Chinese manufacturer OSEE is mainly known for its on-camera and production monitors, such as the LCM-215HDR+, which we reviewed here. Nevertheless, the company is entering the live streaming and video switcher market by introducing its first product: the GoStream Deck. At IBC 2023, we talked with Zoe Wang from OSEE to learn more about it.

OSEE GoStream Deck – input and output ports

The GoStream Deck is a reasonably compact unit with dimensions of only 25.2 x 4.9 x 10.7cm/9.92 x 1.92 x 4.21in and a weight of 500g/17.6oz. This switcher supports FullHD video inputs up to 1080p60.

Let’s face it: the OSEE GoStream Deck has been designed as a direct competitor to the Blackmagic Design ATEM Mini Pro ISO. Indeed, with four HDMI inputs, two 3.5mm microphone inputs, an Ethernet port, and USB-C ports, the similarities are pretty straightforward.

However, the GoStream Deck features two HDMI outputs (the ATEM Mini Pro ISO only has one), which is handy for viewing your Multiview and Program outputs simultaneously.

Also, the GoStream Deck has two USB-C output ports that can be used simultaneously to live stream and record your program output externally, for example.

Most importantly, the GoStream Deck features a full-size SD card slot that allows you to record an H.264 file of your Program output with a maximum bitrate of 70Mb/s.

OSEE GoStream Deck – features

The GoStream Deck has all the features you can expect from such a compact unit. First, it has live streaming capabilities to most social media platforms, including YouTube, Facebook Live, Twitch, TikTok, etc. You can simultaneously live stream from the two USB-C ports and Ethernet port, which means three destinations in total.

The GoStream Deck also features a built-in chroma keyer, a fully-featured audio mixer, and a six-layer composition engine to add graphics to your live performance. Also, we can mention the handy Super Source feature, which allows you to merge multiple video inputs – such as a background and PiP sources – to create unique scenes.

Pricing and availability

The OSEE GoStream Deck is available now for $295, which is $100 less than its Blackmagic Design counterpart.

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

What do you think about this compact live video switcher? Do you often use video switchers? Don’t hesitate to let us know in the comments below!

As we all know, lighting is often a tricky task. Yet, even in an unflattering setting with only a limited number of lights on hand, there are still ways to make a person look good on camera. In the ARRI Tech Talk, Art Adams – cinema lens specialist at ARRI – demonstrates different techniques with the help of only two ARRI SkyPanels S30-C, a bounce card, and diffusion. For him, the most important thing is to position the sources in the right place to light a face.

 You can watch the entire demonstration from this ARRI Tech Talk on MZed.com for free.

For starters: common mistakes in lighting faces for a live stream

The first setup Art Adams demonstrates is how he would NOT light a person for a livestream. Two LED panels, both at the same 45-degree angle to the camera, are placed on different sides of the lens and set to the same intensity. You might see this technique in some broadcast studios, as it works flawlessly for news, talk shows, or other formats that require multiple cameras placed strategically. The idea behind it is to create a very flat light on the face so that it looks good from any perspective.

However, flat light doesn’t look interesting at all, and the picture loses its three-dimensionality completely.  With just one camera and a single subject, you have the flexibility to improve the image quickly by moving the lights around.

A general tip here is to pull your subject away from the background. In many situations, your background for a livestream will only be a white wall, so make sure your lights fall off so it appears darker. This will provide better separation in the shot and the subject will pop out.

Switching to portrait lighting in one step

So where do we start when we want a more appealing image? Art Adams’s answer: with modeling contrast. The simplest method is to reduce the intensity of one of our previous light sources and repurpose it as a fill light. In the example below, the left SkyPanel is set to 5% output and the right one to 30%.

A tiny alteration, but the result changes dramatically, right? This technique is called traditional portrait lighting. This means that the light strikes the face so it creates a shadow at the nose, which falls along what’s commonly referred to as the “smile line.”

Now the face has much more contrast. If you want to play around with the shadow, here are a few tips:

• Bring your fill light closer to the camera and the shadow will be closer to the nose, reducing its size;
• Alternatively, move the light further away from the camera to extend the nose shadow and achieve even greater contrast.

Bringing the source closer to the camera

Another good reason to bring your light (the one with less intensity) closer to the camera is that this setup gives your shot the feeling that there is only one strong light source. In such a scenario, the light would fill in the shadows in a way that is soft and diffused without casting an extra shadow. The result you get looks like this:

As you see in the lighting demonstration above, our subject only has a single chin shadow, and as an added bonus, a nice little catchlight in the eye.

Filling from the key side

In Art Adams’s opinion (as well as mine) the previous setup is a nice choice to light faces for livestream. However, the image has only two tonal values, and you can achieve more if desired. The technique is called filling from the key side. Basically, you take the fill light from our previous example and place it on the other side of the camera, side-by-side next to your key source. The result will be the following:

Do you see the subtle yet powerful difference? It will be even more visible on people with rounder faces. The tonal value on the cheek on the fill side dropped off considerably more than in the previous example. The overall image looks very natural, as though the light comes through a real window. A nice go-to look, which is also easy to set up.

Creating a big source to light faces for livestream

A nose shadow can be a challenge and it will always appear prominent if you are using small lights. The harder this shadow is, the more precisely it has to be placed to create a flattering effect. Remember the “smile line”? This is the spot where we want the nose shadow to fall.

However, there is a trick that makes our life easier, says Art Adams. We take the two SkyPanels, which stand on one side of the camera, and combine them to make a larger source by using diffusion, as shown in the screenshot below.

A large source is going to be softer, and even more so when it’s placed closer to the subject. This way the nose shadow doesn’t disappear, but it’s not as harsh anymore. Additionally, the big diffused light gives the face a soft glow on the cheek and the forehead. This is called a “specular highlight” – a reflection of the light, which you won’t get from a hard source. The result is a very flattering and rich image with a wide range of tonalities.

Beauty light

The last technique Art Adams shows us in his demonstration creates an image that is not very three-dimensional, yet it’s a commercial look that will make almost anyone like themselves on camera. The trick is to take one light source, place it close to your lens, and bounce against a bounce card, as illustrated below:

It takes away the hard shadows from the face and adds specular highlights in the middle (as if a person glows from within), creating a pleasing image overall. If you want to adjust the chin shadow, you can simply place your source and the bounce card higher.

It reminds me of the effect of a ring light, yet it’s not exactly the same. Of course, as Art Adams says, it’s not a very interesting image because it lacks contrast. Sometimes though, it’s more important to make the person on camera feel good.

Lighting faces for livestream: conclusion

There are a lot of ways to light faces for livestreams or for other purposes. As you see, you don’t always need complicated gear or a lot of light sources and different accessories to make your image look good. We hope this demonstration by ARRI specialists was useful. If you want to gain more insight from working with ARRI camera systems, lenses, lights, and accessories, head over to MZed.com and watch all the episodes of “ARRI Tech Talk” for free.

What will you get with MZed Pro?

As an MZed Pro member, you also get access to nearly 300 hours of filmmaking education, plus we’re constantly adding more courses (several in production right now).

For just $30/month (billed annually at $349), here’s a breakdown of everything you’ll receive:

• 40+ courses, over 600 high-quality lessons spanning over 300 hours of learning.
• Highly produced courses from educators who have decades of experience and awards, including a Pulitzer Prize and an Academy Award.
• Exclusive access to ARRI Academy online courses.
• Unlimited access to stream all the content during the 12 months.
• Offline download and viewing with the MZed iOS app.
• The majority of our courses provide an industry-recognized certificate upon completion.
• Purchasing the courses outright would cost over $7,600.
• Course topics include cinematography, directing, lighting, cameras, and lenses, producing, indie filmmaking, writing, editing, color grading, audio, and even how to launch a YouTube channel.
• 7-day money-back guarantee if you decide it’s not for you.

Join MZed Pro now and start watching today!

Full disclosure: MZed is owned by CineD

Which setup from those mentioned above did you like the most? What is your go-to technique to light faces for a livestream? How would you place two similar light sources to create a compelling image? Let’s talk in the comments below!

Feature image source: ARRI Academy / MZed.

After the recent launch of the NANLITE FC-300B/FC-500B bi-color LED spotlights and the PavoTube II XR, the company is already back with an interesting series of LED panels: the PavoSlim.

NANLITE PavoSlim – features

At launch, four models of the NANLITE PavoSlim LED lights will be available. First, you’ll have the PavoSlim 60B and 60C, which are, respectively, 1×1 bi-color and 1×1 RGBWW panels. Next, you’ll have the 120B and 120C, which are 2×1 bi-color and RGBWW fixtures.

The 1×1 models have a power draw of 70W, while the 2×1 versions will draw 130W. Also, NANLITE told us that another 2×2 model will be launched later.

The PavoSlim 60C. Image credit: CineD

As their name suggests, the PavoSlim panels are very thin. The housing is made entirely out of metal, and they don’t have any built-in fans. Around the PavoSlim, you’ll find Velcro tape to attach lighting modifiers, such as a softbox.

At the back of the light head, you’ll find a detachable offset mounting adapter with a baby pin receiver. The twist-lock rear mounting plate offers flexibility—it can either be centered on the light head or slid up and down to accommodate different positions.

The light head of the PavoSlim series is powered and controlled via a separate ballast. On the PavoSlim 60B/60C, you can power the light via two Sony NP-F batteries, a V-Mount battery, or mains power. For the PavoSlim 120B/120C, you’ll be limited to mains power or a V-Mount battery.

We don’t have much information yet regarding wireless control, but the PavoSlim 60C/120C RGBWW panels will benefit from LumenRadio CRMX support. Also, you’ll probably be able to control all fixtures via the NANLITE control App.

Pricing and availability

At the moment, we don’t have any information about pricing for any of the four fixtures. However, as we were told by Andy Qibin Lin from NANLITE, the PavoSlim series will be announced later this year, around November 2023.

What do you think about these new PavoSlim LED lights? Could they be a pleasant and compact addition to your lighting kit? Do you prefer LED panels or rollable LED mats? Don’t hesitate to let us know in the comments below!

MID49 is a relatively new company that focuses exclusively on manufacturing high-end camera accessories. However, the team behind it is far from inexperienced. Indeed, MID49 is owned by Ryan and Elizabeth Schorman, the couple that founded Wooden Camera back in 2011.

After taking a break from designing camera accessories, they are now back under the new MID49 brand. We have already reported about some of their products like their Baseline 15mm LW Baseplate series as well as their Audio Breakout Boxes. On the show floor at IBC 2023, my colleague Nino sat down with Ryan to take a closer look at their new accessories tailor-made for the BMCC6K. Let’s take a detailed look!

MID49 cage for blackmagic cinema camera 6K – features

To start off, MID49’s new camera cage not only fits the newly-announced blackmagic cinema camera 6K, but is also retro-compatible with the Pocket Cinema Camera 6K Pro as well as the Pocket Cinema Camera 6K G2.

The actual cage nicely wraps around the camera on three sides, offering numerous 1/4”-20, 3/8”-16, and M4x20mm mounting points for accessories. The right-hand side of the body remains free intentionally, in order to provide access to the new CFexpress Type B media bay and the camera’s built-in grip.

On the left side of the cage, we find a locking clamp for HDMI and USB-C cables as well as the very low-profile AB-6 dual mini XLR to dual full-size XLR audio breakout box. Both the top right and left sides of the cage offer an opening to securely attach two additional 15mm rods. These 9-inch stainless steel rods also provide a 1/4”-20 and 3/8”-16 thread, plus a cold shoe mount.

The bottom of the cage integrates an Arca Swiss dovetail plate with safety pins as well as a front clamp to secure a lens adapter support post. This can come in handy to avoid wiggle when using a PL mount adapter mounted to the camera’s new L-mount, for example. Additionally, the Arca Swiss dovetail plate mounts on top of a quick-release 15mm LW baseplate featuring an ARRI standard interface at the bottom.

At the top, a top handle slides into an Arca Swiss attachment. The handle can be quickly swapped with an Arca Swiss top plate when rigging the camera for drone or gimbal applications. The top plate provides enough clearance to adjust the camera’s EVF.

Price and availability

The new MID49 Cage for blackmagic cinema camera 6K is now available to pre-order from the company’s website starting at $299. MID49 also offers two pre-bundled accessory kit options, the Base Kit and the Full Kit. They retail for $695 and $995 respectively. The products should start shipping towards the end of October 2023.

For more information, please visit MID49’s website here.

What do you think of the design of MID49 accessories? Are you going to complete your new Cinema Camera 6K setup with this cage? Let us know your thoughts in the comment section below!

Back in June 2023, my colleague Graham visited the DZOFILM booth during the Cine Gear Expo at the Los Angeles Paramount Studios. He got a preview of the company’s new ultra-wide cinema lens – the Vespid 12mm T2.8. Check the article with our video interview in case you missed it. Today, DZOFILM officially announced the lens along with the final specs and pricing. Let’s take a look at it.

DZOFILM Vespid 12mm T2.8 cine lens

As the name implies, the new Vespid 12mm T2.8 VV cine lens covers large-format sensors up to Vista Vision (46.5mm image circle). Coming with PL mount (user-interchangeable to Canon EF mount), the lens is 72mm long and weighs 725g. With its 80cm front diameter, the DZOFILM Vespid 12mm lens includes a 77mm front filter thread.

Optically, the Vespid 12mm contains 15 elements in 10 groups including two aspherical lenses. The lens features a minimum focusing distance of 20cm (from the sensor plane) and a shorter working distance of 7.5cm. The iris, featuring 10 blades, can be adjusted from T2.8 to T22.

The iris ring has a 75° focus throw while the focus ring matches the rest of the Vespid line – 270° (the only exception is the 90mm macro lens with a 300° focus throw).

Vespid prime cine lens series

Vespid Prime Series now consists of 11 lenses that are, according to DZOFILM, identical to each other in outside appearance and imaging styles.

• DZOFILM Vespid 12mm T2.8
• DZOFILM Vespid 16mm T2.8
• DZOFILM Vespid 21mm T2.1
• DZOFILM Vespid 25mm T2.1
• DZOFILM Vespid 35mm T2.1
• DZOFILM Vespid 40mm T2.1
• DZOFILM Vespid 50mm T2.1
• DZOFILM Vespid 75mm T2.1
• DZOFILM Vespid 90mm T2.8
• DZOFILM Vespid 100mm T2.1
• DZOFILM Vespid 125mm T2.1

The company claims the lenses can complement each other in resolution, focus breathing, look, etc. The focus ring and aperture ring with the standard 0.8 Mod are located on the same spot making it easier to change lenses.

Price and availability

Starting today, the DZOFILM Vespid 12mm T2.8 VV prime cine lens is available for pre-order. The retail price has been set to $1,799.

DZOFILM also offers two versions of the Vespid cine prime lens kit. Each contains 10 lenses and retails for $13,199. (one set has the 12mm and the other has the 90mm macro lens).

• Vespid 21/25/35/40/50/75/100/125mm T2.1 +12/16mm T2.8
• Vespid 21/25/35/40/50/75/100/125mm T2.1 +16/90mm T2.8

What do you think about the new DZOFILM Vespid 12mm T2.8 VV lens? Did you work with any of the Vespid primes? How do you like the image? Let us know in the comments section underneath the article.

The XEEN Meister primes were first introduced back in November 2021, and at launch, only three focal lengths were available: 35mm, 50mm, and 85mm. The Meister series of lenses all have a maximum aperture of T1.3 and cover full-frame image sensors. However, with only three focal lengths available and the widest one being only 35mm, it was hard to call the XEEN Meister a proper lens set.

Ahead of IBC 2023, XEEN announced the addition of two new focal lengths to the Meister primes: a 14mm T2.6 and a 24mm T1.3. As you know, tradeshows are the perfect occasion to get our hands on newly announced products, so we stopped by the XEEN booth to learn more about these new wide-angle lenses.

XEEN Meister 14mm T2.6 and 24mm T1.3 – specifications

With the recent addition of two new wide-angle options, the XEEN Meister series now consists of five lenses, including a 14mm T2.6, a 24mm T1.3, and the already released 35, 50, and 85mm T1.3.

Since the XEEN Meisters are mainly targeted at rental houses and high-end productions, you can expect a lot of consistency in the lens set, including:

• Full-frame image sensor coverage with a 43.2mm image circle. According to XEEN, the lenses can easily resolve 8K+ resolutions.
• The lenses will be available in three different lens mounts, including Canon EF, Sony E, and PL mount. The PL mount version supports the Cooke i-Technology protocol that can record the lens metadata.
• The XEEN Meister primes housing is mainly made out of metal, with a front barrel made of titanium for extra durability.
• An outer diameter of 114mm (which is an industry standard for matte boxes). However, the 14mm T2.6 has an outside diameter of 134mm. The lenses don’t have any front filter threads.

• The focus throw is very long at 300 degrees. Both aperture and focus gear ring positions will match between the lenses, so you will save time when swapping out lenses as you won’t need to re-adjust the focus/iris motors or matte box positions. The scales are on both sides of the lens for focus pullers and feature a luminous font.
• Thirteen aperture blades for a smooth and pleasing bokeh.
• All lenses feature XEEN’s X-coating to control internal light reflections that effectively reverse back “the internal light reflections to create a distinctive look with flare and ghosting for dramatic effects,” according to the company.

Pricing and availability

The XEEN Meister 14mm T2.6 and 24mm T1.3 should be available soon and retail for $5,995 per lens. The price of the XEEN Meister series has been reduced from $8,495 to $5,995, allowing them to fall into a more “reasonable” ballpark.

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

What do you think about the XEEN Meister primes? Have you already had the chance to shoot a project with these? Don’t hesitate to let us know in the comments below!

It has been a pretty busy tradeshow for SIRUI this year! Indeed, if you missed it, the company was kind enough to show us their upcoming Sniper autofocus lenses during an exclusive interview.

Back to our main topic and a product that the company has excelled at for more than 20 years now: tripods. The SIRUI SVT75 was first announced back in August 2023. Also, if you missed it, my colleague Nino did an entire review of this tripod that you can watch here.

SIRUI SVT75 – key features

In that video, we discussed with Sonny from SIRUI about the SVT75 Pro set of legs. Another version, called the SVT75 Lite, is also available. The main difference is that the Pro version includes a mid-spreader, a 75mm half bowl, and a carrying handle. Other than the extra accessories, all of the other features of the tripod legs are identical.

Here are the main features of the SIRUI SVT75 tripod:

• The legs are made of carbon fiber and have a large diameter of 40mm/1.6in.
• The SVT75 Lite weighs 3.5kg/7.7 lbs, while the Pro version tips the scale at 4.3kg/9.5 lbs.
• One-step height adjustment levers on all legs.
• Maximum height: 1.53m/5.02ft. Minimum height: 21cm/0.68ft.

• Removable mid-spreader with a quick-release design.
• Maximum payload capacity: 25kg/55.1lbs.
• Bowl size: 75mm.

SIRUI SVH15 fluid head features

We already had an in-depth talk with SIRUI during NAB 2023 about the SVH15 fluid head, but here are the main features:

• 75mm half-ball mount.
• Weight: 3.6kg/7.7lbs.
• Maximum payload capacity: 15kg/33 lbs.
• The head has seven user-adjustable counterbalance settings.
• Pan and tilt drag adjustments with 1-9 steps.
• It uses a Manfrotto-style quick-release plate, which is compatible with DJI RS2 / RS3 gimbals.

Pricing and availability

The SIRUI SVT75 tripod legs and SVH15 tripod legs are currently available to pre-order via a crowdfunding campaign on Indiegogo, which is already fully funded. Various packages are available, starting at $399 for the SVT75 Lite and $519 for the SVT75 Pro. Also, a full kit that includes the tripod legs and head is available starting at $879.

At the end of every crowdfunding campaign, we remind you that although SIRUI is an established company behind this campaign, please be aware of the risks when backing a project on a crowdfunding platform. Please read Indiegogo’s terms of use – especially the section about “Backing a campaign”. Keep in mind that there can be significant delays when delivering the product, and some products don’t get delivered at all.

What do you think about the SVT75 tripod legs? Did you already pre-order this tripod system? Don’t hesitate to let us know in the comments below!

Chinese manufacturer SmallRig built a solid reputation over the years for creating camera cages and accessories with an impressive price-feature ratio. More recently, the company started exploring other market segments, such as video tripods, microphones, LED lights, and camera batteries, to just name a few.

This time, SmallRig is back with two yet-to-be-released products: the RC 60B bi-color LED light and an upgraded Pro model of their popular V-Mount batteries.

SmallRig RC 60B – features

As its name suggests, the SmallRig RC 60B is a 60W bi-color LED light, and it’s the smallest light SmallRig has made so far. The fixture can go from 2,700K to 6,500K, and the light output can be adjusted from 0 to 100%.

According to the manufacturer, the RC 60B has a CRI of 97+ and a TLCI of 98+. In terms of brightness, you can expect 2,500lx at 1m/3.2ft bare bulb and 30,000lx using the included Mini Bowens Mount reflector at the same distance.

On the right side of the RC 60B, you’ll find a color display with two knobs to adjust the brightness and color temperature. These knobs are also used to navigate inside the fixture’s menu and activate lighting effects, for example.

The main selling point of the SmallRig RC 60B is that it has a built-in battery with a maximum run time of around 40 minutes at full brightness, according to the company. On top of the light, there is a fan, so it’s not a completely silent fixture, but as for now, we don’t have any more information on it.

At the back of the light, you’ll find a power switch and a USB-C Power Delivery port to charge the light or run it through mains power. SmallRig will offer a “Power Kit” version, which includes a battery clamp. With this kit, you’ll be able to clamp a power bank or V-Mount battery at the back of the RC 60B for extended runtime.

At the bottom of the RC 60B, you’ll find a 1/4″-20 light mount, and the fixture comes with a light stand mount with an umbrella mount. Lastly, SmallRig told us they’re working on several lighting modifiers with a Mini Bowens mount for the RC 60B, such as a softbox.

SmallRig Pro Series V-Mount Batteries announced

SmallRig also showed us the first 99Wh model of their new Pro Series lineup of V-Mount batteries. The only model available will currently be 99Wh, but more battery capacities should be announced shortly. So, what are the upgrades compared to their previous V-Mount batteries?

First of all, the housing of the Pro Series batteries is now made out of aluminum/metal instead of plastic, which should be more rugged and future-proof. At the front of the battery, the screen has been upgraded to a larger full-color one to make it easier to read at a distance.

On the right side of the battery, you’ll still find one D-Tap output to power camera accessories. On top of the battery, you’ll now get one USB input/output port, another USB-C output, a USB-A output, one 12V barrel output, and one 8V barrel output. David Zhou from SmallRig told us that the Pro Series will now be able to give you the maximum power output from each port without any voltage dropout.

Pricing and availability

The SmallRig RC 60B should be available in October 2023 for around $200/€200. The SmallRig Pro Series 99Wh V-Mount battery should retail for about $300/€300 and will be available soon.

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

What do you think about these new SmallRig announcements? Could the RC 60B be a handy addition to your lighting kit? Do you already have SmallRig V-Mount batteries and are considering upgrading to the Pro version? Don’t hesitate to let us know in the comments below!

The Portkeys BM7 II DS was officially introduced back at NAB 2023. However, I’m not sure this product received the attention it deserved. Indeed, for less than $1000, it packs tons of features that make it one of the most interesting 7-inch monitors in this price range, in my opinion.

The company’s BM5 series is a very popular choice among 5-inch on-camera screens thanks to its rugged design and high-brightness display. I personally purchased a BM5 II quite a few years ago and it still serves me incredibly well to this day. But let’s take a closer look at what this new 7-inch edition has to offer!

Portkeys BM7 II DS – key features

The design of the new Portkeys BM7 II DS is very similar to that of the BM5 series. Indeed, the monitor features a rugged aluminum construction that protects the bright 7-inch 10-bit (8+2 FRC) touchscreen display with a resolution of 1920×1080, a contrast ratio of 1000:1, a viewing angle of 85° in all directions, and a maximum brightness of 2200 nits. Each BM7 monitor is calibrated at the factory and is claimed to cover 100% of the Rec.709 and 85% of the DCI-P3 color space.

The monitor has single HDMI in/out ports, two SDI inputs, and one SDI output. This allows you to monitor two different SDI sources at the same time. Various viewing modes are available, including dual horizontal, dual vertical, left-horizontal / right-vertical, and left-vertical / right-horizontal. Moreover, the BM7 II DS supports HDMI to SDI signal conversion.

Another interesting feature is the ability to simultaneously monitor 16:9 input as well as a 9:16 crop of the same source side-by-side. For example, this can be useful if you want to show your director how the final output will look when shooting for both horizontal and vertical deliverables.

User interface and monitoring tools 

The BM7 II DS’s software looks very similar to that of the latest BM5 models. Honestly, I’m not a huge fan of their new “icon-based” user interface, which is why I still run the original “list-view” software on my BM5 II, as I find it more intuitive to use. Following SmallHD’s lead, other monitor manufacturers are moving to page-based software. Personally, I think that Portkeys could attract an even broader audience by simply refining the UI of its monitors.

Nonetheless, the BM7 II DS still offers a wide range of professional monitoring tools, including waveform, histogram, zebra, ARRI False Color, peaking, zoom, frame guides, grids, image capture and image overlay, anamorphic de-squeeze (even with custom values ranging from 0.25 to 4x), audio meters, and more.

You can also load custom 3D LUTs into the monitor using a USB-A drive. These can also be applied to the HDMI or SDI outputs, which can obviously also deliver a clean video feed.

Design and power

The rugged aluminum construction results in a total weight of approximately 460g/16.2oz, which is not much for a monitor of this size. The body integrates top and bottom 1/4”-20 mounting points, while still retaining four user-assignable buttons as well as a MENU scroll wheel/selection dial.

Compared to the BM5 series, the BM7 II DS offers more powering options. The monitor only draws 15W and can be powered via either the back NP-F style plate (with support to battery hot-swap), the 5.5mm locking barrel connector, or a 2-pin LEMO port. The monitor ships with a D-Tap to 5.5mm locking cable, while D-Tap to 2-pin LEMO power cables are commonly available on film sets.

Camera control

Last but not least, just like the BM5WR, the monitor has a removable 2.4GHz antenna. This can now be folded on the back of the monitor, meaning it’s more protected when storing the monitor in its hard case.

The BM7 II DS supports wireless control of RED KOMODO and V-RAPTOR cameras, plus selected Sony and Blackmagic Design cameras (the latter connect via Bluetooth). Wired control of many Sony, Canon, Panasonic, BMD, and Z CAM E2 cameras as well as Tilta Nucleus-Nano/M follow focus motors is also supported.

Price and availability

The new Portkeys BM7 II DS monitor is now available to purchase from B&H and CVP. It retails for $899 or €857 (excl. VAT).

For more information, please visit Portkeys’ website here.

Have you ever used any of the Portkeys BM5 series monitors? What do you think of this new 7-inch version? Let us know your thoughts in the comment section below!

CVW Aurora – 4K HDR 10-bit 4:2:2 video transmission

The Aurora Wireless 4K Video Transmission System can transmit HDR video signals at up to 4K resolution, delivering clear and detailed imagery, and with 60fps, it should ensure exceptionally smooth visuals.

The system offers 10-bit color depth and 4:2:2 chroma sub-sampling. Also, Li claims that it can transmit signals over a maximum distance of up to 500m/1640ft with a latency of less than 60ms (dependent on line-of-sight). This should ensure that broadcasts remain seamless and synchronized, which is especially crucial for live events, interviews, and real-time commentary. The minimal delay also means that viewers experience content in real-time without noticeable delays.

12G-SDI connectivity and versatile design

In addition, the Aurora Wireless 4K Video Transmission System offers support for 12G-SDI input/output, 12G-SDI loopout, and HDMI input/output. It also includes features like timecode transmission, Tally (high/low), voice intercom, and additional camera control support for PTZ cameras, making it a comprehensive solution for professional broadcasting needs.

The transmitter’s design allows it to be sandwiched between the camera and a V-mount battery, so it can be comfortably rigged to bigger, broadcasting cameras. Furthermore, the battery, attached to the rear of the transmitter, can simultaneously power up both the transmission system and the camera.

Network selection and cloud connectivity

Moreover, the Aurora system automatically locates the best available network by scanning all potential channels and establishing the most dependable connection. The transmitter converts your signal and can automatically send proxies to the cloud. It also supports all internet RTSP protocols, enabling direct transmission from the device to the cloud.

Aurora Wireless 4K Video Transmission System – features

• Transmission Distance: 300m to 500m / 990ft to 1640ft Line-of-Sight Transmission
• Transmission Rate: 30 Mb/s bitrate
• 5.1 to 5.8 GHz operating frequency
• Supports up to UHD 4K Video
• 1x HDMI, 1x 12G-SDI Input
• 1x HDMI, 1x 12G-SDI Output
• Synchronous Timecode Transmission
• MIMO and Beamforming Technology
• Tally, Intercom Function
• RS-232/422 Bidirectional Transmission
• Sandwich V-Mount Transmitter Structure

Pricing and availability

The CVW Aurora Wireless 4K Video Transmission System is available now and is priced at $11,600 / €15,315.12.

For more information, visit the CVW website.