When it came time to edit, I had no concept of decibels. I had two very flawed standards for success: I would set my computer speakers to 50% volume, assuming that was how everyone on YouTube listened to their videos. As for the dancing audio bars in my editing software, they were a complete mystery to me. My only rule was to make sure they didn’t hit the red zone. If they weren’t red, it was good.

It was only when I received feedback from my YouTube audience that I realized that audio is half the experience for the viewers and listeners, and I had to start managing audio levels with the same attention I gave to my cinematography. 

In this article, we will move beyond the guesswork. We will break down the fundamental science of decibels, learn how to read your software’s meters, and establish a clear, repeatable workflow for managing audio levels. 

Understanding the Decibel (dB)

To fix my mistakes, I had to learn the language of sound. In digital audio, we measure volume using dBFS (Decibels relative to Full Scale). A dB (decibel) level is a logarithmic unit used to measure the intensity of sound or the power of a signal. By logarithmic, we mean that the sound intensity is measured on a scale where each 10-decibel increase represents a tenfold increase in actual sound intensity. For example, a sound at 30 decibels is 10 times as intense as one at 20 decibels.

This is how our ears work; we don’t perceive volume in linear steps. In the digital world, an increase of just 3dB actually represents a doubling of the electrical power, while only a 10dB increase is perceived by our brains as twice as loud. 

The Anatomy of the Meter in Audio World

If you have ever been confused by those flickering bars in your editing suite, think of them as a speedometer for your audio. Essentially, they represent the volume of your signal in real-time. Moving forward, we will refer to these bars simply as the meter in this article. In practice, the meter is your primary diagnostic tool for managing audio levels, acting as a visual guide to ensure your sound is consistent from start to finish.

At the very top, the peak of the meter going up and down is 0 dB. This is the absolute ceiling in the digital world for recording and editing. Therefore, you should think of it as a hard physical wall. Consequently, once you reach the maximum value the digital system can represent (0 dB) and a sound wave tries to go higher, the digital system simply clips the sound. In other words, it is a hard cut of the audio.

Ultimately, the meters in your software are your primary defense against poor audio. To make things easier, use the table below to understand what your levels are telling you at a glance.

Peaking and Clipping: The Danger Zone

Peaking occurs when your audio hits its highest point in a recording. Ideally, your peaks should sit comfortably within a safe range, leaving room for unexpected sounds.

Clipping, however, occurs when you exceed the 0 dBFS ceiling. When the signal hits that wall, the software can no longer record the waveform, so it literally chops off the peaks. Once you record a clipped signal, no filter or plugin in the world can fix it.

Input Device Selection

As mentioned in our earlier article (Daniel can insert the link here to the article in which we mentioned recording devices), the audio recording device you choose is only half the battle. And by the way, correctly configuring the device is the first step in managing audio levels before the signal ever touches your software.  You must always adjust your gain levels on the device itself to ensure a clean signal before it ever reaches your software.

Practical Audio Targets for Editors

Consistency is the key to a professional mix. When you are editing your project, use this table as a guideline for your final mix levels.

Managing Audio Decibel Level: A Practical guide to mixing sound effects, ambient sounds, dialog, and music

Final Remarks

Learning to effectively control sound is an essential part of the process to craft cinematic masterpieces. By consistently managing audio levels throughout your production, you ensure your work is immersive and clear, and your future self will thank you for the results.  Also, don’t just watch the bars, listen. If you find yourself constantly reaching for the volume knob on your remote while watching your own edit, your levels are likely too dynamic. Aim for consistency, respect the headroom, and never let your signal hit that red line. 

The post Mastering Audio Levels: A Filmmaker’s Guide to Decibels and Metering appeared first on Adorama.

My main purpose was to photograph muskoxen during the trip, but it also provided the perfect opportunity to test the Shimoda Action X70 HD in the field. It was an exhaustive project, involving heavy wildlife photography gear and camping equipment, so a large backpack able to accommodate the entire load without killing me in the process or worse, damaging my camera and lens, was a necessity.

The Shimoda Action X70 HD 70 appealed to me for its generous volume, reinforced structure, and, foremost, its adaptability to my changing needs. I would have to carry roughly 25% of my body weight during long treks, and some of it would be sensitive photo gear. Efficiency was a must, and the Action X70 HD promised me full control over how I pack my gear, quick access to what’s essential for a wildlife photographer, and all the support I would need to pull off this difficult photo session. Nice in theory, but how about in practice?

Packing the Action X70 HD for a Norwegian Field Trip

The Action X70 HD (by the way, HD stands for heavy-duty, a promising title) is designed to incorporate a DV Core Unit. This unit is a special insert that accommodates cameras, lenses, and other important photography gear. The inserts come in many forms, so you can organize your gear as you like. Additionally, Shimoda recently added three new insert sizes: Large, Extra Large, and XXL. You can buy them separately from the backpack and switch between them as needed. This is a customization I greatly appreciate as I don’t take the same gear to all my photo trips.

On this wildlife photography expedition, I required space for a 600mm lens mounted on the camera. The only core unit able to accommodate this combo was the XXL insert. My Nikon Z8 with the Nikon Z 600 f/4 TC attached takes up the entire left side of the DV Core Unit. On the right side, I had the vlogging setup (Nikon Z6II + Z 24-70 f/4 and my external microphone), plus an ultralight tent, sleeping bag, and extra woolen clothes. Once I got the tent up and dumped a lot of the gear, the bag had a lot of space.

In addition to storing the combo safely, the XXL insert lets you take the camera with the attached 600mm lens out via the rear of the backpack and the top when the upper compartment is unused. However, I maxed out every available inch of the bag.

Large Side Pockets

The two side pockets are huge. They are the biggest I’ve ever seen on a backpack, and I loved them instantly. They fit tripods, 2-liter water bottles, and other large pieces of equipment you need on your trip. I used one of them for my tripod and one for an extra water bottle. That’s because I didn’t bring a second tripod, and my 650ml Nalgene drinking bottle was in an even better, more accessible place.

Well Designed, Inside and Out

Shimoda did a very good job of designing exterior accessories for this bag. There are straps and loops for everything, from skis to ice axes. If you don’t bring skis and ice axes, you are free to use them for anything else. For instance, I mounted the foam pad, ground sheet, and sleeping pad on the outside of the bag. You can mount a climbing or biking helmet on the exterior, too, as the bag has a designated helmet holder.

There are two very conveniently placed, reasonably sized zippered pockets on the shoulder straps, which I used to store my drinking bottle and my phone. There are two additional pockets on the waist belt that I used to store fast-access items, such as extra batteries and snacks.

I like to have my stuff organized during long treks and easy access to the essentials: camera and lens combo, batteries, phone, water, snacks, sunglasses, binoculars, and the list goes on. A good pocket system also helps with weight distribution and makes things easier for my back and shoulders.

The generous front pocket lets you carry a laptop, but I wanted to be as offline as possible on my mini-expedition, so I used it to stuff a jacket, sitting mat, and extra clothes.

With everything packed, I tightened the compression straps and concluded that packing the Action X70 HD was surprisingly easy.

On the Move Impressions

During this trip, I carried my 20kg backpack for roughly 15 km fully loaded and 30km with only the camera gear, snacks, and water (roughly 8 kilos). It quickly became clear to me that I was enjoying having everything important at hand. Lifting and putting down the heavy backpack was not something I intended to do very often. However, even when I was putting it down in the muddy terrain of the Norwegian mountains, I was confident my things would be all right.

The Action X70 HD isn’t called HD for nothing. It’s stable and rugged, featuring a padded, reinforced base panel that can tackle any surface. The open top is wired so it can sit upright whilst you’re searching for things inside. It comes with a rain cover but holds up pretty well in light rain on its own, too. It really is prepared for anything you throw in its direction.

Custom Adjustments for Comfort

However, there was something I was enjoying even more than having everything within reach. I liked the ability to adjust the bag for my torso height. You have around 10cm of vertical adjustment divided into four size options. I’m 170cm tall, so I set the shoulder straps to S, which makes the entire bag sit a little higher on my back. Paired with the waist belt, the adjustment resulted in less pressure on my shoulders and improved posture. A poorly fitting backpack with 20kg of gear is a recipe for back injury and the end of your expedition.

Shimoda also provides an additional Booster Kit that adjusts the backpack to fit people with taller or broader torsos, for whom the 10 cm isn’t enough. It wasn’t the case for me, but this is a useful feature to know about. On expeditions like this, it’s important to feel comfortable, preserve your energy, and avoid injuries.

In addition, the waist belt is stiff, padded, and supportive, but also adjustable to fit your body. The straps are made with high-density EVA and are very comfortable. So is the padding on the back. Overall, it’s a comfortable bag, and I enjoyed carrying it around.

Notes to Myself for Future Trips with the Action X70 HD

Fitting the XXL insert left me with less space in the upper compartment, so I had to compress everything and use the space I did have to the max. I couldn’t even fold the roll-top 3 times, which is necessary for it to be completely waterproof. As a result, I couldn’t use the top access feature.

Also, after almost 2 hours in the rain, I discovered that my extra clothes in the top compartment were wet, but I also realized I hadn’t put the rain cover on; Go figure.

I also need to make better use of the two zippered rooms in the top compartments, based on what you need quick access to and what you don’t. You can access one of them through an outer zipper from the front of the backpack. But if you put things in the other zipped pocket that you need on the go, you have to access them through the top opening instead. It is not a design fault; it’s just my own lack of awareness when I put the car keys and passport in the easy-access zippered pocket, and the extra memory card in the one hard-to-access inner pocket. 

Which Insert to Choose?

Another aspect I’ll consider for future trips is the choice of insert. For my 600mm lens, getting the XXL insert was a no-brainer. However, for smaller lenses, the XL or even the L insert may be enough.

A smaller-sized insert leaves you with more room in the main compartment. That is in addition to what you have in the top compartment. Thus, with a smaller insert, it’s up to you to keep your things organized in the remaining space.

The insert range is broad and I may be tempted to purchase multiple inserts. However, I’ll try to keep my gear to a minimum. I want the smallest-size insert that fits my gear to avoid adding extra weight. Also, to have as much space as possible for the rest of my things. For reference, the Action X70 HD weighs 2.8kg on its own. Add the XXL core unit, and I get an additional 1.48kg. The XL insert weighs 1.39kg and the L insert, 1.2kg. On long treks, every gram matters.

Untested Features

I noticed a couple more features that I didn’t use on this trip but will prove helpful in the future. One of them is the option to remove the waist belt. It will come in handy if I ever need to fly with my Action X70 HD. The other two are the back handles. These handles help you lift the heavy bag easily when loading it into a car, for example. They also remind you to place the bag with the rear side up. Which is important because that’s where the photo gear is stored.

Final Thoughts

After spending some time in the Norwegian wilderness with the Shimoda Action X70 HD backpack, I’m very satisfied with it. It had no problem handling the terrain and weather conditions, accommodated all the gear I needed to bring, and allowed me to have a comfortable trek. I loved the accessories and found a use for most of them, whether or not they had the designated functionality. Foremost, I greatly appreciated the customization options for both my gear and my body. A wildlife photography expedition is a much more physical endeavor than one would imagine, and I need equipment that’s efficient, comfortable, lightweight, and easy to use. The Action X70 HD proved to be the perfect partner.

The post Shimoda Action X70 HD 70L Backpack – The Deep-Dive Review (Field Tested) appeared first on Adorama.

What makes this story compelling, beyond the fact that the show was shot in just four days on a Fujifilm GFX Eterna 55? For me, it’s the compressed timeline and in-house writing, directing, producing, shooting, and editing. Those choices make Mama’s House a benchmark for any vertical that comes after it. Here are the highlights from my conversation with the creators, Michelangelo Corkrum and Andres McCorkle, aka The Cork Bros.

From Commercial Creators to Short-Form Storytellers

The second thing I asked the pair was whether they are real brothers. The answer was no, but they’ve known each other so long and are so close that they might as well be. Their story is an interesting one: two commercial photographers and videographers who deliberately walked away from safe client work to bet on a storytelling format most people were dismissing.

Their debut vertical micro drama isn’t just another mobile-first series. It’s an emotionally layered family drama about identity, caregiving, sisterhood, and the complicated ways we define ourselves, told in episodes often shorter than three minutes.

It’s also the culmination of years spent asking a simple question:

How do you tell stories that people connect with?

For Andres and Michelangelo, the transition wasn’t sudden. Instead, it started with a shift in focus that gradually led them away from documentation and toward storytelling.

“As we worked with more commercial clients,” they explain, “we kept coming back to storytelling. The projects that resonated most were always the ones where people connected emotionally.”

Photography and filmmaking stopped being the destination. They became the tools.

Eventually, the pair realized many of the stories they wanted to tell were not the ones clients wanted to commission. From there, they decided not to wait for permission and create those stories themselves.

Betting on the Vertical Format Before Its Popularity

If you’re not familiar, vertical-format storytelling is in a 9:16 aspect ratio and lasts between 90 seconds and a couple of minutes. Long before this type of media exploded in the U.S. around 2022/2023, the Cork Bros believed storytelling was already moving toward the phone. 

“To give context to the format,” says Andres, “they’re really for those moments when you are on the subway, you have three stops to go, and you just want to consume something quickly.”

Back in 2021, they entered a vertical documentary into a filmmaking competition, despite the competition explicitly requiring a horizontal format.

“It completely broke the rules,” they both laugh.

It also reinforced something they already believed: vertical storytelling wasn’t simply a social media trend. And it was becoming its own language.

By late 2025, as vertical dramas were taking off internationally, especially after massive success in China in the three years prior, the opportunity finally aligned with the creative direction they’d been moving toward for years. Rather than seeing the format as limiting, they saw new creative possibilities.

“The human figure is vertical,” says Michelangelo. “There are stories that actually become more intimate because you’re closer to the person.”

A Family Story with Universal Themes

While Mama’s House centers on a Black family, the Cork Bros intentionally resisted making race the central conflict. Instead, they framed the story around something almost anyone could recognize.

“We wanted to tell a universal story but done with a Black cast,” they say. “The representation happens naturally.”

Michelangelo wrote the script during a three-week trip to New York, pulling inspiration from conversations he’d had for years with Andres about the invisible labels people place on themselves and the courage it takes to break free from them.

Originally, the story focused primarily on the eldest daughter, Denise, and her dying mother. But during the writing process, something changed. “I didn’t want the sisters to simply be fighting each other,” says Michelangelo. “I wanted it to become a story about sisterhood.”

Each daughter ultimately became an expression of a different struggle with identity:

Denise, the caretaker whose life has mostly been consumed by caring for her mother.

Patty, whose need for perfection keeps her trapped in a job that never stops taking from her.

Carmen, who walks away when life becomes too difficult.

Those archetypes weren’t invented. They were drawn from Andres and Michelangelo’s own experiences, their family dynamics, and the people around them. That connection helped ground the characters in lived experience.

Even the mother’s emotional letters, at the core of the drama, were inspired by conversations Michelangelo had with his own mom about why she loved his sister unconditionally.

Belief First, Funding and Tech Support Second

Like any worthwhile creative project, Mama’s House began before the Cork Bros had all the answers. They didn’t have financing or even a clear roadmap for getting the production off the ground. Still, they had momentum, and they refused to wait for perfect circumstances before moving forward.

Rather than waiting until they had every piece in place, the brothers announced an open casting call before securing project funding and began talking about Mama’s House with friends, collaborators, and even members of their Bible study. That confidence proved contagious.

“Investors saw that we were moving forward whether the money showed up or not,” Andres says.

Within 10 days, the Cork Bros had raised $45,000 from friends, family, and supporters who believed in both the project and its filmmakers.

Then, one afternoon as Michelangelo was driving home from the gym, he had the creative breakthrough that helped shape the project’s visual identity. After watching YouTube videos about the FUJIFILM GFX ETERNA 55, he realized the camera could solve one of the biggest challenges of shooting a vertical micro drama. 

“Everything I was reading about vertical filmmaking said you could only fit one or two characters in a shot because you just don’t have the horizontal space,” he says. “I kept thinking about all the limitations of the format.”

Unlike traditional full-frame cameras, the ETERNA’s unique 4:3 medium-format sensor, says the Cork Bros, offered just a little more horizontal real estate while remaining perfectly suited for vertical storytelling. That extra width would allow conversations to breathe naturally without sacrificing the intimacy that makes the format so compelling.

“We thought, ‘Wait, this could be perfect for a micro drama. The next question became, ‘How do we get the camera?'” 

Fujifilm GFX ETERNA 55: The Right Camera for the Job

Because vertical framing offers less horizontal space, the Cork Bros began searching for a camera that could better support the visual language they imagined. That search led them to the Fujifilm GFX ETERNA 55.

With its unique 4:3 medium-format sensor, the GFX ETERNA 55 offered slightly more horizontal information while still embracing vertical composition, allowing scenes with multiple characters to breathe without sacrificing intimacy.

The brothers reached out to Adorama, a company they’d previously collaborated with on Picture America, a docuseries capturing the heart and soul of Atlanta, GA. 

For Mama’s House, their pitch wasn’t about gear. It was about the story they wanted to tell, which helped guide what came next.

Four days and 72 Episodes

The production itself was remarkably lean, an approach that shaped every aspect of the shoot.

Executed over just four days in a three-room Airbnb with a five-person crew and a relatively unknown cast, the project demanded that everyone wear multiple hats.

Michelangelo wrote, directed, operated the camera, handled lighting, recorded audio, edited, color graded, and completed the sound design.

Andres produced the project, managed logistics, organized casting, documented more than 26 hours of behind-the-scenes footage, and captured over 1,500 production photographs. HD, the third member of their team, did editing and BTS shooting.

The result is roughly 93 minutes of finished storytelling, released as 72 bite-sized episodes designed for mobile viewing. And despite the unconventional format, every creative decision was made with cinematic intention.

Short-Form Content That Leaves You Wanting More

Ask the Cork Bros, and they will tell you they aren’t interested in simply following popular formulas. Instead, they want to create emotionally mature stories that leave audiences wanting more. That’s why they’ve been vocal about one of their biggest creative influences, actor, writer, and producer Issa Rae, and her vertical drama, Screen Time, which came out this past April. 

“It’s massive for the micro-drama space,” they point out while citing Rae as one of their biggest creative influences, not just because of the stories she tells, but because of the path she took to tell them. They admire how Rae built an audience from the ground up with Awkward Black Girl, creating authentic, character-driven stories that resonated long before she landed at HBO with Insecure. “That creator-first approach is one we’re intentionally trying to emulate: tell honest, relatable stories with Black casts, build a loyal audience, and let the work open the next door.”

Filmmaker Ryan Coogler (Fruitvale Station, Creed, Black Panther, Black Panther: Wakanda Forever, and Sinners) also heavily influences them through his blend of storytelling with themes of Black identity, culture, and community. “We admire Ryan Coogler and are inspired by his telling of bold stories with bold artistic decisions. One of our biggest ethos is that we are going to create the stories we want to tell, and we are going to be bold and creative the way we know how to be, and watching his work has validated that approach for us,” says Michelangelo.

Testing Ideas and Expanding Production

They’re already casting their second vertical drama while also launching “Cork Bros Minis,” shorter experimental series that allow them to test ideas before expanding them into larger productions. Director Michelangelo also provides breakdowns of some episodes. 

It’s a strategy that blends creativity with entrepreneurship in a well-formulated mantra: Create. Learn. Measure. Repeat.

Advice for Other Vertical Filmmakers

When asked what advice they would offer aspiring vertical filmmakers, the Cork Bros don’t start with cameras or editing software. Instead, they talk about momentum.

“Momentum creates movement with the project you’re embarking on,” Andres explains. For example, after Michelangelo finished the script for Mama’s House, Andres was convinced they had found the story they were meant to tell. He gave them 10 days to raise the money. Nine days later, they still hadn’t secured funding.

Then they realized they were waiting for someone else to validate the project rather than acting as if it were already underway. “We changed our mindset. We started moving with momentum.”

They launched a casting call, shared the project with friends, collaborators, and community members, and treated Mama’s House as a production already in motion. Within 10 days, they had raised the money they needed from supporters who believed in both the story and the storytellers.

For the Cork Bros, that’s the lesson they hope other filmmakers take away: “Don’t wait until everything is perfectly lined up before you begin. Start moving. Momentum has a way of creating opportunities that careful planning alone never could.”

Catch the first 10 episodes of Mama’s House on YouTube every Monday, Wednesday, and Thursday at 7 p.m. EDT here; on TikTok here; and on Facebook here.

The post The Cork Bros on the Future of Storytelling, One Vertical Frame at a Time appeared first on Adorama.

Diving into film photography on a long trip might sound simple: just grab your film camera, pack your film, get shooting, and everything will be fine. But there are some important things to think about before you do this kind of thing.

So I may as well start at the beginning.

1. Be Aware of Airport Scanners

This is one of those things that can catch the best of us out, and since I’ve travelled quite a lot with film, I think I’m getting the hang of it.

If you’re travelling with film, be really wary of airport scanners. Most older scanners won’t damage your film. I’ve travelled a lot through older scanners and I’ve seen no problems whatsoever with my rolls.

How do you know if it’s an older scanner? Well, if you still have to take all of your electronics out of your bag and have all your liquids in a clear plastic bag, then usually, that’s an older scanner which won’t completely blast your film to smithereens.

Whereas, in Manchester, I noticed they have new scanners where they don’t ask you to take electronics out. When I noticed this, I thought I’d ask to see if they would hand-check my film, and for the first time ever, they were more than happy to.

If you’re concerned, you can ask every time you go to the airport, but generally, this is a good rule of thumb. Take precautions or you could come back with a whole lot of nothing.

2. Get the Right Film for the Job

What is the right film for the job? Well, it depends where you’re going and what you’re doing.

If you’re on a budget, Kodak Gold will be just fine. It’s cheap, it’s got that vintage feel, and if you’re in a sunny location, then 200 ISO will work perfectly.

Whereas, if you’re going to some dark far off land in the middle of winter then you’ll probably want something like Kodak Portra 800 or Cinestill 800T.

But generally, I tend to use Kodak Portra 400, it’s super versatile, so it’s ideal for shooting in all different kinds of light which is what you’ll get while you’re travelling. Morning, noon and night all look really different, so a versatile film will do a lot for you.

3. Have the Right Gear for the Job

When you’re on the move for film photography, you need to have the right camera and lens.

What I realised was that I ended up purely using just one lens for about 95% of all of my photos, and that was my 35mm lens. It’s likely you’ll think you need all three lenses, a zoom lens, a spare body, whatever. But my advice is to keep it simple.

If you’re not confident with your camera, get confident. If it’s hard to use, maybe consider getting something easier. There’s nothing worse than missing those one-off moments just because you weren’t quite ready or you couldn’t find focus.

Personally, I use the Nikon F100, which has autofocus, aperture priority, and the 35mm lens is really high quality. That simplicity allowed me to shoot without thinking too much, without worrying about manual settings.

Also, it’s worth getting a sling bag, something you can wear on the front of your body so you can easily get to your camera without having to wear it on a strap. There’s nothing wrong with a strap but it can make you a bit of a target for pickpockets in certain locations, whereas if you have it concealed in a sling bag, you’re all good!

4. Consider Buying Film on Location

I was pretty surprised when I first visited San Francisco. I visited a lab and bought some film, and it ended up being around £12 a roll for Portra 400, whereas in the UK it’s about £20 a roll.

Similarly, when I visited Valencia, I found Portra 400 for 16 Euros, which was once again much cheaper than the UK.

So depending on where you’re based, it could be worth waiting until you get to your location before stocking up on your film.

Make the Most of It

Make sure you get the best photos possible. The key to great travel photography is being intentional, rather than just wandering around with your camera taking random snapshots.

Usually, I try to take some time to specifically shoot on my own. That’s because when you’re travelling with people, it’s hard to go wherever you want and shoot whatever you want.

A good time to do this is first thing in the morning, preferably around sunrise. You’ll not only get that time to yourself, but you’ll also be shooting at the most beautiful time of the day: blue hour and golden hour, that time when light is super diffused and there are blue and yellow hues all over the place.

It’s not just that, though. You also get to shoot when there’s no one around. No tourists on the streets means you’ll get completely unique photos of your location.

This is something I live by; it’s a really simple way of getting completely different photos than everyone else.

Final Thoughts

Shooting film photography while you’re on the road should be simple. Don’t overcomplicate things. Don’t take too much gear. If you really need something, you can probably get it while you’re out there.

Keep yourself safe from airport scanners, keep your gear nice and safe but accessible for yourself, and you’ll be good to go.

And most of all, shoot as much as possible and have a load of fun!

The post 5 Tips For Film Photography While Traveling appeared first on Adorama.

This article covers 360 cameras and how they are revolutionizing videography. The GoPro Max 2, in particular, has simplified my storytelling process as a solo creator who makes short films, records his travels, and creates behind-the-scenes content for educational purposes. These newest 360 cameras have officially evolved from niche, experimental gadgets into serious, everyday filmmaking tools.

The Burden of the Solo Creator and Capturing Behind-The-Scenes

Behind-the-scenes content adds value for viewers but can be challenging to film using traditional methods.

Solo content creation demands physical and mental presence at all times, especially when traveling with heavy gear. I primarily use a Sony A7s III with a 24-70mm f2.8 lens and also carry a 61-megapixel Sony A7r IV for photography. The need to frequently switch between multiple lenses – 50mm and 85mm for portraits, 17-28mm for landscapes, and a 70-200mm for distant subjects – adds to the physical load. 

To capture behind-the-scenes, I often set up a tripod with one camera positioned to include myself in the frame. I frequently move the camera to capture different angles, asking someone to record me or use a chest-mounted action camera for a point-of-view shot. While this enhances the viewer’s experience, it also increases my on-location admin. 

None of these cameras can simultaneously record me and what I am photographing. This also misses key elements of storytelling, such as the creator’s facial expressions, dialogue, and genuine reactions.

Caption: You can mount the 360 on the hotshoe, or leave it standing on the side to record the action

Juggling this equipment forces a creator to constantly prioritize: do I shoot a photo right now, or do I roll video? It can distract you from the moment and the stream of consciousness of your narrative. 

The “Shoot Now, Edit Later” Philosophy

It is at this intersection of frustration and missed opportunities that the 360 cameras made their debut. By mounting a 360 camera directly to the hotshoe of your main camera, a massive weight is lifted off your shoulders. Suddenly, your hands are completely free to operate your primary gear. This allows you to focus entirely on taking your photos while the 360 camera silently captures a completely immersive, dynamic behind-the-scenes narrative.

Focusing on the story using the shoot now, edit later philosophy 

The magic here lies in a liberating new philosophy: “shoot now, edit later”. When the field of view of the camera captures everything in a sphere around you, you no longer have to worry about framing in the moment. The constant battle of photography vs videography vanishes. You simply focus on the action, live in the environment, and reframe the footage in post-production to point the camera exactly where you want it. This philosophy eases a profound amount of burden for the creator.

On the move with a 360 camera, immersive angles on the go

Using an invisible selfie stick also unlocks incredible flexibility for solo operators. You can simultaneously shoot multiple forms of footage and select your options later in the editing room using GoPro’s Quik editing software:

• Aerial Perspectives: You can raise the stick high above your head to mimic a drone for establishing aerial shots.
• Third-Person Views: You can hold it out to capture unique, third-person perspectives without the stick ever showing up in the final video frame.
• Traditional POV and Action Camera angle: You can also switch your 360 to POV mode and use it as a regular action camera for burst shots, hyperlapses, and timelapses.

Maximizing time efficiency with a 360 camera while prioritizing what truly matters.

Busting the Myth: 360s are Just for Thrill Seekers 

The biggest misconception about 360 cameras is that they are only for adrenaline junkies and extreme sports. In reality, they empower everyday creators to tell their stories. You do not have to be a tech geek to use one. They are perfect for tourists wanting to capture vacations, casual travelers, or even filmmakers seeking unique shots. Whether you are a chef in a busy kitchen, a tourist, a vlogger, or just strolling through a forest, a 360 camera lets anyone document their experience effortlessly. Just set it up, let it roll, and uncover the story later.

Enter the GoPro Max 2

There are several brands on the market. However, my long experience with GoPro action cameras has made the GoPro Max 2 an easy choice. The GoPro Max 2 stands out for accessible content creation. Before we look at the specs, please note that our focus should be on convenience and features. After all, we are already getting great quality from a top brand. I have a GoPro Max 2 accessories kit. With it, I have a few mounts, a 64 GB SanDisk Extreme microSD card, and a selfie stick. I use a 256 GB SanDisk Extreme microSD for extra storage during my travels; its efficient read and write speeds and the reliability I have experienced for years. 

Focus on technical details only for specific projects.

Final Remarks

The shoot now, edit later philosophy has made life easier for me. All as an educator, solo filmmaker, and even a traveler. From the time-consuming, meticulously crafted yet simple vlogging style of Casey Neistat, where the camera is placed in your path several times to capture a single move, to the cinematic B-roll style of Peter McKinnon, where careful camera settings, frame rates, color grading, sound effects, and music are important, creators have moved toward simplicity, where delivering the message is prime. Do not let the term 360 intimidate you. These cameras are easy to use. And above all, a passport to immersing yourself in the experience rather than worrying about technology. Basically, with 360, all options are on the table while you are in your own action mode. Plus, you can decide how to swing your content later in the editing room. 

The post The 360 Camera: A Renaissance in Filmmaking appeared first on Adorama.

Industry News Summer 2026 Camera Releases

The Leica SL3-P: High Resolution and High Speed

Released at the end of June, the new Leica SL3-P might be the company’s most advanced full-frame camera to date. Built on the same body design as the SL3 and SL3-S. The L-Mount SL3-P centers on a 44MP BSI CMOS sensor and is designed for both high-resolution stills and high-performance video. Key features include a 40fps continuous shooting mode and 4K video at up to 120fps. Additionally, 8K open-gate recording, a 176MP multi-shot mode, and a hybrid autofocus system that combines phase detection, depth mapping, and contrast detection.

Additional highlights include an ISO range of 50–200,000, and a 5.76-million-dot electronic viewfinder with 0.76x magnification. Also, a 3.2-inch 2.3-million-dot tilting touchscreen and video recording options up to 8K 30p, 4K 120p, and Full HD 120p.

For a candid, in-depth review, check out photographer Daniel Norton’s Adorama blog article, “The Leica SL3-P: Who Says a Workhorse Can’t be Beautiful?” As Norton writes, “This is meant to be an all-around pro camera with no compromise.” You can also watch the accompanying video below.

The Godox C100: A Fresh Take on the Compact Camera

Next, another late June release, this time from Godox. The brand is stepping into a new category with the Godox C100. This is a minimalist compact camera that swaps the traditional rear LCD for an innovative transparent viewfinder.

The transparent optical viewfinder offers more than 50 percent light transmittance. It overlays essentials such as shooting mode, aspect ratio, battery level, ISO, aperture, and shutter speed without obstructing your view. Its central 25 percent spot metering system is designed to deliver reliable exposures. You could also use it as a handheld light meter for film photographers.

The Godox C100 seems to be one of the summer’s more unconventional camera releases. It has distinctive cyber-retro styling, an ultra-lightweight build, and a screen-free shooting experience. This is clearly aimed at photographers looking to slow down and reconnect with the act of making photographs.

The Sony RX10 V: Here’s What Makes It Special

Sony’s newly released RX10 V stands out for a few reasons. For starters, it’s the first major update to the RX10 bridge camera lineup in nearly a decade.

Bridge cameras fill the gap between a basic point-and-shoot and an interchangeable lens camera. You get significantly more zoom reach and better image quality than a compact camera. All that, without the added cost or hassle of swapping lenses.

The RX10 V sticks with a proven formula that made its predecessor so popular. A built-in 24–600mm (full-frame equivalent) Zeiss Vario-Sonnar T* f/2.4–4.0 25x optical zoom lens. Like its predecessor, this super zoom is paired with a 20.1MP stacked 1-inch sensor. The biggest changes come elsewhere. A new image processor, a redesigned body, a tilting 3.69-million-dot electronic viewfinder, and AI-powered autofocus.

To see how it performs in the real world, Adorama’s own Seth Miranda put the RX10 V through its paces at both indoor and outdoor wrestling matches. As Seth puts it, it was “low light, fast movement, and unpredictable action, basically everything you’d want to throw at a camera to really test its autofocus and burst shooting.” Check out his results and hear his full impressions in the video below.

The Sony FX5 Cinema Camera

The Sony FX5 is a compact full-frame cinema camera. It is a great tool for filmmakers who need high-end performance in a lightweight package. At its core is a new 16.6MP full-frame stacked Exmor RS CMOS sensor. Combine that with a new BIONZ XR2 engine, making it capable of capturing sharp 5K footage with excellent color and impressive low-light performance.

New to the Cinema Line FX series is Open Gate 3:2 recording. Open Gate makes it easier to shoot once and deliver content in both horizontal and vertical formats. The FX5 records up to 5K at 60 fps, 4K at 120 fps, and Full HD at 240 fps for everything from cinematic productions to slow-motion action. The FX5 has more than 15 stops of dynamic range, Dual Gain, and three base ISO settings. Add to that 6-axis Dynamic Active image stabilization. This makes the FX5 equally at home shooting handheld documentaries, fast-paced events, or narrative films in challenging lighting conditions. The FX5 will keep rolling through even the longest production days with its rugged E-mount design and long-lasting battery.

Check out photographer and cinematographer Samuel Bourel’s hands-on review of the Sony FX5 on Adorama’s YouTube channel below. Expected availability is mid-August, but you can pre-order it on the Adorama site here.

Portable Package: Insta360’s Luna Ultra 8K Dual-Lens Gimbal Camera 

The latest addition to Insta360’s lineup, the Luna Ultra 8K Dual-Lens Gimbal Camera, packs flagship-level imaging and stabilization into a highly portable package for creators on the move. Its ability to capture 8K video at up to 30 fps gives filmmakers, travel creators, and action shooters the detail and flexibility they need to edit and proof their content on the go.

Co-engineered with Leica, the Luna Ultra features dual Leica Summicron lenses: a wide-angle 20mm f/1.8 paired with a 1-inch CMOS sensor for hi-res videos and photos, and a 60mm f/2.0 lens with a 1/1.3” CMOS sensor for telephoto reach. The Luna’s integrated gimbal stabilization delivers smooth footage even when shooting handheld or during fast-paced shoots. Its detachable 2-inch OLED touchscreen makes it easy to review footage and change settings quickly, and the built-in microphone captures usable audio without additional accessories. It’s also got up to four hours of battery life, and a standard 1/4″-20 handle mounting point that makes it compatible with a large range of support systems.

The Fujifilm QuickSnap Celebrates Turning 40 with Two New Models

Fujifilm is celebrating 40 years of the QuickSnap with the mid-summer announcement of two new one-time-use models: the underwater QuickSnap Active, available this August, and the QuickSnap Black and White, available this September.

The waterproof Active model, which replaces the current model, is designed for underwater photography at depths of up to 33 feet and comes with ISO 800 color negative film, while the Black and White QuickSnap comes pre-loaded with a 27-shot roll of ISO 400 negative film and a built-in 32mm f/10 fixed focus lens, 1/140s shutter speed, and built-in flash.

The Lumix L10: Why It’s Different

The Panasonic Lumix L10, which began shipping in June, has a built-in Leica 24–75mm (equivalent) f/1.7–2.8 lens that encompasses everything from wide environmental shots to flattering portraits in a single package. If you shoot products, food, or close-up details, the 3cm macro mode and in-camera focus stacking are genuinely useful, saving you time in post while letting you create sharp images with impressive depth.

Its 20.4MP sensor is paired with a fast 779-point hybrid autofocus system, an OLED electronic viewfinder, and a fully articulating touchscreen. The leaf shutter allows flash sync up to 1/2000 second, while the dedicated aspect ratio switch lets you instantly switch between 4:3, 3:2, 16:9, and 1:1 without sacrificing the full sensor width. And if you’ve already developed a signature color grade, you can load your own .cube files for a live preview in-camera or create and manage looks through the Lumix Lab app with Magic LUT support.

Watch the video, “Why the LUMIX L10 is Different from Every Other Compact Camera” by Fernando Martinez, senior content producer at Adorama TV and Cinema, below.

Industry News Summer 2026 Lense Releases

The Perfect Marriage: Sony’s A7R IV and FE 100-400mm f/4.5 GM OSS

Filmmaker and photographer Sal D’Alia says this combo of the Sony A7R mirrorless camera and FE 100-400mm F4.5 G Master lens “really lives up to the hype.” It’s a perfect marriage of speed and resolution.

At its core is a fully stacked 66.8-megapixel sensor offering up to 16 stops of dynamic range, which is reportedly the highest resolution fully stacked sensor on the market right now. “Whether you’re shooting landscape, portraits or action, this camera can handle it,” says D’Alia.

He adds: “You get blackout-free 30 frames per second. We pre-capture using the electronic shutter, which is perfect for wildlife and sports. And we are talking 14-bit raw files with a buffer of around 150 raw images or 215 JPEGs all backed by super-fast autofocus and AI subject recognition.” The list of attributes goes on and on. Check out D’Alia’s full review on Adorama’s YouTube channel below.

Thypoch AF Voyager 24-50mm f/2.8 Full-Frame Lens 

The Thypoch AF Voyager 24–50mm f/2.8 full-frame lens is the cine-lens brand’s first full-frame autofocus zoom lens, delivering prime-like sharpness throughout the zoom range. It also produces smooth, cinematic bokeh thanks to its 10-blade circular aperture.

The 432g lens is ultra-compact and has a travel-ready design complemented by an internal zoom mechanism that maintains a constant barrel length for improved balance and handling. Built to withstand demanding conditions, the lens features weather sealing to protect against dust, dirt, and splashes, while offering professional-grade image quality at a highly competitive price.

Check out the video below on Adorama’s YouTube channel by D’Alia as well. This time he shows viewers how the lens performs in a variety of situations, including fast-moving street scenes to moody rainy shots,

Tamron’s 17-70mm-A VC RXD Lens

Announced in June and currently shipping, the Tamron 17-70mm-A VC RXD lens (for Nikon Z and Canon RF) is a versatile standard zoom lens offering a useful full-frame 17-70mm focal length. Its constant f/2.8 aperture (especially significant because Canon and Nikon’s crop sensors have few 2.8 zoom options) provides excellent low-light performance, consistent exposure throughout the zoom range, and attractive background blur, making it well suited for portraits, landscapes, travel, and everyday photography.

Despite its broad zoom range, the lens remains compact and lightweight, making it easy to carry for everyday use. Features like close-focusing capability, moisture-resistant construction, a fluorine-coated front element, and a 9-blade circular aperture add to its versatility.

Industry News Summer 2026 Lighting Releases

The ARRI Omnibar

The ARRI Omnibar 44″ 50W RGBMA LED Tube is built for filmmakers and content creators who need a versatile, production-ready light that can handle just about any shooting scenario. It delivers excellent color accuracy, with CRI and TLCI ratings above 98, along with a huge color temperature range from an ultra-warm 1,700K to a cool 20,000K. RGBMA color mixing also opens the door to vibrant colors, subtle pastels, and creative lighting effects, while smooth 0–100% dimming can be controlled directly on the fixture, through the app, or via DMX and RDM for seamless integration into professional lighting setups.

Designed for both studio and location work, the Omnibar has a built-in battery that can run for up to 24 hours, making it easy to use where power isn’t available. Multiple mounting options, including 3/8″-16 threads and built-in magnets, make positioning quick and flexible, even for larger lighting rigs.

Creamsource Vortex2 15 x 8” 160W RRGBBW LED Light Panel

The Creamsource Vortex2 15×8″ 160W RRGBBW LED Light Panel packs a surprising amount of power into a compact 15 x 8-inch panel. Its 160W RRGBBW LED engine delivers rich, accurate color with CRI and TLCI ratings of 95, while an expansive 2,200K to 15,000K color temperature range makes it easy to match virtually any lighting environment or create bold, stylized looks.

Built for demanding productions, the Vortex2 features smooth 0-100% dimming, an IP65 weather-resistant design for indoor and outdoor shoots, and flexible wireless control via Bluetooth, Wi-Fi, and CRMX.

Industry News Summer 2026 Monitor Releases

BenQ’s New PD2732U 27-inch Monitor Promises Pro-Level Color

New from BenQ, the 27-inch, 4K IPS PD2732U monitor packs a lot of professional features into a surprisingly affordable unit. It covers 99 percent Adobe RGB, 99% DCI-P3, and 100 percent RGB, comes factory calibrated with Delta E < 2 accuracy, and uses BenQ’s AQCOLOR technology to deliver consistent, reliable color for photo editing, print work, and video projects.

Mac users get a few nice extras, including M-book Mode for better display matching, iDevice Color Sync, and the ability to control monitor settings with a Mac keyboard. You also get plenty of connectivity with HDMI 2.1, DisplayPort 1.4, dual Thunderbolt 4-compatible USB-C ports, and additional USB ports. It’s also a solid value for photographers and creators who want accurate color without spending over $1,000.

The Viltrox DC-550 Pro II 5.5-inch Full HD Touchscreen Monitor

In June, Viltrox announced the new DC-550 Pro II, a compact 5.5-inch camera monitor that builds upon the original DC-550 Pro and is perfect for filmmakers, videographers, and content creators who want a bright, durable display, advanced controls, and production-ready tools without the cost of a larger model.

Beyond the hardware, the DC-550 Pro II is packed with professional monitoring features that help creators capture more accurate results on set. It supports custom 3D LUTs with real-time preview, custom anamorphic de-squeeze, onion skin overlays for composition and motion comparison, and a full suite of exposure and color tools including waveform, histogram, vectorscope, parade, and more. Multiple power options, a built-in gyroscope with automatic screen rotation, and a quick-release sun hood round out a reliable monitor design.

Quick Industry News You May Have Missed

Adobe Acquires Topaz Labs

Adobe recently acquired AI company Topaz Labs, with plans to integrate its advanced AI technology into Adobe Firefly AI Studio, Firefly Services(creative and generative APIs), and the Adobe Creative Cloud suite, including Photoshop, Lightroom, Premiere Pro, and more. For more information about the acquisition and what it might mean for you, click here.

Capture One Now Supports Hasselblad Photos, with Capture One 16.8.3

The long-awaited partnership between Capture One and Hasselblad is finally here, bringing native support for Hasselblad medium-format RAW files (.3 FR) to Capture One starting with version 16.8.3.

Supported cameras include the Hasselblad the X2D 100C, the X2D II 100C, and the CFV 100 C digital back. The news is significant because it marks years of incompatibility between Capture One and Hasselblad. Read more here.

Hasselblad Masters 2026 Winners 

Hasselblad recently announced the winners of its Hasselblad Masters 2026 competition, naming seven photographers from around the world whose work stood out for both technical excellence and creative vision. They are: Yudha Kusuma Putera, Kevin Boyle, Rohan Reilly, Panitbhand Paribatra Na Ayudhya (a 14-year-old from Thailand with a passion for underwater photography), Svetlana Jovanovic, Gosse Bouma, and Alfred Minnaar.

One of the photography industry’s most respected competitions, the Hasselblad Masters drew more than 108,000 image submissions from photographers across 160 countries and regions this year. Winners were selected in seven categories: Landscape, Architecture, Portrait, Art, Street, Wildlife, and Project//21. The Hasselblad Masters Grand Jury selected the winners, with public voting also factoring into the final results. Each winning image was chosen for its originality, creativity, conceptual strength, and technical execution.

View all the winning images here.

The post Summer Catch-Up: The Season’s Biggest Product Releases and Industry News appeared first on Adorama.