“What lens is this?”

Heard (known for his roles in the Home Alone movies, The Sopranos, and more) wasn’t just curious— he knew more about lenses than I gave him credit for. It wasn’t until the director called “action!” that I realized how Heard incorporated my choice of lens into his performance.

Most actors have a basic knowledge of lenses (wide-angle lenses capture more of a scene, while long lenses narrow the view and draw distant subjects closer), but Heard’s performance suggested a more profound understanding. For him, lenses didn’t just define the boundaries of the frame, they were tools that could help evoke an emotional experience. When a wide-angle lens was used to reveal the environment, I watched as Heard engaged with his surroundings and hinted at his character’s relationships. When the camera was positioned close to Heard, I realized that he understood how wide-angle lenses create a sense of closeness for the audience—his subtle gestures made viewers feel as if they were let in on a secret. My method of choosing lenses soon changed—cinematographers consider many reasons when choosing a lens, and now I had another one. Rather than waiting to see how Heard adapted his performance to my choice of lens,  I began anticipating his actions. Thanks to Heard, my eyes were open to a new way of collaborating with actors: a synergy between performance and camera. How efficient it would be if actors and cinematographers speak the same language. I’ve been trying to make it a reality ever since.

Despite my excitement to collaborate with actors in a new way, I quickly hit some roadblocks. Many actors are distracted by the machinery surrounding them on set—which is understandable. It is difficult to stay in character while trying to avoid making any unnecessary noise (even putting a cup on a table mid-dialogue can render recorded audio unusable), or always walking between marked positions without looking at the floor (otherwise the camera crew may have difficulties focusing, or the lighting may be off). Actors may wish they could focus only on their performance, since considering the audio recording, focus or lighting have little to do with acting. But even though making movies involves many different fields, they are all interconnected, and everyone must account for constraints from other departments. Lighting technicians ensure boom microphones do not cast unwanted shadows, and script supervisors verify that shots can cut together. The toughest challenge, however, rests on the actors, who must fully immerse themselves in their characters—all while juggling a complex array of limitations and demands. 

Throughout my filmmaking career, starting as an assistant and eventually becoming a cinematographer, I’ve learned that it’s best practice to shield actors from the technical aspects of filmmaking. When technical factors conflict with the performance (such as when an actor steps too close for the camera to focus) it’s up to the director to decide whether to adjust the camera or the actor’s position. But directors are often busy, and shouldn’t be interrupted with needless questions. So, I had to resolve certain challenges on my own. For instance, when a scene called for an actor to lean against a wall (making it tricky to light the actor separately from the background) I would ask myself: does it make more sense story-wise to adjust the lighting or to change the actor’s position? Little did I know a third option—one that demanded better synchronization between the actors and camera—was the best solution.

As I watched Heard’s character lean against a wall, I realized that his character conveyed weakness not just through his body language, but also by blending into the background, making separate lighting unnecessary. It raised a pressing question: can cinematography become an accessible and practical tool for actors?

Most professional actors I’ve worked with graduated from schools offering “Acting for Camera” workshops where they learned basics such as filming dialogue scenes, hitting marks, and differences between a close-up and a wide shot. Advanced acting for camera workshops also cover script breakdown, where scene progression and beats are identified and mapped. These workshops are designed to prepare actors to work on set, and have little to do with collaborating with cinematographers. This is a missed opportunity, since an actor who is able to perfectly land on a mark without looking at the floor does not necessarily understand how their physical placement serves the story. If actors were included in shot design, it could elevate both their performance and the visual composition.

In 2018, Angelina Jolie presented the American Society of Cinematographers Lifetime Achievement Award to cinematographer Dean Semler, who worked on films such as Dances with Wolves and Maleficent. She described a suspenseful scene in The Bone Collector (one of Jolie’s early films) where her character walked in a dark underground tunnel, lit only by a flashlight. Rather than lighting the tunnel and the actor, Semler hid lighting reflectors around the set and taught Jolie how to aim the flashlight at a reflector when she wanted her face to be visible (otherwise she would be silhouetted). She recounted how empowering it felt to be in control of her character’s image, a memory still vivid even though 20 years have passed since filming. 

I was struck by the simplicity of Semler’s technique and the impact it had on Jolie’s performance. I also wondered how Jolie decided when to aim the flashlight at a reflector. As a cinematographer, I know that the audience shares a character’s fear when the actor’s face is visible in a scene like the one from The Bone Collector. In contrast, when the actor’s face is hidden, the audience detaches from the character’s feelings, and experiences their own curiosity and apprehension. Did Jolie use these principles when in charge of her own lighting? She gained control over her image, which is a big part of how the story is told visually. That’s a lot of power, best exercised by someone who knows what they’re doing. I did not know how Jolie approached lighting, but I was certain the impact of lighting on narrative perspective is not taught in most acting for camera workshops. When it comes to interacting with cameras and lighting, most acting for camera workshops fall into two common traps: overemphasizing traditional filming conventions and exaggerating the importance of the tools used in filmmaking.

Filming Conventions

Over 130 years of making movies, certain filming techniques were used so often that they became ingrained in the language of cinema and evolved into conventions. For instance, dialogue scenes are often filmed using a convention known as coverage (two matching close-ups or over-the-shoulder shots and a wide shot from the side). It is a tried and true method (seen regularly on TV and in movies) and it requires little thinking to execute. Coverage can serve as a useful starting point for beginner filmmakers, but master directors use it in ways that extend far beyond traditional film school instruction. Experienced filmmakers seek opportunities to deviate from conventions, creating a visual journey that follows the story. Since no two stories are alike, it is impossible to apply standardized filming conventions without compromising the integrity of the story, even in straightforward dialogue scenes. In Jordan Peele’s film Get Out, Chris (Daniel Kaluuya) encounters housekeeper Georgina (Betty Gabriel) in what many would mistake as another simple dialogue scene undeserving of much attention. But a closer observation reveals that the camera is aimed at Georgina from below, using a wide-angle lens which causes visible distortion on her face, while Chris is filmed more traditionally. This contrast creates a sense of suspicion towards Georgina, making something about her feel off, which mirrors Chris’s thoughts in the scene.

Betty Gabriel, who portrays Georgina, expertly uses the close proximity of the wide-angle lens to her face. By subtly tilting her head forward, she exaggerates and distorts her facial features, enhancing the unsettling moment in the scene. Actors should be familiar with filmmaking conventions like coverage, but recognize that these conventions are just starting points for a collaborative process, where the actor can integrate more subtle camera techniques into their performance.

Filmmaking Tools

Anyone who’s been on a film set knows the importance of watching your step. It’s easy to trip over electric cables, and getting too close to a lamp or the camera might unleash the ire of a protective crew member. Filmmaking is often dominated by tools, even if no tool can guarantee making a good movie (the best camera can also produce a bad film). Film schools and YouTube videos often prioritize technical proficiency because it builds confidence and is easy to teach. Visual storytelling, however, is not a technical skill. There can be more than one way to tell a story visually—for example, in Get Out, a wide-angle lens was used to create a sense of unease around Georgina, but there are many other ways to create unease.

It’s far more useful for actors to focus on visual storytelling than to understand the technical details of cameras, lenses or lights. After all, Angelina Jolie did not need to know how a reflector works to aim a flashlight at it in The Bone Collector. Instead of worrying about the multitude of technical factors involved in cinematography, actors can focus on a single visual choice in a scene, setting the technicalities aside to explore its impact and the creative possibilities it opens up. If more actors embrace this mindset, then this kind of collaboration between actors and cinematographers—like the connection I experienced with John Heard—could become far more common.

A new path for actors

What if visual storytelling were simple, serving as just another tool for actors to elevate their performance? To answer this question, we need only turn to the masters for inspiration. In John Patrick Shanley’s film Doubt, Meryl Streep, playing a strict school principal, shares a meal with the faculty. A close-up reveals her dissatisfaction with another character while a wide shot establishes her authority over the group.

Actors who wish to better understand cinematography should observe these shots closely. How does Streep’s close-up convey dissatisfaction? How does the wide shot establish her character’s authority? In the close-up, it’s not only Streep’s performance that communicates dissatisfaction but also the choice of the close-up itself, which directs the viewer’s focus to the character’s emotions. In the wide shot, authority is conveyed not only through her posture but also by framing that shows a group dynamic, using camera angle and lighting to cue the viewer to her relationship with others—hardly any other faces are visible. It is hard to imagine that Meryl Streep was unaware of the shot size or the lighting during filming. While these visual choices fall outside of the direct scope of an actor’s performance, they are integral to the audience’s overall experience. By understanding how her performance was framed and presented to viewers, Streep amplified the visual effects even further: she contributed to the visual symmetry and balance of the wide shot (conveying a sense of control and power), and, in the close-up, kept her face forward, deliberately refusing to acknowledge the other character by turning toward her (a subtle choice that resonates in the tight framing of a close-up).Many of the nuanced choices made by master performers like Meryl Streep stem from script breakdown, a form of preparation actors use to bring their character to life. Cinematographers conduct their own version of this process as well. When reading a scene, cinematographers seek moments of transformation, and use visual language to indicate them to the audience. In Sam Mendes’s film Road to Perdition, Connor Rooney (Daniel Craig) is humiliated by his father John (Paul Newman) in front of their associates. The change in Connor’s state of mind is visible when comparing the beginning of the scene to its end.

At the start of the scene, the camera is positioned farther from Connor, revealing more of his surroundings than it does by the end. However, a comparison of these two frames reveals a much bolder choice made by the filmmakers: the lighting changes during the scene—starting at an angle that fully illuminates Connor’s face and ending at an angle that casts ominous shadows over his eyes—without any realistic justification. Beginner filmmakers would never consider changing the lighting mid-scene, since they consider continuity as a firm rule. This subtle transformation in Road to Perdition, however, highlights the true purpose of cinematography, which prioritizes storytelling over continuity. This principle is easily accessible to actors, and it does not require them to get bogged down in technical details. In Road to Perdition, Daniel Craig did not need to know much about lighting to participate in visually transforming his character’s image. Lighting is not all about placement of lamps, since the angle of light is equally shaped by the positioning of the actor. To achieve the ominous shadows on Craig’s face, he had to keep his chin down—playing a small yet essential role in shaping the scene’s lighting.

Actors looking to broaden their skill set with a stronger understanding of cinematography have good news ahead. Visual storytelling is a universal language we can all understand, since we’ve been observing images from the moment we were born. For actors, incorporating cinematography into their performance can be a natural transition. The best starting point is to identify visual effects in scenes that that resonate with you:

1. Choose a scene that visually conveys an idea or emotion to the audience
2. Watch it once with sound, and then again without audio
3. Identify camera choices, such as positioning (high, low, close, or distant) and movement, as well as lighting choices (bright, dark, high contrast)
4. Consider what these visual choices add to the scene. How would it change without them?

Repeating this exercise will soon reveal patterns, since cinematography (like any other language) relies on repetition to convey meaning, and emphasis to guide the viewer’s attention. Doing it with a partner is even more effective, since comparing impressions reveals diverse perspectives and highlights more visual techniques. This process mirrors the collaboration between a director and cinematographer, who study films to identify visual choices for their own projects. Such collaboration is rarely visible to actors, since the worlds behind and in front of the camera rarely intersect. The final film, however, must be a cohesive work where performance and camera align seamlessly. Throughout my career as a cinematographer, I’ve sought to bridge the gap between camera and acting. When I work with an actor who is both interested in and capable of considering the visual aspects of their performance, the result often exceeds the sum of its parts.

Tal Lazar is a cinematographer and educator who has created filmmaking workshops for the American Film Institute Conservatory, Columbia University School of the Arts, Sundance Institute’s Collab, Berklee College of Music Online and other film programs. Some of his courses are available on our filmmaking education platform MZed. His forthcoming book, The Language of Cinematography, aims to make cinematography accessible to filmmakers of all levels.

The full-frame cinema camera was unveiled in April 2024 and has a host of features but at a competitive price. (see our full camera lab test here). It comes with a large-format RGBW 12K sensor (35.64 x 23.32mm) and can film BRAW in 12K 3:2 Open Gate up to 80 fps, or 120 fps in 2.4:1 mode.

Additionally, 8K and 4K Open Gate RAW can film up to 144 fps without a crop. The de-squeeze function includes 1.3, 1.5, 1.6, 1.66, 1.8, and 2x. Supported mounts include ARRI PL, LPL, Canon EF, and Hasselblad.

The Blackmagic URSA Cine 12K LF starts at $14,995 for the body only, while a bundled option includes the EVF Top Handle Kit and retails for $16,495.

Blackmagic URSA Cine 12K LF is part of the Netflix-approved camera list

Netflix has created an official Camera Production Guide for the Blackmagic URSA Cine 12K LF, which can be downloaded here. The guide details the streaming giant’s requirements when setting up and filming with the camera. 

Some of the settings Netflix recommends include:

• Resolution of 12K, 9K, 8K, and 4K.
• Aspect ratio of 3:2 Open-Gate, 16:9, 17:9, 2.41:1, or 6:5.
• Dynamic range: Film (Blackmagic Design Film).
• RAW: Constant bit rate of 3:1, 8:1, 12:1, and 18:1, plus a constant quality of Q0, Q1, Q3, and Q5.

Additionally, there are settings for recording maximum frame rates and resolution to the Blackmagic 8TB Media Module. For example, 80 fps at 12K 3:2 Open Gate or 12K 6:5.

If you’re filming with the Blackmagic URSA Cine 12K LF for Netflix, or any approved camera, the Camera Production Guides are an excellent resource. These recommendations are mandatory if you are filming original content for Netflix and 90% of the total run time.

Camera specs needed for Netflix approval 

Netflix has an official page called “Cameras and Image Capture: Requirements and Best Practices.” In it, the company details the minimum specifications and features needed for a camera to receive the official badge. The company does say that not all cameras that meet these requirements are approved. Non-fiction works have more flexibility when it comes to the recommendations, it should be noted.

Some of these specs include:

• A true 4K sensor with at least 3840 photosites across.
• Lightly compressed or uncompressed RAW or intraframe-based codec with 4:2:2 chroma-subsampling or greater.
• Bit depth of 10-bit or greater.
• Data rate minimum of 240 Mbps at 24 fps.
• Scene-referred Color Space, including REDWideGamut, ALEXA Wide Gamut, S.Gamut3, and more.
• Scene-referred Transfer Function, including Slog3, Vlog, Log3G10, Log C, etc.
• Timecode must be able to jam to an external source and written as metadata. 

Check out the Cameras & Image Capture page to learn more, which includes the full list of approved cameras and best practices from Netflix. And the settings are also a good guide as a way to achieve high imaging quality.

Are you using the Blackmagic URSA Cine 12K LF for your projects, Netflix or otherwise? What are your thoughts regarding the features? Please let us know in the comments below!

For nearly 30 years, SWIT has been releasing a wide variety of production products. These include monitors, LED lighting solutions, video transmitters, various accessories, and power solutions. The company recently unveiled the SWIT VOLTA Modular Add-On Battery, a compact power system with a 12.8kWh total capacity when eight units are combined. Plus, the SWIT Transformable ARCA SWISS Plate with V-Mount.

SWIT VOLTA PRO Modular Power Station – features

The SWIT VOLTA PRO Modular Power Station is capable of providing reliable and continuous power to a variety of production products. These include lights, cameras, monitors, laptops, and more. With an output surge of 4800W, SWIT says the VOLTA PRO will provide power to cranes such as the Scorpio and Moviebird.

It features four detachable battery packs that can be easily added to the VOLTA PRO. The unit operates fully with only two packs. Capacity is 8890Wh with four 2222.5Wh modules.

The display showcases power stats in real-time: battery health, remaining runtime, and alerts for atypical conditions. It can enter sleep mode automatically if inactive for 24 hours.

Interfaces include three DC 48V outputs (800W each) and dual AC 230V outputs (2400W total), plus an AC 180-264C charging in (7 hours for full charge) and XT60 port for solar charging (supporting 12-60V at 800W, 12 hours to full charge).

The VOLTA PRO can be daisy-chained to provide even more uninterrupted power. This setup is ideal for large-scale productions and those with longer filming schedules requiring reliable power. Additionally, the compact design utilizes Eurobox pallet standards, making it ideal for use in studios and on location. Its footprint is 600mm x 400mm (1.97 ft x 1.31 ft) and weighs 65.5kg (144.4 lbs).

When shooting in the field, weather is always a concern. With NCM (nickel-cobalt-magnesium) lithium cells that are resistant to cold and special low-temperature startup tech, the SWIT VOLTA PRO can work in -20C temperatures (-4F) and up to 50C (122F). Meanwhile, the Power Station’s industrial-grade casing was designed and manufactured to IP54 standards, meaning it will operate in various conditions, including rainy or dusty conditions. 

Features and specifications include:

• 3200W AC/DC output.
• Up to 4800W surge.
• NCM lithium cells (nickel-cobalt-magnesium).
• Outputs: 2x AC 230V (2400W total) and 3x DC 48V (800W each).
• Inputs: AC: 180-264V, 1500W (7 hours to full charge) and Solar XT60 port: 12-60V, 800W (12 hours to full ).
• Accepts four modular battery units (4x 2222.5Wh) for up to 8890Wh capacity.
• It can be expanded via a daisy chain.
• IP54 dust and water resistance.
• Can operate at low temperatures (-20C / 14F).
• A user-friendly interface.
• Compact design, 600mm x 400mm x 296 mm (1.97 ft x 1.31 ft x .97 ft), 65.5kg (144.4 lbs). 

Price and availability 

The SWIT VOLTA PRO will retail for $9,999 and ship during the first quarter of 2025. Learn more on the SWIT website.

What are your thoughts on the SWIT VOLTA PRO as a power solution on set or location? Are you using a similar power solution? Let us know in the comments below.

Laowa released their first probe lens in 2018, a 24mm f/14 Probe featuring a ‘snorkel’ design. By 2022, they introduced the 24mm T14 2X Periprobe lens with an interchangeable 90° front element. My colleague Nino Leitner reviewed both lenses; you can read his review of the 24mm  f/14 Probe lens here and the 24m T14 Periprobe lens review here.

Meanwhile, in 2023, Laowa unveiled the 24mm T8 2X Macro Pro2be three-lens set, featuring a cine lens-style design and a faster T stop. The three lenses include a 35° View Lens, a Direct View Lens, and a Periscope Lens. The Laowa Pro2be can be purchased as a set, or each lens can be purchased individually.

Now Laowa is giving cinematographers and macro filmmaking and photography enthusiasts a sneak peek at their next probe lens, the ultra-wide 15mm 2.3X Probe Zoom.

Laowa Probe Zoom Lens – what we know so far

Laowa has only released a few details about the new ultra-wide 15mm Probe Zoom lens. What we know is that the lens will offer three distinct views: direct, 35° tilt, and periscope. Having a zoom allows for easier adjustments when shooting macro. Judging by the image tease released by Laowa, they could be following the route they took with the Pro2be lens and releasing three separate lenses.

• 15mm at the widest.
• Par-focus 2.3x zoom range (about 15-35mm range).
• Up to 2X magnification.
• Direct, Periscope, and 35° Tilt, resulting in dynamic angles and creative options.
• Overall sharpness for high imaging quality.
• The tubular barrel is waterproof, making this a versatile lens that can be used in multiple environments.

Price and availability 

Laowa is promising more details with an official unveiling soon. The price hasn’t been revealed yet, either, but the 15mm 2.3X Probe Zoom will be available to ship during Q2 of 2025. To give an idea of the pricing of their most recent probe lens, the three-piece Laowa 24mm T8 2X Macro Pro2be Lens retails for $8,499 for all three lenses, while each ranges in price from $2,849 to $3,349.

The timing of Laowa’s tease of their new 15mm ultra-wide probe zoom lens is interesting. On the same day, DZOFILM introduced its own wide-angle zoom probe lens, the X-Tract 18-28mm T8. As with the Laowa probe lenses, the X-Tract’s ‘snorkel’ design allows it to access more hard-to-reach places. The DZOFILM probe zoom lens will retail for $3,499. Check out the details here.

Are you currently using a probe lens to film macro scenes? What are your thoughts on Laowa’s Probe Zoom lens? Please let us know in the comments below!

Ollie Kenchington is a seasoned filmmaker from the UK. His area of expertise spans everything from producing commercials to editing documentaries. With his company, Korro Films collaborates with major international clients like BBC, Netflix, Canon, and Apple. Apart from this, Ollie is a senior colorist, and as you probably know, lighting and color go hand in hand: Knowledge in one area enhances results in the other.

Introduction to Video Lighting: the goal

The goal of the “Introduction to Video Lighting” workshop is not to go through the technical specifications of each existing fixture or explore every nook and cranny of how lighting works. Instead, Ollie Kenchington shares his personal approach, providing a reliable foundation you can always fall back on, no matter the type of video scene you need to light. (Then, as the classic saying goes: Once you know the rules, you can break them).

This approach includes three major pillars: Depth, Composition, and Emotion. That’s where Ollie always starts.

Depth and how to achieve it

As a sneak peek into the course materials, let’s take a longer look at the topic of depth. Ollie Kenchington shows the class two pictures and asks the attendees about these forms.

Workshop participants respond with confidence: a circle and a sphere. And what would be your answer? Ollie smiles: Wrong. Both are circles, as they are situated on a two-dimensional medium. However, we learn at a very early age how to perceive visual cues, and it becomes part of our visual language. In the instance above, we know that shading on one side of a circle indicates that it represents a sphere. Thus, the contrast of light and shadow helps to achieve three-dimensionality even on a flat surface.

Painters have used this technique for ages. No wonder the classic concept of Chiaroscuro lighting comes from them and was popularized by Da Vinci and Caravaggio long ago. We apply it nowadays as well in photography and filmmaking. Creating clear contrast by using light and shadow suggests volume to our on-screen objects, and the quality of this contrast is the key to creating depth.

Ollie explains in the workshop that one of the biggest mistakes many beginning filmmakers make is adding too much light to create exposure and, therefore, eliminating all the shadows. But we need depth. Depth adds to the image immersion. It helps viewers believe what they see is real and connects with characters, places, and themes.

Other modules of Introduction to Video Lighting

The “Introduction to Video Lighting” course on MZed.com includes six modules with a total length of over one hour. Each lesson is part of a practical workshop, where Ollie Kenchington not only breaks down lighting examples from major films and his own practice but also shows small tips and tricks on how to set the light.

Here’s a brief overview of what you will learn in this course:

• The term “lighting design” and how to base your choices on three main pillars: Depth, Composition, and Emotion;
• The concepts of Chiaroscuro lighting and the Rembrandt triangle, including useful tips on shaping a beautiful nose shadow and adding a lively catch light to the eye;
• How to set your key, fill, and backlight in different scenarios, including a podcast shoot with multiple participants and cameras;
• The most common mistakes in lighting that filmmakers make when they are starting out;
• The compositional idea of lighting and science-based tricks that help to draw the viewer’s attention to specific areas or elements in the shot;
• The emotional impact the lighting can create and how to use it to enhance your storytelling.
  

Pricing

You can buy The “Introduction to Video Lighting” for $29.00 and own it forever. Or you can subscribe to MZed Pro and watch this course immediately as part of the MZed Pro subscription. If you are not an MZed Pro user yet, we highly recommend you consider becoming one.

What else do you get with MZed Pro?

As an MZed Pro member, you can access hundreds of hours of filmmaking education. Plus, we’re constantly adding more courses (several are in production right now).

Starting at just $29/month (billed at $349 in the first year, $199 from the second year, or billed monthly at $49), here’s what you’ll get:

• 60+ courses, over 800+ high-quality lessons.
• Highly produced courses from educators with decades of experience and awards, including a Pulitzer Prize and an Academy Award.
• Unlimited access to stream all content during the 12 months.
• Offline download and viewing with the MZed iOS app.
• Discounts to ARRI Academy online courses, exclusively on MZed.
• Most of our courses provide an industry-recognized certificate upon completion.
• Purchasing the courses outright would cost over $9,500.
• Course topics include cinematography, directing, lighting, cameras and lenses, producing, indie filmmaking, writing, editing, color grading, audio, time-lapse, pitch decks, and more.
• 7-day money-back guarantee if you decide it’s not for you (on annual billing only).

Full disclosure: MZed is owned by CineD.
Join MZed Pro now and start watching today!

And what about you? What approach do you use for lighting your videos? Which pillars would you add to the trio: depth, composition, emotion? Share your ideas with us in the comments below!

Firmware updates have been an integral part of our industry’s landscape in recent years. Each manufacturer offers a slightly different approach to this maintenance practice, but everyone does it. While some firmware updates prove revolutionary, some are more modest – fixing issues, embedding features, etc. Both are important as both affect our interaction with our creative tools.

With this firmware update, Sony improves still shooting, video, and operability functions, as well as added compatibility for Sony’s evolving Camera Authenticity Solution. Let’s start with the video updates:

Video firmware updates

Sony’s firmware update will improve the video image quality of both the a1 II and a9 III when using user LUTs. Unfortunately, the original a1 won’t receive this feature but will gain the ability to automatically create still images with Shot Marks from movie frames after recording. Both updates may not seem like much, but will incrementally improve our work given the use of these features.

Operability and workflow firmware updates

Here, we’ll see some advanced (and rather niche) features of the new flagship (the a1 II) trickle down to its stablemates. Both the a1 and a9 III will now be able to schedule FTP transfers while writing data to the camera’s storage media, as well as improved operability with shooting during image transfer to the Creators’ App. The a1 will also gain the ability to use the Custom Key setting on the AEL button and Delete button during playback.

Authentication firmware updates

Sony takes image authentication seriously and implements authentication solutions in many of their cameras. The new firmware update allows using Sony’s upcoming Image Validation Site and the Digital Signature Upgrade License, designed for select news organizations and their staff photographers. While this may not affect most of us, I find it very reassuring. It’s another important step Sony is taking regarding the implementation of C2PA (Coalition for Content Provenance) standards, which may well establish our future trust in mediated information as discussed here:

Price and availability

Sony’s firmware updates are now available for download, free of charge. a1 firmware version 3.00, a9 III Firmware version 3.00 and a1 II Firmware version 2.00 can be downloaded here

Will these modest updates be of value to you? What other features would you like to get via future firmware updates? Let us know in the comments.

In this latest episode of CineD Focus Check, Nino and Johnnie catch up on audience feedback on their best and worst camera gear purchases, they discuss the latest C400 Lab Test with mixed results, dissect Johnnie’s “pro” review of the Osmo Pocket 3 on a racetrack in Japan, and discuss various troubling news for filmmakers: Canon considering outsourcing camera manufacturing, Getty Images and Shutterstock seeking to merge and its possible implications for stock footage creators, and SanDisk cards corrupting when shooting with a Canon EOS R5 Mark II. But then they focus on new gear again, the entry-level DJI Flip drone, the Hollyland Lark M2S concealed wireless mic set and the Kinefinity EAGLE universal HDMI viewfinder that works with any HDMI camera without breaking the bank. Then they move on to the announcement of the Leica SL3-S and discover that it’s actually really build with filmmakers in mind, but they discuss Leica’s pricing strategy and if those cameras can gain a significant market share or not. Ultimately, they discuss vertical shooting for social media, and whether or not a rotatable sensor would make sense. Enjoy this episode!

Sponsor: This episode is sponsored by FUJIFILM. Check out their 1-minute filmmaking tip at 28:05. 

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Chapters & Links for CineD Focus Check Podcast episode 47:

00:00 Intro

01:18 Overview

02:41 Audience Feedback: Worst and Best Camera Gear Purchases

10:52 Audience Feedback: Lab Tests of 2024

 11:20 C400 Lab Test

17:18 Osmo Pocket 3 “Pro” Review & Documentary by Johnnie

29:05 Canon is considering outsourcing camera manufacturing to cut costs

31:36 Getty Images and Shutterstock want to merge – implications for stock image/footage shooters

35:25 Some SanDisk cards get corrupted in the Canon EOS R5 Mark II

38:01 DJI Flip drone announced – who is this for?

42:58 Hollyland LARK M2S – First “budget” concealed wireless mic set without logo

45:54 Godox Cube-C Wireless Microphone System announced

47:34 Kinefinity EAGLE HDMI universal viewfinder launched

51:41 AltCineCam Eclipse unveiled – another Blackmagic Cinema Camera modification

54:29 Leica SL3-S announced – finally the Leica camera for filmmakers we waited for?

01:07:37 Vertical Shooting for Social Media – Ergonomy and Practical Concerns

01:13:29 Can a Small in a Script Make it to the Screen? An Opinion on Writing for Cinema

What do you think of the latest announcements and everything discussed in this episode? Let us know in the comments below!

Before we get started, don’t forget to also check out my colleague Johnnie’s first look review here.

German high-end camera manufacturer Leica is well-known amongst photographers for their premium lineup of stills cameras. The Leica SL3 was released last year and is the company’s latest digital mirrorless camera. The least we can say is that the SL3 has stellar features, including a 60MP full-frame image sensor, 8K and ProRes internal recording capabilities, a dedicated video mode, and so on.

However, nearly four years after the release of the SL2-S, the S-line being Leica’s video-centric lineup of mirrorless cameras, the German manufacturer is finally back with its successor: the SL3-S.

Leica SL3-S – features

Like its predecessor, the Leica SL3-S features a new full-frame 24.6MP 3:2 BSI CMOS image sensor. Please note that 48- and 96-megapixel multishot modes are available for still shooters if you need extra resolution. While this decrease in resolution can seem counterproductive compared to the SL3 and its massive 60MP image sensor, the smaller sensor allows the SL3-S to have better low-light performance.

The SL3-S shares a lot of things with the SL3, including:

• The SL3 and SL3-S are L-Mount cameras, compatible with all Leica and L-Mount alliance partners’ lenses.
• Both cameras feature a Maestro IV image processor.
• ISO range of 50 to 200,000.
• The size is identical between both cameras: 15.1 x 10.8 x 8.4cm/5.96 x 4.25 x 3.3″, made of aluminum and magnesium alloy. However, the SL3-S is lighter at 768g/1.7 lbs, as opposed to 769g/1.7 lbs for the SL3.
• You can shoot in all weather conditions with both cameras thanks to an IP-54 rating and from temperatures ranging from -10 to +40°C/14 to 104°F.
• The SL3-S has In Body Image Stabilization (IBIS), which is handy for filmmakers.

• A 3.2-inch high-res touchscreen and EyeRes 5.76m-dot 0.78x OLED EVF.
• On the right side of the camera, two memory card slots: one CFexpress Type B and one SD UHS-II.
• Powered by the Leica BP-SCL6 battery.

You got it – the SL3 and SL3-S have a lot in common.

Connectivity

You’ll find one USB Type-C port on the left side of the Leica SL3-S for data transmission, tethering, and power supply. The SL3-S is also a certified Apple “Made for iPhone and iPad” accessory, so you can connect it directly via USB-C to your Apple device. Lastly, you can capture footage directly to an SSD drive connected to the USB-C port, which can be very handy if you record in ProRes 422HQ (more on that below).

The camera features one 3.5mm microphone input and one 3.5mm headphone output. It also has a full-size HDMI 2.1 port, which allows for external monitoring and video recording.

Similarly to the SL3, the SL3-S features built-in Bluetooth and WiFi connectivity. You can connect the camera to the free Leica FOTOS app to download/edit your pictures and update the camera’s firmware wirelessly. Furthermore, Leica mentions that “over the course of 2025, the (SL3-S) Camera-to-Cloud function will become available via Adobe frame.io, using which videos and photos can be uploaded directly from the camera to the Adobe frame.io cloud for further processing.”

Leica SL3-S autofocus and video recording modes

Leica claims that the SL3-S uses their latest high-speed autofocus system, which combines three technologies: Advanced PDAF, contrast detection, and object detection.

Regarding picture profiles, you can choose between multiple flavors, including Rec.709, L-Log Rec. 2020, and HLG Rec. 2020. The most significant difference between the SL3 and the SL3-S is that the latter features an extra L-Log picture profile.

Now, let’s jump to what makes the real difference between the SL3 and SL3-S: the video recording modes and options. The SL3-S can record internally in 6K 3:2 (5952×3968), C6K, and 6K 16:9 at up to 30P in 4:2:0 10-bit, with a maximum bitrate of 200Mbps. If you drop down the resolution to 4K, it can capture footage at up to 60P in 4:2:2 10-bit with a 1.45x (APS-C) crop. To shoot in 4K/C4K without a crop, you have to lower your framerate to a maximum of 30P.

The Leica SL3-S can capture C6K (5776×3056) footage in ProRes 422HQ at up to 30P for better results and faster turnarounds. With a bitrate of around 1939Mbps, you better have a lot of CFexpress memory cards available or, ideally, record directly to an SSD external drive, but that’s doable. If you drop down the resolution to C4K, you can still capture footage in ProRes 422HQ at up to 60P. The full-size HDMI port allows for HDMI RAW external recording at up to 6K30P.

Lastly, Leica also worked on their menu and UI, inherited from the original SL3. According to the company, “As with the SL3, the optimizations to the SL3-S include ergonomic and haptic features, as well as the user interface and menu navigation. The clearly structured icon and menu design make navigation even easier, with distinct sections for photo and video functions. The Cine mode has been tailored specifically to the needs of professional video production.”

Price and availability

The Leica SL3-S is available now for €5,190.00.

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

What do you think about the SL3-S? Have you already shot on a Leica mirrorless camera? Which one would you choose between the SL3 and SL3-S? Don’t hesitate to let us know in the comments down below!