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It functions as a video “switching” tool that allows users to sync up to four iOS devices, switching between each unit’s built-in camera, and allowing users to record the final mixed video and stream a live video feed to services like Ustream and YouTube Live. The point is, this app – which debuted only six months ago – is for anyone/everyone. They’ve had a radio station use it to stream live video of their Saturday morning talk show, too. Or if you’re shooting a super low-budget indie and need some easy footage for your social media campaign, Switcher Studio would work for that too. This app might be best for the young buck who is making a living wherever s/he can, trying to build up a reel while making rent in Los Angeles.

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Switcher Studio (for iPhone, iPad – free to $500) ‘Dark Winds’ Embraces ‘Navajo Noir’ in Season 2

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Granted, it was the iOS6 version of FiLMiC Pro on an iPhone 4S that was featured in the Zacuto shootout, but the same 50mbps FiLMiC Extreme encoding that was used in that test is in the app today.

Using the Extreme encoding option, FiLMiC Pro beat the $5,000 Sony FS100 and tied the $13,000 Canon C300 in blind audience testing at the 2012 Zacuto: Revenge of the Great Camera Shoot Out.

#Luxi photosphere attachment manual

In the iOS 8 version, you not only get control over exposure, focus and white balance, but additional manual control over exposure compensation, shutter speed, color temperature and ISO. And like an actual DSLR, FiLMic Pro has many presets that are customizable, like adjustable frame rate and resolutions, framing options, image stabilization and audio and video encoding levels. You can actually record footage at up to 50mbps. In a nutshell, this app gives your iPhone better zoom, better control over frame rates and better audio recording options, like line level audio input through disabling the AGC (automatic gain control) and stereo microphone support. READ MORE: 7 Mobile Apps Every Filmmaker Should Have in Their Toolkit

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Though our first piece in this series had a few on there already, this round is specifically dedicated to our dear camera crews. (Why am I telling you this? I would rather have you understand these limitations up-front and not buy Cine Meter II, than have you buy Cine Meter II unaware of them and be disappointed.Below we’ve gathered handful of apps that cinematographers can’t seem to get enough of. The picture and waveform monitor then show you levels and colors relative to your locked settings.

To compare exposures and colors, you lock Cine Meter II’s auto-exposure and auto-white-balance settings while looking at a known good reference, such as a gray card. The picture and waveform monitor show you *relative* levels within a scene, not *absolute* levels based on the meter reading.Ģ) You can't *preset* exposure or color temperature in Cine Meter II. It's designed solely for cine/video work and isn't optimized for still photography for example, it's shutter-priority only.Ĭine Meter II gives you *absolute* light meter readings, but *relative* picture and waveform monitor levels:ġ) Cine Meter II’s picture and waveform monitor do not use the *exact* exposure shown by the light meter (they are close to the meter reading, but can differ from it slightly). It's NOT a flash meter it can't measure strobes.

False-color mode lets you define allowable contrast ranges, and see instantly which shadows are underexposed and what highlights risk clipping.Ĭine Meter II is NOT a color-temperature meter it doesn't measure white balance.

The waveform’s RGB mode shows you color imbalances in the image and gives you a handy way to check color purity and separation for chroma-keying. You'll see how smooth and even the lighting is on a greenscreen or background, and find subtle hotspots and shadows at a glance.

The waveform monitor shows you how light levels vary across a scene.

Cine Meter II lets you use shutter angles from 11.25º to 360º – ideal for Digital Bolex and Blackmagic cameras – as well as speeds, and you can dial in ND filters and arbitrary exposure compensations.

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The meter shows you your stop as a decimal value (such as 5.0, good for cameras with EVF iris readouts) or as a full stop and fraction (like 4.0 ⅔, good for cine lenses with marked iris rings).

You can also measure incident light using a Luxi™ photosphere or Lumu™ metering attachment, with lux or foot-candle readouts. Cine Meter II is a cinematographer's spotmeter with an RGB waveform monitor and a false-color picture, using the camera in your iPhone / iPod / iPad.