Category Archives: Field Monitor

The 24 Hour Shootout Survival Kit


Last week Arbor Day Pictures aka Nancy Mitchell, Hannah Mitchell and myself participated in YPSI24, a 24 hour shootout competition where we won second place amongst 40+ entries. It was an awesome experience to witness so many filmmakers of all levels express themselves using a variety of video techniques within experimental and narrative storytelling.


However, with a 24 hour time limit and a 3 person crew including myself (2 of whom were acting on camera), it was vital that I assemble an equipment package that worked for our story. Too much gear and I’d risk a lot of unncessary setup and breakdown time. Too little gear and I’d lose the visual storytelling that was essential for characterization. We were super honored to win an award and it may not have happened without our 24 Hour Shootout Survival Kit. So here’s how we did it.


A few weeks before the shoot, we bounced around some preliminary ideas, some that either proved too difficult or too time consuming. Finally, the night before YPSI24, Nancy assembled all of our initial ideas into a creepy story about supernatural revenge. Next, I fleshed out the summary into a rough, 5 page script which would be our blueprint for the day. We all agreed that the concept would remain loose in order to incorporate the YPSI24 “ingredients” that we would be given. Creating a script as a guide for our shotlist/schedule was definitely a critical part of our planning.




For Camera A support I went with the heavy duty yet light and portable 8.5lb ProAm Heavy Duty Tripod Legs which are typically built for jib cranes but work great with a Manfrotto fluid head and Konova K3 slider as they can hold up to 80 lbs. It even has a super convenient mid level spreader for added stability and adjustable rubber or spiked feet for all kinds of terrain. At $120 shipped, the ProAm Heavy Duty Tripod Legs are an exceptional deal for the quality.




product information button runplayback ProAm USA PROAMFT Pro Tripod Legs & Bag Kit

product information button runplayback Manfrotto MVH500AH Fluid Video Head with Flat Base

product information button runplayback Konova Slider K3 100cm (39.4-Inch)




Lighting was very minimal as we were mostly daylight dependent. For the ending interior shots we used a pair of budget friendly ePhoto 600 CN600HS LED Lights with Kayo Maxtar V-Mount Li-Ion Batteries. The Kayo Maxtar is a new addition to my kit and one of the best V-Mount battery options out right now. Fully charged, the Kayo can power these lights for up to 6 hours straight. Very impressive!

ePhoto 600 Led Dimmable CN600HS Video Photography Light

Kayo Maxtar 177Wh(12000mAh/14.8V) V Mount Battery




To keep our sound kit as light and simple as possible, I went with the Zoom H1, Rode Micro Boompole, Rode VideoMic Pro, Aspen HQ-S Lav Mic, P&C Handgrip and an audio extension cable. Our rule was that whoever wasn’t on camera would be the Sound Recordist. With some easy to remember sound recording basics and having a kit this simple ensured that no one would have to be a pro to capture quality sound.

product information button runplayback Zoom H1 Ultra-Portable Digital Audio Recorder

product information button runplayback Rode Micro Boompole – 3-Section Boom Pole

product information button runplayback Rode VideoMic Pro Compact Shotgun Microphone

AspenMics Lavalier Microphones

product information button runplayback Dot Line P&C Handgrip




Having some early success with the latest Panasonic V-Log color profile, I decided to use my workhorse GH4 mounted with a Metabones Canon FD Speedbooster and classic Canon FD glass – 20mm, 28mm, 50mm and 35-105mm. This combination would create a vintage, lived-in look that I thought would be perfect for a horror film.





I kitted out my GH4 shoulder rig with a Varavon Armor Cage, Aputure V-Screen field monitor, Fotga follow focus, Ikan Tilta V-Mount Plate and a Kayo Maxtar BP-GL175 Li-Ion Battery. With the Kayo, I was able to power the Aputure monitor and use it as a counterweight for the GH4. There’s also a convenient USB port located on the side which kept my iPhone charged at every location.

product information button runplayback Panasonic GH4 4K Video Recording

Metabones Canon FD Speedbooster GH4
Metabones Speedbooster Canon FD Lens to M43 Adapter

Varavon Armor II GH4 & GH3 Cage

Aputure VS-3 V-Screen 7″ IPS Field Monitor

Fotga DP500IIS Follow Focus

ikan Tilta TT-C12 HyperDeck Shuttle Mount with V-Mount Plate

Kayo Maxtar 177Wh(12000mAh/14.8V) V Mount Battery



Our story included many scenes of walking through the woods so I wanted to incorporate gimbal tracking shots without having to spend any time balancing or breaking down the Camera A Kit. For this situation I went with the Ikan Fly-X3 Gimbal paired with the Xiaomi Yi Action Camera aka the $80 Chinese GoPro. Since these walking shots would include both Hannah and Nancy in the shot, it would leave me as the Sound Recordist. The Ikan Fly-X3 doesn’t have a 1/4-20 thread so I rigged a Joby GorillaPod to the handle and fitted it with a Rode VideoMic, Zoom H1, an audio extension cable and a pair of lightweight Auvio Headphones. With the shotgun mic I was then able to capture realtime location sound while also performing stable gimbal shots while walking backwards through the woods. Trust me, it’s not as easy as it sounds.

product information button runplayback Ikan Fly-X3 Plus 3-Axis Smartphone Gimbal Stabilizer Kit with GoPro HERO3/4 mount

Xiaomi Yi Action Camera with Wi-Fi

Joby Action Clamp GorillaPod Arm
product information button runplayback Joby Action Clamp with GorillaPod Arm

Auvio Black Ear-Cup Foldable Headphones


Another interesting rig we built was an Indy Mogul style DIY 3rd person POV action camera backpack. Designed with cheap PVC pipe from Home Depot, we mounted an Oben Mini Ballhead and the Xiaomi Yi on the rig to create the over the shoulder look during the “search” scenes in the woods. With the Xiamoi’s Wi-Fi app, I would be able to monitor the shots while giving direction to Nancy. We wanted to present an unusual sense of vertigo during these scenes since her character would become more desperate as day turned to night.

product information button runplayback Oben BD-0 Mini Ball Head




For a 24 Hour Shootout, it would be tempting to use the DJI Phantom 3 Professional as a shortcut for production value but we didn’t want to go that route. Our initial thought was that an aerial would take up valuable time that we could put towards characterization. Also, because of the hazardous weather conditions on the shoot day, flying a drone would prove too risky. However, nature was on our side when we had a small 10 minute window of clear weather. It was a tricky manuever as I had to fly through a 10 foot clearing in the trees towards a height that revealed just enough of the forest without showing any residential homes or highways. I fitted the Phantom 3 with a Polar Pro Polarizer Filter to prevent glare off the water and was able to get the shot in just two takes. However, flying the drone back to home point was nerve racking as I clipped a few small branches due to the wind and unstable GPS lock. Luckily I had Nancy and Hannah as my spotters on each side of the clearing to prevent the Phantom from going down into the water. The shot was definitely worth it as it created a vast sense of exploration for the Alice character, establishing the forest as a kind of supernatural playground.

product information button runplayback DJI Phantom 3 Professional Quadcopter with 4K Camera and 3-Axis Gimbal

Polar Pro DJI Phantom 3 Professional Filter 6-Pack



We finished our last shot at about 11:30pm and after ingesting all the footage in Adobe Premiere, post production began at 12 midnight. By this time, I was exhausted but not completely tapped out. I knew that once I got past the hump of assembly I would go into creative mode, driven by pure adrenaline. With the help of a large iced coffee I finished assembly by 2:00am and edited straight until 9:00am. The GH4 V-Log setting was especially helpful in color correction for each clip. After dropping in the Panasonic Varicam 35 LUT, I simply adjusted exposure within Lumetri Color and did my best to match the Xiaomi Yi and Phantom 3 footage.



As the sun started to rise and the 10:00am delivery deadline looming, I did a few last touches and exported the file onto a flash drive. Since the YSPI24 rendevouz was a half hour away, I wasn’t able to do a final preview. At this point, I was completely delirious and just grateful that we completed our film.




YPSI24 was an insanely inspiring good time. From the cordial and energizing meetup with our fellow filmmakers to the hack-a-thon like shooting experience to the final screening at the 500 seat venue, YPSI24 reminded me of why I got into video in the first place. It wasn’t to win awards or make commercials. It was to tell a story using a language that didn’t require an army of people pontificating about the laws of Cinema. It’s a relief to know that the DIY spirit that’s shaped both my personal and professional life has never left me. Hashtag #setlife is not enough. Old traditions and new technologies are not enough. It’s the communal experience of being vulnerable with people that I care about which matters most. Check out our 2015 YPSI24 short “Always Alice” below and remember to always stay inspired!

Always Alice (2015 YPSI24)

Sony A7S + Atomos Shogun 4K Recorder ISO Test

Recently, we took the Sony A7S and Atomos Shogun 4K Recorder combo for a test shoot in the middle of Times Square to compare and contrast a popular variety of focal lengths, color profiles, and ISO settings. Since the A7S is the most popular low light camera on the market right now, I wanted to see how far we could push the ISO settings in S-Log 2 from it’s native 3,200 ISO all the way up to 51,200 ISO.



In addition to camera settings, I wanted to see how the A7S captured different skin tones in low light settings. S-Log 2 provides plenty of dynamic range to push the colors to as natural or stylistic as you want while Cine 2 provides a color profile that requires only slight grading. My favorite color profile is Cine V on the Panasonic GH4 and the Sony A7S Cine 2 comes very close to it. According to the manual, Cine 2 softens the contrast in dark parts and emphasizes gradation in bright parts to produce a relaxed color movie.




While I haven’t spent much time recording internally at 1080p, the Shogun 4K recording in ProRes HQ seems to produce a very clean image even at higher ISO settings, although I’ve read that 12,800 ISO is the maximum range to push the A7S before noticeable noise and loss of detail. At 51,200 ISO, the A7S appears to see in the dark. The Atomos Shogun ultimately unlocks the full potential of the Sony A7S and enhances the intense low light capabilities through 4K recording.

product information button runplayback Sony Alpha A7S Mirrorless Digital Camera

product information button runplayback Atomos Shogun 4K HDMI/12G-SDI Recorder and 7″ Monitor

Shooting an ICON Q Spot with the GH4 + Atomos Shogun 4K Recorder

A few weeks ago I posted my first impressions with the Atomos Shogun 4K Recorder paired with the Panasonic GH4 on a branded content shoot for ICON Q featuring Producer, DJ and Designer Emily Oberg. The ProRes 10-bit 4K image the Shogun records from the GH4 does make a difference when compared to recording on SD cards. I noticed the banding around light sources in lowlight situations disappeared and more detail overall. There’s also a feature on the GH4 that auto triggers the Shogun when pressing the record button on the GH4. There are however, some caveats when shooting with this workflow: simultaneous recording to SD card is not possible in 4K, only in 1080p mode and 96fps slow motion is not possible through the GH4 4K HDMI output, only 24fps and 30fps. The Atomos Shogun is a solid accessory for the GH4 and with the recent firmware announcements at NAB this year, it will only get better. Check out the final ICON Q spot in the video above and be sure to visit their shop to receive a 10% discount using promo code: RUNPLAYBACK

product information button runplayback Atomos Shogun 4K HDMI/12G-SDI Recorder and 7″ Monitor

Atomos Shogun 4K Recorder 6.2 Firmware Test with the Panasonic GH4 & Sony A7S

After my first impressions with the Atomos Shogun 6.2 Firmware Update, we decided to do a Steadicam field test with the new features on both the Panasonic GH4 and Sony A7S. Using the same Canon FD lenses and Avid DNxHR 4K codec, I was able to get great results that showcase the advanced performance of both cameras when paired with the Atomos Shogun. Click the video above to compare the results.

product information button runplayback Atomos Shogun 4K HDMI/12G-SDI Recorder and 7″ Monitor


The Panasonic GH4 was outfitted with a Metabones Canon FD Speedbooster to maximize focal length while using my custom CineLike V color profile would require very minor grading in post. With the Atomos Shogun 6.2 Firmware Update, I was also able to utilize the 4K to HD downconvert to allow passthrough to an HD monitor on the Steadicam sled. This proved to be a valuable feature since my AC could use the Shogun to easily focus and access all the features on the touchscreen.

product information button runplayback Panasonic GH4 4K Video Recording

Metabones Canon FD Speedbooster GH4Metabones FD speed booster GH4 4k adapter
Metabones Speedbooster Canon FD Lens to M43 Adapter


The Sony A7S was fitted with a Metabones E-Mount to Canon FD adapter which retained the full frame focal length while the S-Log color profile and native 3200 ISO required using a Tiffen ND 1.5 Filter and a custom LUT in post. The 3D LUT feature on the Shogun was helpful to quickly preview the color grade and assist with focusing. I can see this being a great feature for client preview since those unfamiliar with S-Log can sometimes get thrown off by the flatness.

product information button runplayback Sony Alpha A7S Mirrorless Digital Camera

product information button runplayback Metabones Canon FD to Sony NEX Camera Lens Adapter

product information button runplayback Tiffen 77mm Neutral Density 1.5 Filter


This is also the first time I’ve used the Avid DNxHR 4K codec which uses a 4:4:4 color space for high quality color correction and finishing. I had to download and install the codec from the Avid website to make it compatible with Adobe Premiere Pro CC. While I can’t tell the difference between DNxHR and ProRes just yet, it’s always good to have options for the different flavors of NLE.


Overall, I’m very pleased with the new Shogun firmware and how easily it adapts to the quirks of both the GH4 and A7S. While it’s no surprise that the GH4 performs consistently everytime, I was definitely pleased with the amount of dynamic range the A7S is capable of, especially when paired with the Shogun. Next, I look forward to testing out the Shogun’s new firmware features at night.


PVGear also just announced a full metal cage system that protects the plastic housing of the Atomos Shogun, locks down and protects fragile HDMI Ports, and provides several mounting threads for additional accessories that are often used with the Shogun. To further protect the Shogun Audio Input Cable, PVGear has designed a custom block that surrounds and protects the cable from accidental damage. I’ve always felt the Shogun housing feels very fragile and a bit exposed so this will definitely become an essential part of my rig. Look for the PVGear Shogun Cage to start shipping this April.

Cage for Atomos Shogun 4K Recorder

Atomos Shogun 4K Recorder 6.2 Firmware Update First Impressions

Atomos just released another major firmware update for the Shogun 4K Recorder. I’ve been using the Shogun pretty heavily on my last few shoots with both the Panasonic GH4 and Sony A7S so this update has definitely increased it’s potential. The 6.2 firmware updates include custom 3D LUTs that provide an instant color grade preview when shooting with flat picture profiles, Avid DNxHR and DNxHD codecs and 4K to HD downscaling which allows for HD passthrough for external video playback on HD equipment. I definitely look forward to trying these new features out on the field and check out the video above for a closer look.

product information button runplayback Atomos Shogun 4K HDMI/12G-SDI Recorder and 7″ Monitor

Shooting “Water Weight” with the Panasonic AF100

Four years ago, I wrote and directed an independent feature film titled “Starla”, which I’ve recut into a 35 minute short film called “Water Weight”. Narrative filmmaking can be incredibly demanding but with the right gear and skilled crew, it can also be one of the best experiences of your career. I wanted to revisit the making of the film by having my good friend and Director of Photography, Clayton Combe discuss his experiences working on set with a small crew and the Panasonic AF-100, which at the time was touted as a “DSLR Killer”. Here’s what Clayton had to say about shooting “Water Weight”:


For the first two weeks of April 2011, I had the pleasure of working as DP for “Starla,” a narrative feature by director Rik Cordero. Now, Rik has recut the film into “Water Weight,” a 35-minute version that pares the story down to its bare essentials. From the film’s conception, it was designed to be shot quickly and on a minimal budget; most of the scenes required only two actors at a time, and locations (while visually diverse) centered around only two geographical places. Our speedy eleven-day schedule and small crew meant that we had to use as much available light as possible, and we rarely did more than two takes except for action- or effects-oriented shots. Prior to “Starla,” I’d shot several music videos and commercials on my Panasonic AF100, and it seemed like a good fit for the feature. Little did I know just how perfect it would be.

(A disclaimer: the then-unique features of the AF100 can now be found in many other cameras with better resolution, dynamic range, and low-light performance. But at the time, it was on the cutting edge of small-body-large-sensor-low-price camera technology. Today, we’d probably shoot this film on a Canon C500 or Sony FS7.)

product information button runplayback Panasonic AG-AF100A Digital Cinema Camcorder


My basic rig was built around the Zacuto universal baseplate, with 15mm rods supporting matte box, follow focus, and a 90-degree-offset Anton Bauer mount on the back (like an ENG camera). I monitored with a 7″ Marshall with SDI pass-through to video village. This rig could be switched between tripod build and shoulder-mount in about twenty seconds, and was light, comfortable, compact, and well-balanced. However, by removing the Bauer plate, switching to the 5″ Marshall (incredibly lightweight), and adding the camera’s removable ergonomic handgrip to the side, I could build the AF100 more like a stripped-down Red Epic, allowing much more flexibility in small spaces. With my Canon 7D rig this would have meant I couldn’t monitor, since my AJA SDI converter needed battery power, but the AF100’s many video outputs mean this small build worked great for jib, steadicam, and car rigging as well.


This small configuration was the element that made possible several shots that move through spaces in unpredictable ways, which was an aesthetic choice Rik made very early on in pre-production. The best thing a camera can do is allow you to make your director’s vision a reality, and the AF100 had my back at every turn.

product information button runplayback Zacuto Z-UB3 Universal Baseplate Version 3

product information button runplayback Marshall Electronics M-CT7 7″ Camera Top Monitor with Canon LP-E6 Plate/Battery/Charger


A large part of the film takes place outside in bright sunlight, and because we didn’t have the time or manpower to fly large diffusion frames or fight sunlight levels with big lights, I frequently had to use the sun as a key light. Paired with a polarizer, the AF100’s built-in ND wheel made exposing for the sun simple. I also used varying strengths of Tiffen Black Pro Mist in front of the lens, to soften the highlights and give the image a little more filmic look. I rated the camera at 200 ISO for most exteriors and 400 ISO (its native speed) for most interiors, pushing one stop to 800 ISO for a few shots. Even at 800, the image was fairly clean, and what noise was there wasn’t too bad-looking.

product information button runplayback Tiffen 4 x 5.65″ Black Pro-Mist 1/4 Filter


I shot the film using my Canon FD prime lenses, mounting them on the AF100 with a Micro 4/3rds to FD adapter. With the optical adapter I used for these lenses on the 7D, I’d have to stop down a bit to avoid blooming, so I’d almost forgotten how gorgeous this glass is wide open. I’d recommend Canon FDs to anyone for lower-budget work; the lenses and adapters are cheap and the image quality is fantastic, very similar to a cine lens.

product information button runplayback Metabones Canon FD Mount Lens to Micro Four Thirds Lens Mount Adapter (Black)


Because of the low budget and short post-production schedule, I chose to achieve the film’s look in-camera, rather than rely on color grading. My beloved Panasonic painting tools made this process quick and painless, and I was able to fine-tune the image as we shot, as well as avoid the problems of grading footage that’s been compressed. If you get the picture close to what you want before it’s encoded onto the cards, you’ll end up with less work trying to hide compression artifacts in the graded image. It leaves less room for post-production changes, but Rik knew what he wanted it to look like beforehand. Nowadays, most cameras can record to an external card to avoid high compression, but that option wasn’t feasible at the time.


“Starla/Water Weight” is a diverse mix of aesthetic styles, but the AF100 handled all conditions beautifully and allowed us to create images that exceeded the director’s expectations. They say out of the trio of money, time, and quality, you can choose two; but the AF100 (along with a few talented, passionate people and a lot of planning) got us as close to achieving all three as I’ve ever been.

$70 REVO SR-1000 Modded Shoulder Rig for the GH4 & Sony A7S


On a recent trip overseas, I worked alongside a videographer who was shooting with a Sony A7s on a Revo SR-1000 shoulder rig with counterweight. Although I’ve had passing glances at the Revo while browsing online, I’ve never seen it up close. Because of its minimalist, almost artistic design, affordable cost, and versatility, I got my hands on the SR-1000 and proceeded to add modifications to it. The Revo SR-1000 is currently on sale at B&H for $67.96, a savings of 15%, but only until March 9, 2015.

product information button runplayback Revo SR-1000 Shoulder Support Rig

product information button runplayback Revo Counterweight for SR-1000


The SR-1000 is strikingly simple with clean, curved lines thats very attractive for video enthusiasts. There are rigs that make my back hurt just by looking at them but the SR-1000 is sleek and forgoes the chunkiness of universal compatibility for aesthetics. A single handle attached to a sliding baseplate allows for one handed operation with thin, curved rails that bend seamlessly with the adjustable the foam padded shoulder mount. An optional Revo Counterweight can then be added to the rear to complete the design. Although I took it off for my mod, it’s definitely a must have accessory when shooting with only the camera.


My first add on was the Varavon Armor Cage for the Pansonic GH4. The lightweight cage also features red trim that matches the colors of the SR-1000. The top handle can be reversed to attach accessories such as the Atomos Shogun 4K Recorder which hangs slightly behind the GH4 for even weight distribution across the middle of the rig.

Varavon Armor GH4 & GH3 Cage

product information button runplayback Atomos Shogun 4K HDMI/12G-SDI Recorder and 7″ Monitor


For the rear counterweight, I detached the plate from the Revo Counterweight and attached it to the Ikan Tilta HyperDeck V-Mount using a standard 1/4-20 screw which connects to the Revo shoulder mount with the remaining screws.

ikan Tilta TT-C12 HyperDeck Shuttle Mount with V-Mount Plate


The Ikan Tilta is then fitted with a Switronix XP-L90S Li-Ion battery and Fiilex D-Tap power cable. Because the Switronix battery is unusually light, I added a Flashpoint 2.5lb Counterweight to the Tilta HyperDeck using two short 15mm rods. This evened out the weight distribution for the rear.

Switronix XP-L90S V-Type 14.8VDC Lithium Battery

Switronix GP-2LSJ 2-Position Simultaneous Charger

Fiilex Coiled D-Tap Cable (1.9′)

Flashpoint Counter Weight 2.5 LB for 15MM Rods


There are countless ways to configure the Revo SR-1000 such as adding additional handles and accessories to the baseplate but I found this setup to be the most efficient for run and gun shooting. Hit me up in the comments if you have any questions.

Atomos Shogun 4K Recorder Behind the Scenes

I recently received the long anticipated Atomos Shogun 4K Recorder and paired it up with the Panasonic GH4 on a branded content shoot for ICON Q featuring Producer, DJ and Designer Emily Oberg. After reaching out to a few Shogun owners I came prepared with all the essentials necessary for this beast of a recorder: a few SanDisk Extreme PRO 240GB SSD drives, a Fiilex D-Tap Cable, Switronix V-Mount Batteries and an Ikan Tilta V-Mount Plate.


We used a GH4 mounted on a Varavon Armor cage and RedRock Shoulder Rig. The Atomos Shogun was powered by the Switronix XP-L90S Lithium Battery that doubled as a counterweight while attached to the Ikan Tilta HyperDeck Shuttle V-Mount Plate. This would be our main rig setup throughout the day as we had to run and gun across multiple interiors and exteriors throughout New York City.


The Shogun is a serious accessory for the GH4 which create a ProRes 10-bit 4K image that really does make a difference when compared to recording on SD cards. I noticed less artifacts when shooting in lowlight situations, deeper shadows and more detail overall. There are however, some caveats when shooting with this workflow.


Just when you got used to capturing loads of manageable 4K footage, the Shogun will immediately humble you. Shooting at regular ProRes 422 will give you about an hour and change with a 240gb SSD drive. While SSD drives continue to drop in price, having to copy these files to your edit and backup drives can quickly fill up space.

SanDisk 240GB Extreme Pro Solid State Drive


Another thing to consider is power. The Shogun uses standard Sony NP batteries but you’ll quickly run through them if you’re not constantly powering on and off. I opted for using Switronix V-Mount batteries to double as my main power source as well as a counterweight to the Shogun. One Switronix XP-L90S should get you through an entire day unless you’re powering other devices.

Switronix XP-L90S V-Type 14.8VDC Lithium Battery

Switronix GP-2LSJ 2-Position Simultaneous Charger

ikan Tilta TT-C12 HyperDeck Shuttle Mount with V-Mount Plate

Fiilex Coiled D-Tap Cable (1.9′)


The Shogun’s image quality is top notch with a highly responsive touchscreen. A red outline and flashing front and rear lights let you know when you’re recording and the ability to auto trigger record through the GH4 body is also a nice touch. One major thing to keep in mind is the delay on HDMI output. It’s somewhere around 3 frames of delay which is pretty significant. Hopefully this will be improved with firmware upgrades but for now it’s manageable. The GH4 LCD screen should still be used as a way to double check your settings and also serve as a backup “real time” preview screen.


Overall, the Atomos Shogun is a hefty investment but worth the price tag for those who want to unlock the 10bit capabilities of the Panasonic GH4 and 4K capture on the Sony A7S. Just be prepared to shell out more money for extra accessories and a beefier, data heavy workflow. Be sure to check out the final ICON Q video featuring Emily Oberg coming soon.

product information button runplayback Atomos Shogun 4K HDMI/12G-SDI Recorder and 7″ Monitor