A few years back Sigma released their amazing 18-35mm 1.8 Art Series Lens, then the 50mm 1.4, 24mm 1.4, 35mm 1.4, 50-100mm 1.8, 85mm 1.4


The 18-35mm was so good I ditched all my Canon L Series Prime glass for it.

The only lenses that could beat it was the Zeiss Otus range, due to look and proper focus throw.

NOW, Sigma have their new cine Lenses with 180° focus throw and 160° zoom rotation.


For my test, I knew it would be tricky as a great short film has already been shot with the Cine Lenses called ‘Blur‘ – available to watch on the Sigma site below:


So I thought, people already know what they look like from this film….plus they are identical to the current Art Series

Amazing contrast, saturation, sharpness and unique look

All honesty…. I wrote a short film but trying to source locations & actors during the xmas period is tough 😦

Here is a look/Parfocal Test between the Art 18-35mm 1.8 and the 18-35mm T2 Cine Lens:

For people wondering the difference between F-Stops & T-Stops, is the Cinema Lens slower/darker being  T2

Basically, hopefully I’m correct..haha

F stops is a calculated aperture done mathematically

T stop is measured light through the lens

So as you can see in my test above, there is no light loss difference between the two.

Funny enough, the Cine Lens on my Ursa Mini 4.6K shows up as 1.8

So, why choose the Cine version over the Art Version?


The weight difference between the two lenses is hardly anything… Making them nice to carry around.


Art Series 18-35mm 1.8 Weighs 810g /  18-35mm T2 Cine Lens Weighs 1445g

A much easier focus throw of 180° and zoom rotation of 160°

If you are used to the art series then you will be fine….but as you know, focusing from a close distance to infinity is a short throw and can be sometimes tricky to nail shots following a subject from these movements.

As you can see from the picture above, having markings on the Cine Lens helps make those shots easier. Even if you didn’t measure the distance, after a take…you will roughly know the distance to pull focus by having the help of these markings on the lens.

The line is catering to Production use, Less Run N Gun type shooters and more towards a crew, focus pullers, matte box etc.

But this is also what sets the Sigma Cinema Lens line up apart from the rest, it has threads on the front allowing you to still use screw on ND filters, rather then only having to use a Mattebox with drop in ND’s.

You won’t find many other Professional lenses with threads on the front allowing you to screw on ND Filters.

They are available in EFPL and E mount

This is awesome news as I don’t like using a matte box or drop in ND’s.

So for my tests I used my 82mm Formatt Hi-tech IRND filters and they worked great.

Since this new Sigma 18-35mm T2 lens is a Cinema Lens, my test involved focusing blind.

Why Did I do this?


Cinematographers that don’t pull focus themselves on bigger productions, have focus pullers.

They either use wireless monitors with wireless focus or some focus pullers are so talented they can pull focus just by using the markers on the side of the lens.

So….All I did was bring tape measure with me, made sure it matched the markings on the lens, set exposure, shut my screen and then focused blind.



Here is the test:

Track used in the video is available below, part of my Commercial Song pack:



Hope this helps people out

Rayzr 7 / A great, affordable, powerful LED Spot/Flood light.

Brightest model being the Daylight 300 version which is equivalent to a 1500w Tungsten Light.

Comparison is similar to an Arri L10/l7


The model I have is the 300B Model – A Bicolor 150w LED light, equivalent to 750w Tungsten

You can power the light by house mains or V-lock Batteries

When the light first arrived I didn’t have much time due to shoots, so I can quickly set up a scene and I was instantly happy with the results.

Here is what my living room looks like on a dull typical English day:


Now the same scene using the Rayzr 7 300B to create a sunset effect creating shapes/shadows on the wall:


Here is the BTS for the shot above:



The next day I had a bit more time, so I ran to the store to buy some card and sheets

I cut out some shapes in the card to create some blinds/shadows on the wall


Then with the sheets, I could use them for Bounce or Diffusion:



Here is my video review with some tips on getting some nice lighting

In total, Rayzr  have 4 models… the daylight versions of the LED power Fresnel lights are more powerful, ranging from 300w which is the equivalent to a 1500w Tungsten light.

CRI (Color Accuracy) is 92-96

There is a cooling fan but its temperature controlled to reduce noise.

Its not very loud, its on when I’m talking in my reviews and you can’t hear it so you should be fine for most dialogue scenes


I often choose Bi-Color rather then using Gels

The lights can be controlled by a simple dial, shifting between 3200k-5600k as well as adjusting the power by simply dimming the light with the same dial.

The light can be powered by house mains or V-Lock, cool to the touch and can be set to Spot or Flood.

A tip on dimming the power fast when in the percentage mode (not kelvin) if you hit the set button first it will dial through faster between 0-100% when using the dial.

Then Hit set again for more precise control



Here is another test with the light, this time creating more of a moody look with the light & some haze:

Few BTS pics here:






In the video I mention that Rayzr will soon have a wifi option to control brightness & kelvin tempeture


Some more info below with links to their site:


Prices are very affordable from just over a grand for the Bi-color and around £1,300 for the daylight versions.

More info here on tech specs regarding the models are here:


In case you didn’t watch the video, here is some grabs from the video on using the light in different ways.

No Light:


Using Bounce:


Using Direct Source:


Using Diffusion:


Hope people found this useful



So is the a6500 worth the money and upgrade from the a6300?

Short answer YES

Here is my Quick Test:

Song in the video is ‘Falling‘ now apart of my Xmas Deal pack below:


Anything shooting slog2 & slog3 with 5 axis stabilisation

4k 100MBPS & 1080p up to 120fps & touch focus at £1,500 is a steal

But you can also get a cheap a6300 and a gimbal and kind of do the same thing, all depends how bad you will use the autofocus/touch focus on the a6500 etc

The 5 axis on the a6500 is also very handy to have when handheld

but you could also use OSS lenses with the a6300

Lets get started

Both the a6500 or the previous a6300 has issues, as I mention in my video below

the main issues are the rolling shutter & over heating

The 5 axis on the a6500 is great, but just like the A7SII…walking is out of the question

it doesn’t matter about the 5 axis as the rolling shutter is so bad

The video below is a handheld walking test with the Sigma 50mm 1.4 (no gimbal) it should be bumpy with any camera, but remember….. the a6500 has 5 axis stabilisation and that rolling shutter is still horrible, making the shot unusable

the 5 axis is still good I just don’t recommend walking with it and expecting near gimbal style results

Power & Overheating

so if this is your main camera and you plan on shooting interviews, corp work etc

I suggest playing it safe and powering/recording to external sources

this will keep your a6500 or a6300 cooler, hoping for longer run times without over heating

My first video on this page explains that into more detail


A thing I forgot to mention in the video is regarding the NTSC/Pal settings

Pal will give you 24/30fps at 4k and 120fps in 1080p

NTSC gives you 25p at 4k & 100fps in 1080p

Here is why I shoot in Pal

When you switch your camera to shoot NTSC, this damn menu screen pops up every time when you turn on your camera


so rather then just turning the camera on and filming

you have to click the menu button to get rid of this screen, so you could have missed the shot.

So how good is the slow-motion?

In all fairness I think the slowmo is great out of this camera, it is obviously softer then UHD but not bad at all with hardly any crop.

Here is a test shooting 100fps on the a6500 against the Ursa Mini 4.6k

The 4.6k crops in a lot shooting 100fps and losses a bit of light whereas the a6500 doesn’t

The 4.6k slowmo is sharper but has other issues as mentioned above

Cage & Rigs

are they needed & why…

if the a6500 or a6300 is your only camera, then I’d suggest a rig

this makes interview/audio set ups easier

keeping everything in once place, but allowing you to detach the camera when you need to go small and compact

you can keep things small, mount audio on top and just view from the cameras monitor

the rig is the most compact way I’ve found that works so far for

start/stop trigger record, audio with mics or lavs, headphones & phantom power, longer battery options and a bigger monitor to view a bigger image for crucial focus and LUTS


nearly everything is by a great & affordable company called Smallrig, which I  started using from my RED days

a6300 cage: 
(a6500 fits but can scratch edges if not careful, plus battery door is stiff to shut using dummy battery)

Handle 1:

Handle 2:

Cold Shoe Mount:

Safety Rail 1:

Safety Rail 2:

Dual Battery Charger & batteries:

Screw Adapter:

Battery Adapter:

Dummy Battery Adapter Cables: (battery door can be difficult to shut on a6500)


Fotga Start/Stop Trigger:

Saramonic Audio Preamp:

Blackmagic 1080 Video Assist:

Blackmagic 4K Video Assist:

Atomos HDMI to Micro HDMI Angled/Straight Cable:

Sigma E-Mount 30mm 1.4 lens:

Why Convert the files to Prores or record externally to a Prores recorder?

Basically, shoot something in the native Sony XAVCS codec, an interview is a great example…. then convert the files to Prores or record to a Prores recorder

Try to edit a sequence in the native XAVCS codec first, then try the same thing with the Prores files, haha

You will instantly notice a difference, Prores is a standard format that works every where and is a high codec standard.

Editing software will work with the native XAVCS files but the software has to work hard and play pack skips frames, slow etc.

you will get away with clips from vacations, test footage etc…but as soon as you edit an interview or music video….you will start to get stressed out haha

Slog 2 & Slog3 LUTS

I hope this helps people out & if you are interested in my custom profiles for this camera and LUTS to get you to a great starting point or stylised look.

Please check out my Slog2 & Slog3 LUTS Below…I also have a NEW XMAS Deal for both packs…now only £4.99 for both:



Blackmagic contacted me asking if I would like to help out at this years NAB Convention in Las Vegas. They were interested in me being there to add an unbiased opinion to their products and any queries that clients might ask. As I didn’t have shoots on it was hard to say no, straight away tickets were booked and off I went!


In order to fly direct I flew with British Airways .. kinda wish I flew Virgin Atlantic though as BA was very cramped, media screens were either hard to see or so glitchy that I was kicked out of the movie, making you find the movie again and find out where you left off. Despite that, the crew were very nice…just an old plane I guess.

The flight was filled with people going to NAB…I even did a little inflight vlog with Dan Chung from Newsshooter … I geeked out little bit checking out his Blackmagic Micro Camera with a Zeiss 6m PL mount lens attached.



The SmallHD 501 monitor was on top for viewing which also allowed you to view a variety of LUTS. Weird thing about this set up was…I filmed the vlog with my Sony a6300 and I had to boost it to 1250 ISO whilst the Micro Camera was doing fine at 800…I was shocked as I thought the a6300 would be better in lowlight. Micro Camera also looked way more filmic.



By the time we landed, got the hire car and checked into the hotel, the first day was pretty much over.

Woke up Sunday, got my pass for NAB and then had to check in with the guys to go over scheduling and products, to make sure I knew about anything new.



Next on the agenda was a conference meeting for the BMD crew with Grant on the night. So we did as much as we could in the day before the meeting and checked out a few sites around Vegas.




With NAB 2016 about to begin I have no clue what to expect as I’ve always watched online, catching up with Cinema5D and Newsshooter covering the show.

First day before doors open, a BMD conference going live about the products:


When doors open the madness began immediately, my schedule was 10am-6pm Monday, then 9am-6pm Tues & Wed. Last day on Thur was 9-2pm which was very quiet and mainly other companies getting the chance to check out the booths and catch up.



Due to the hectic schedule and this being my 1st NAB show, I was shattered. If I was just roaming around as a consumer I’d probably be fine but this was very new to me…everyone at BMD were very nice and I had a blast. I wanted to vlog more during the event but I literally didn’t get a second to breathe.

Since Thur was quiet, I asked if I could go around NAB and see what was happening. It was ironic that my first NAB had no new cameras announced…from anyone!

The new UI with the Ursa Mini’s is going to completely change the camera. 4.0 Firmware comes out for free in June.

Funny enough, the RED booth was right next door taunting me, haha


I also went to the Adobe booth to find out why they don’t support BMD Raw files, since its their codec, haha. Davinci Resolve is great but we shouldn’t be limited to only adjusting the RAW files in resolve…what about Premiere Pro….hell even FCPX should allow it too. So if you’re an Adobe user, please politely bug them to allow RAW workflow in PP….tweet them, email etc. I did my best while at their booth but we need to push further.

I then had to pee so used the restrooms in Central Hall, they had some pretty cool mirror set ups haha 😉


I also use Gtech drives all the time for my media storage so I went to see what they had to offer. The RED Media drive they have is cool and soon they will also have one for CFast 2.0 Cards.

Then I went to see Wooden Camera and F&V but got distracted at the Arri booth, showing off the amazing Carl Zeiss 180mm Anamorphic Lens on the Alexa.


So I wondered around to see other Lens companies…Carl Zeiss & Schneider Optics had the best offerings.



Then I went to say hi to the Newsshooter team at the Teradek booth, but they were caught up working.


So all in all, had an amazing time. Grant Petty, CEO of Blackmagic was very nice and funny. He also worked hard on the floor all day, did interviews and even broke down the booth with the team when it was all over.

I met some amazing people and it was also overwhelming at times as a lot of people knew who I was, follow me on social media and mentioned how much I’ve helped them out regarding cameras and gear.

I did my best to get around NAB when I could…ventured around and outside Vegas when possible. Vegas has definitely changed though…6th time in Vegas and you could say its lost its appeal…or maybe I’m just getting older.

Here are some more things I got up to 🙂








Write up review:

Having previously owned the Sony A7SII, I didn’t think I’d get another sony camera at this size.

This isn’t because I don’t think they are great cameras, but Sony are very annoying with how fast they release these small cameras. The A7S range from £2k/£3k each time becomes very costly haha.

So I decided to sell my A7SII and save for other things, then the a6300 came out. Pretty much the same features as the A7SII minus full frame, 5axis stabilisation and better lowlight.

5axis really needed:

Ok, at first this sounds like a lot to miss out on. But when I tested the A7SII on a gimbal…even with the 5 axis, the rolling shutter is still so bad, when handheld following a subject. Yes I was using a 50mm, but any camera can look stable handheld using wider lenses at 16mm haha. I’d even get micro jitters using a 50mm or 28mm on a gimbal… so not having the 5axis isn’t a massive issue, plus you can use sony’s OSS lenses with the a6300 and get along fine.

see below:

Gimbal test with A7SII and 50mm

Grade test using slog3 on A7SII



The lowlight is great with the A7SII, better then the a6300 but the a6300 isn’t bad. I never shoot using very lowlight and anything too low…with any camera your colors suffer anyways. So 1600 or 3200 ISO tops on the a6300 should be fine, no worthy tests yet, sorry.


Full frame is nice to have but don’t forget you can use speedboosters with the a6300 and pretty much get the same look. So remember this, A7SII = £2,500 or A6300 = £999. Thats a BIG Difference in price for not much difference in a camera. Also remember, the a6300 has better auto focus (with a few issues I address below) and the camera is supposedly a 6k sensor downscaling to 4k which will make a very nice 1080p delivery. Slow-motion is also the same, delivering 120fps without much crop at 1080p.

Here is my first test:

As I mentioned before, even though both cameras deliver slog3. I don’t recommend it due to a 8bit camera and using a codec not as strong as Prores. The video above I shot using slog2 which I think works great. The a6300 also offers the great feature to view in rec709 for slog2 or slog3, which helps for exposure and white balance settings on shoot.


I also have a set of LUTS available for Slog2 & Slog3

Slog2 Luts:


Slog3 Luts:


I also set my peaking color and level like this below:


Regarding autofocus, so far it works good like the A7SII, Im just slightly frustrated as its supposed to be better with the option to adjust your drive speed and track sensitivity. But unfortunately for me, with my Sony OSS 50mm 1.8 and Pancake 16mm 2.8 it doesn’t work and says not valid with these lenses?!


I was at NAB 2016 and spoke to Sony about this and they mentioned I need to get these lenses updated with firmware. So I said ”can I get this done here at NAB or back at home”?!  Unfortunately if you also have this issue, we have to send our lenses in to Sony, shame if its the only lenses you have. As I’d imagine they’d be gone for a least a few weeks 😦


The camera allows you to conform slow-motion in camera (slows it down for you) or slow it down yourself later in post. I prefer to conform in camera, its easier and I’ve noticed no quality difference.


Above: 50p or 100p settings to conform later in post, available in HD record settings


Above: Settings to conform your slow-motion in camera

I have also noticed no major difference in quality from 50/60p to 1oo/120p so I always leave it at 100p or 120p

Choosing the 100fps or 120fps depends on what region you set your camera to, NTSC or Pal


The camera also has wifi features to send pictures to your smart phone or you can take pictures/video using your phone acting as the shutter, so your not stuck to your camera for those family moments on holiday, when you want everyone in the picture including yourself.

One big disappointment with this feature, I can’t seem to access the slog2 or 3 modes for video when using wifi. It just allows me to use the normal picture profiles…you can still dial these down to look flat, but they don’t look as good as slog2 or 3…shame as this feature is handy for car mount shots, when you need to change the settings without having to go back to the car set up and mess with the camera 😦

No Headphone Input:


This is a very annoying feature to be without. Why have a mic input, a hot shoe to mount a mic… but have no headphone socket to be able to hear what the hell you’re doing! So for now you have to set your levels, record and bit, throw it in the computer and test out what it sounded like.

Very annoying!

Once you know what levels work well with a shotgun mic or lavs, you are good to go.

But I do not recommend doing it this way for professional use, as you never know what interference, crackle or other noises may happen while recording an interview etc.

or you can buy the expensive mic kit allowing you to plug in headphones


Im still trying to find an adapter for headphone use, but can’t seem to find a good one yet

Final Verdict:


So overall…a great little camera. Although, whether its NAB or not…sony will no doubt have a next version of something that will beat this… But at least its only £999

Hope this helps some people out, there is no perfect camera. Just lots more of them to choose from haha

Here is a new video I shot with the camera while out in Vegas. I was at NAB working for Blackmagic and tried my best to capture what I could in vegas and around vegas



A quick 120fps test 1080p, not as nice as 4K but not bad for under £1k

graded with my ‘Cream3’ LUT in my Slog2 Pack:







Write up:


(UPDATE! Downloadable 4.6K Prores files & Luts added at the bottom of the page)

So the 4.6k Ursa Mini from Blackmagic Design is now Officially shipping…

But there is some changes, no Global Shutter or GPS!

The rolling shutter in the camera isn’t bad, so not much need to worry. Its probably about the same as the RED EPIC. If it was as bad as the rolling shutter in the Sony A7SII, then I can understand people’s frustration haha

So both versions of the Ursa Mini are now shipping, which one do you get…4K or 4.6k.

Having used the Big Ursa, 4K Ursa Mini and now the 4.6K. In my opinion the 4.6K is the best one. The dynamic range is a BIG step up from the 4k model and the lowlight is much much better.

One thing to note with the 4.6k, if you plan on shooting Prores, your wont actually get recording at 4.6k, only option is UHD 3840X2160 Prores or 1080.

4.6k is only available in RAW, allowing real 4.6k 4608×2592 or 4096×2160 and 2K 2048×1080

Since its now officially released and not running in beta mode…we can finally share what the new bmdfilm looks like from the camera, here are some frames I shot.


rocks bmdfilm


rocks grade


step bmdfilm


step grade


phone2 bmdfilm


phone2 grade


face bmdfilm


face grade

The last 4 grabs are from a film I wrote, shot, edited and did sound for ( i don’t recommend doing all that yourself, haha)  as I basically wanted to test the camera by jumping straight in. The audio for the piece was recorded straight into the cameras xlr inputs.

watch it below:


When the new 4.6k sensor update for the big Ursa becomes available…then that camera will be slightly better with slow-motion…but I really don’t miss the size and weight of the Big Ursa haha

So speaking of slow-motion, both ursa mini’s shoot 2K windowed crop 120fps and 1080p windowed crop 120fps. I decided to try and push that slow-motion and upscale it to UHD, just to see how it copes with UHD 24fps and 60fps. It actually holds up well….I don’t always recommend upscaling footage but it can be done if needed.

see below:


Dynamic Range, is there really 15 stops? Haven’t scientifically tested but so far so good:

Is the lowlight better…YES! 800 is very very clean and 1600 is usable too

I haven’t experienced any fixed pattern noise yet

Here is a test done with just a candle:


Exposing for the camera I’ve found it to be little different, you can easily expose to the right and still recover highlights. But I’ve found when exposing evenly, my colors look more natural looking. Each person likes to shoot differently but below is where I like to nail exposure with the 4.6k sensor.


Just under the histogram is the battery indicators, I like to make sure my highlights don’t go past the 2nd battery bar. Since shooting this way, I find my grades and colors come out great each time.

Filters I like to use are the Tiffen Var-Nd and Firecrest Formatt-Hitech


When using the tiffen, I don’t like to shoot any faster then f2.2, wide open I find there is a color shift and vignetting. This is when I prefer using the Formatt-Hitech, see results below:

Sigma 18-35mm at 1.8 with Tiffen Vari-ND


Sigma 18-35mm at 1.8 with Formatt Hitech


Sigma 18-35mm at 1.8 with Tiffen Vari-ND


Sigma 18-35mm at 1.8 with Formatt Hitech


Accessories …as I mentioned in my 4K review. I’m not a fan of using the shoulder rig/evf top handle set up. It’s too time consuming to set up when you want to use it without the handle or pack the camera away to move from location to location.

Here is how I like to set up the camera:


I use the Smallrig Safety rail 46mm, mount that to the camera:


Then I slide the handle on the rail:


handle 2

Then using the smaller bolt thats comes with the BMD shoulder kit (not sure why this doesn’t ship with the evf) I use this bolt to connect the evf


set up

This allows my set up to be small and quick. I can now attach and detach the handle and evf fast with no tools needed.

I also like to use the IDX DUO 150 Batteries, 2 of these batteries last me all day

camera battery



Hope people find this helpful, drop any questions below!

People that finally have the camera, grading from the new BMDFILM can be tricky, so I created some LUTS below:

LUT Linkhttps://sellfy.com/p/u3IJ/

Available for:

Adobe Premiere CC


Davinci Resolve

Payable by, Credit Card or Paypal







Warm Base LUT

warm base

Cool Base LUT

cool base

Plus many more….

4.6k Luts: https://sellfy.com/p/u3IJ/


(a list of some recording formats & frame rates, not all formats but the main ones)

Prores Recording info: 


Prores 444 – UHD 3840×2160

Sandisk 120GB Cfast 2.0 : 24fps = 15min

Lexar 256GB Cfast 2.0 : 24fps = 29min

Sandisk 120GB Cfast 2.0 : 25fps = 14min

Lexar 256GB Cfast 2.0 : 25fps = 28min

Sandisk 120GB Cfast 2.0 : 40fps max full sensor or windowed = 8min

Lexar 256GB Cfast 2.0 : 40fps max full sensor or windowed = 17min


Prores 422 – UHD 3840×2160 

Sandisk 120GB Cfast 2.0 :  24fps = 30min

Lexar 256GB Cfast 2.0 : 24fps = 1hr 4min

Sandisk 120GB Cfast 2.0 :  25fps = 29min

Lexar 256GB Cfast 2.0 : 25fps = 1hr 2min

Sandisk 120GB Cfast 2.0 :  60fps max full sensor or windowed = 12min

Lexar 256GB Cfast 2.0 : 60fps max full sensor or windowed = 26min


Prores 444 – UHD 1920×1080 windowed/crop

Sandisk 120GB Cfast 2.0 : 80fps max  = 16min

Lexar 256GB Cfast 2.0 : 80fps max = 35min


Prores 422 – UHD 1920×1080 windowed/crop 

Sandisk 120GB Cfast 2.0 : 120fps max  = 24min

Lexar 256GB Cfast 2.0 : 120fps max = 52min


RAW Recording info:


RAW 4608×2592

Sandisk 120GB Cfast 2.0 : 24fps  = 7min

Lexar 256GB Cfast 2.0 : 24fps = 14min

Sandisk 120GB Cfast 2.0 : 25fps  = 6min

Lexar 256GB Cfast 2.0 : 25fps = 14min

Sandisk 120GB Cfast 2.0 : 60fps  = 3min

Lexar 256GB Cfast 2.0 : 60fps = 6min


RAW 3:1 4608×2592

Sandisk 120GB Cfast 2.0 : 24fps  = 12min

Lexar 256GB Cfast 2.0 : 24fps = 26min

Sandisk 120GB Cfast 2.0 : 25fps  = 12min

Lexar 256GB Cfast 2.0 : 25fps = 25min

Sandisk 120GB Cfast 2.0 : 60fps max  = 5min

Lexar 256GB Cfast 2.0 : 60fps max = 11min


RAW 4:1 4608×2592

Sandisk 120GB Cfast 2.0 : 24fps  = 15min

Lexar 256GB Cfast 2.0 : 24fps = 32min

Sandisk 120GB Cfast 2.0 : 25fps  = 15min

Lexar 256GB Cfast 2.0 : 25fps = 31min

Sandisk 120GB Cfast 2.0 : 60fps max  = 6min

Lexar 256GB Cfast 2.0 : 60fps max = 13min