talking head interviews, or even as a fill light outdoors (when walked in closer to your subject). Build quality is top notch which is mostly aluminum that acts as a heat sink. So it's dead silent as there are no noisy fans to worry about. The Timpani's user interface and controls are easy to navigate, and with the Smartphone app it's even easier to choose a color, adjust brightness, or modify your FX.
If there is anything I would knock, it would be the Yoke mount and that it doesn't include even a soft case. The Yoke mount holds fine once you lock it down, but adjusting it to various angles with the 4 knobs takes a bit of fiddling. It's not a cheap LED light, and it would have been nice if there was at least a soft case to prevent any scratches. I'm still trying to figure out a good case to use with the Timpani so if you have any suggestions let me know. But so far, the Luxli Timpani has been one of the most versatile LED lights i've had the chance to work with. Anytime I need to use a light for any reason, the Luxli Timpani has been able to fit into any project. The Luxli Timpani is available now (click here).
Syrp is a company well known for their motion control setups such as the Genie II and Magic Carpet slider. Their latest video slider the Magic Carpet 'Pro' has been designed to produce supremely smooth tracking moves with much heavier camera weights of up to 70lbs / 32kg. The new design incorporates tool-less set up with the added benefits of an integrated Flywheel, a patent-pending Quick Release System, and the ability to connect multiple Tracks together for longer tracking movements.
There are no loose parts that could potentially get lost during setups. No thumb knobs, no drive belts, etc. The Carriage-integrated Flywheel keeps your tracking shots smooth as it ramps up rotation and ramps down at the end of your movement. Best of all, the flywheel can be de-activated with a press of a button.
[Syrp Magic Carpet Pro Integrated Flywheel]
Each Magic Carpet Pro comes with precision-machined Track Joiners, enabling you to infinitely add length. Adding or removing a set of extension rails is simple and quick using just a locking lever. The Magic Carpet Pro legs (used for leveling on an uneven surface) also attach at the end of the rails through locking levers, and adjustments of each leg of the slider adjusts quickly through a locking lever of it's own.
[Syrp Quick Adjustments Locking Lever]
The Quick Release System attaches to your tripod head so that you can setup or pack down with ease. The End Caps work with the classic rope system design to be used with the Syrp Genie or Genie II for integrating motion control. At each end is a small roller wheel that can be used to attach a counterbalance weight when going vertical with your movements.
Here's a look at one my favorite lightweight gimbals as of late, designed for popular small cameras such as the Panasonic GH4, GH5, GH5s, or even the Sony A6500. The Moza AirCross is lightweight, packs up small, but most importantly has performed flawlessly over the last several months on every project i've used it on. In fact a few of my friends who have tried this gimbal with their GH5 cameras have also opted to switch to the Moza AirCross.
The Moza AirCross can support payloads of up to 4lbs which is enough for most mirrorless interchangeable lens cameras using native lenses. The AirCross has a 12 hour battery life, but as an option you can power your camera from the gimbal using a dummy battery adapter. Taking it one step further, you can actually power the gimbal from an external 12V battery if for some reason you think you'll need unlimited runtime.
One thing I didn't touch on in my video is the Moza Assistant smartphone App. This app has a nifty feature that allows you to use the Moza AirCross for 2-Axis motion control timelapse.
As you switch between a lighter or heavier payload, the Moza AirCross also has built in Auto-Tuning to eliminate any vibration or oscillations normally caused by too little or too much power to the motors. The wireless remote utilizes accelerometers and Gyros. These built in sensors allow the remote/gimbal to mimic the movements of the operator. Just by physically moving the remote you can control Pan, Tilt, and Roll from up to 50 meters away. If you're working with the smaller camera setups (under 4lbs), I see no reason why you shouldn't consider the Moza AirCross.
While similar to the original VIOLA, the CELLO LED has a new feature for choosing Colored Gels through it's menu (or through smartphone app). This feature adds a new dimension for being able to select a very particular RGB color, and also being able to repeat the choice in the future. Most other RGB Lights have very basic controls for RGB, and not quite as refined as Luxli has done with all of their products.
While I haven't done any testing on output, these 10" RGBAW LED Lights put out a good amount of power. Luxli rates this as 24W from this 176 LED panel. Below i've embedded a BTS clip where we used (2) Cello LEDs on one side of this truck, and (2) Viola LEDs placed under the truck. These small lights were more than enough to accent this large vehicle. In the final video, we used a 1x1 Luxli Timpani panel light only to to hit the back wall.
You are able to control most of the features directly from the CELLO light itself, but there are more functions available when using the iOS App. Here you can control lights individually, and also in a group. Other FX features become available such as strobing and cycling of different hues. One example I have used this feature on is to simulate a television screen. And regardless what color you choose, or how much you dim the light, they remain flicker free at the shutter speeds I have done up to 240fps.
Overall these lights have completely replaced the workflow I would have to do working with sets of colored GEL sheets. Not only speeds up production, but also keeps things neat and tidy. All of the Luxli LED lights I have used feel very durable, and I highly recommend them if you're looking to start working with more color on your projects.