Zacuto Gratical X electronic viewfinder with essential options – a special offer for Newsshooter readers

By site editor Dan Chung:


This week Zacuto launched their Gratical X electronic viewfinder, as we reported here. The idea is to take the same hardware as the original Gratical HD EVF, but to make all the firmware features available on an a la carte basis. This means the base price of the EVF can be brought down to $1650, then you pay to enable the extra firmware options that you need. This really makes sense if you don’t need every bell and whistle that the original Gratical HD has.

As an affiliate partner of Zacuto we have worked out a special deal that allows Newsshooter readers to get what I consider to be the best package of essential options if using the EVF for news and documentary work.

Focusing and exposure are key. Any extra help you can get in these departments is invaluable. For that reason the $350 bundle of peaking, red line peaking, zebras and scopes (histogram, waveform, vectroscope) is utterly essential. Buying all four together represents an $85 saving over the individual prices.

The one thing that is missing from this package is the 1×1 magnification to check precise focus. Most shooters find this an absolute necessity – especially because cameras like the C300 and FS7 don’t magnify the image going to the EVF over SDI. Normally this function costs $95, but the best part is that as a Newsshooter reader, if you buy the bundle you’ll get this for free.

I believe this is the best deal around – for $2000 you’ll get an EVF that has all the functions you really need to go shoot. And you can still add more functions if you wish, either now or later.

To get this offer all you need to do is follow this link, buy the EVF and add the $350 essentials kit, then add the coupon code NewsshooterZOOM when checking out. The 1×1 option will then automatically be added to your EVF. (The 1×1 option won’t show up in the checkout but Zacuto will add it before shipping).

Gratical X Product Update from Zacuto on Vimeo.

Technical Specifications:

Screen Dimension – 0.61” diagonal
Resolution – Full Display 1280×1024, 16×9 1280×720 HD
Contrast Ratio- 10,000:1
Refresh Rate – 60Hz
Color Depth – 24 bit RGB
Luminance – 120-250 cd/m^2
Pixel Info – 2687.21 PPI
5.4 million pixels
16.7 million colors

Color Processor – RGB, saturation, brightness, contrast
Test Pattern – (color bars & Macbeth)
Four programmable buttons
Frame Rates – 23.98p, 23.98PsF, 24p, 24PsF, 25p, 25PsF, 29.97PsF, 50i, 50p, 59.94i, 60i, 60p

HDMI – 1.4b compliant, resolutions up to 1080p/60
HD-SDI – Resolutions up to 1080p/60, loop out

Compatible with LP-E6 battery (7.8V 1800mAH LiON)
Battery run time ~ 3-4 hours depending on features used

Custom Scaling/User Presets
Zebra Stripes – Customize width, color, thresholds
Waveform (3D)
Histogram (RGB, Luma)
Audio Meters
LUT import and editing
Red Line Peaking (multi-color)
False Color
Frame Store Feature
HDMI output
SDI output
Cross Conversion – HDMI to HD-SDI, independent LUT on output stream

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Posted on July 1st, 2015 by Dan Chung | Category: Canon C100, Canon C100 mkII, Canon C300, Canon C300 mkII, EVF, Panasonic GH4, Red, Sony F3, Sony F5, Sony F55, Sony FS7, Sony FS700 | Permalink | Comments (0)

New Sony a7S professional battery solutions from Hawkwoods

By site editor Dan Chung:

The Sony a7S is a great camera in many ways, but battery life isn’t one of them. The tiny NP-FW50 batteries it runs on don’t last very long while recording video and I find myself having to carry five or six to get through a day’s work. If you use Sony’s handy XLR-K2M audio pack which draws its power from the camera then the battery life is even worse still.

You can find several DIY and third party battery solutions that allow the use of larger Sony NP, Canon LP-E6 or powerbank type batteries, but if you want something a little more professional looking then British accessory maker Hawkwoods has just launched a couple of interesting solutions.


Their new LR-16 a7S dummy battery adaptor cable has a voltage regulator that allows the camera to run off almost any source that has a regular D-tap connection. Obvious choices would be Hawkwoods or Swit BP-U type batteries designed for the Sony FS7 and EX1 – these have the appropriate D-taps and aren’t too large. You can also hook it up to a V-lock battery or power distribution plate if running a larger rig. Price is a very reasonable £76 excluding tax.

Hawkwoods a7

Also launched this week is the new LR-16U cable that is designed to power the a7S for extended shoot times in an underwater housing. It can run the camera from a DV-F550 type battery. Due to the voltage this battery outputs it doesn’t need any power regulation making the whole setup very small. While it is mean’t to be used for underwater setups this solution would also work for anyone looking for a very low profile external battery solution. The DV-F550 could simply be attached with velcro or tape to the top of a cage, or even the XLR-K2M audio pack. It retails at £55 excluding tax.

For more details on both of these solutions visit the Hawkwoods website.

Posted on July 1st, 2015 by Dan Chung | Category: Sony A7, Sony a7rII, Sony a7S | Permalink | Comments (0)

Odyssey7Q+ 4K recorder now shipping with a free 256GB SSD and accessory pack

By technical editor Matt Allard:


Convergent Design today announced some major changes to what ships with the Odyssey 7Q+. Buyers will now receive a free 256GB SSD as well as the inclusion of some free accessories. The cost of all 3 models (256GB, 512GB and 1TB) of Convergent’s own proprietry SSD media have also been lowered. In addition to these announcements, five models of Samsung SSDs have been qualified by Convergent Design for use in all Odyssey 7.7” monitor/recorders with the upcoming 2015.07 free firmware update. While the Atomos recorders have been able to use off the shelf SSDs from the outset, this is the first time that Convergent have allowed their use in the Odyssey range.


This from Convergent Design:

One 256GB SSD Included With The Odyssey7Q+
Starting today, July 1st, the Convergent Design Odyssey7Q+ will ship with one 256GB Odyssey SSD included. A five-pack kit of SSD handles for use with qualified 3rd party SSDs (see below) is now included with each Odyssey7Q+. Convergent Design has further added a 4K-ready HDMI cable and adapter, as well as an Ultra-Thin 3G-SDI cable, to the universal AC power supply included with the Odyssey7Q+. All accessories are available for separate purchase from any Convergent Design dealer.

List Prices Slashed On Odyssey SSDs
Starting today, July 1st, Convergent Design has drastically reduced prices on all three models of Odyssey SSDs for the Odyssey 7.7” monitor/recorders. The 256GB Odyssey SSD is now $249, the 512GB Odyssey SSD drops to $449, and the 1TB Odyssey SSD is now $795. Prices are US list prices in United States Dollars. Prices around the world will vary due to shipping and customs fees. All Odyssey SSDs are fully warrantied by Convergent Design to perform in all recording modes on all 7.7” Odyssey monitor/recorders.

Convergent Design SSD Price Drop
256GB Old price $395, new price $249
512GB Old price $795, new price $449
1TB (1024GB) Old price $1395, new price $795


Five Samsung SSDs Qualified For Use In Odyssey Monitor/Recorders
After extensive testing, Convergent Design has now qualified five models of Samsung SSDs for use in all Odyssey 7.7” monitor/recorders once upgraded with the upcoming 2015.07 free firmware update. Qualified Samsung SSD models are the 850 PRO series in 128GB, 256GB, 512GB and 1TB (1024GB) sizes, as well as the 850 EVO 1000GB. All five Samsung SSDs are qualified by Convergent Design to support all recording modes on all 7.7” Odyssey monitor/recorders, once these devices have been updated to the 2015.07 firmware. The previously announced Samsung 850

EVO 500GB SSD is not qualified. To protect clients from recording issues, only qualified SSDs or Odyssey SSDs will function in Odyssey 7.7” monitor/recorders. SSDs mount into the Odyssey monitor/recorders with a latching handle. Starting today, July 1st, a five-pack kit of SSD handles [view product info] will be included with all Odyssey7Q+ monitor/recorders as well as made available for purchase through the Convergent Design dealer network.

Qualified Samsung SSDs

Samsung 850 PRO 128GB
Samsung 850 PRO 256GB
Samsung 850 PRO 512GB
Samsung 850 PRO 1024GB (1TB)
Samsung 850 EVO 1000GB

Certified vs. Qualified
Odyssey SSDs are certified to work in Odyssey monitor/recorders. Convergent Design tests and sells these SSDs, so the company has oversight to warranty their performance. The above listed Samsung SSDs are qualified to work in Odyssey monitor/recorders. While multiple samples have been tested extensively by Convergent Design, we do not directly sell this media, so Convergent Design cannot warranty individual 3rd party SSDs. Convergent Design Customer Support is available to our clients 24/7, but we may not be able to successfully support 3rd party product to the same extent as our own products.

For more information head over to Convergent Design.

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Posted on July 1st, 2015 by Matthew Allard | Category: 4K, External recorders | Permalink | Comments (0)

Go Creative Show talks to DP David Burr ACS about filming Mad Max: Fury Road

By technical editor Matt Allard:


On this week’s Go Creative Show host Ben Consoli discusses the brilliant cinematography of Mad Max: Fury Road with second unit Director of Photography David Burr ACS. David offers a behind the scenes insight into all of the incredible challenges and innovations used on the film. David has previously worked on films such as San Andreas, Mad Max Beyond Thunderdome and the Australian classic Gallipoli.

Click play to listen to this weeks episode:

This from The Go Creative Show:
David Burr’s cinematography career spans over 30 years with countless feature and short films, but today he’s here to discuss his recent mega-blockbuster hit Mad Max: Fury Road. As the second unit Director of Photography, David was responsible for many of the stunning action sequences and we discuss all the behind the scenes secrets that made this film an instant classic. Then we discuss the role of a second unit Director of Photography. What are their responsibilities, how do they interact with the director and cast, and how you can break into this field.

Topics Covered:
The switch from 3D to 2D
Using Alexa cameras
The challenges of shooting in the desert
Using Canon 5DII and Olypus OM-D for crash cams
How a leaf blower became their essential tool
A crane dug into the sand was the key to one of the most iconic shots
The strategy behind center framing and super fast cuts
Shooting day for night
The responsibilities of a second unit on a film production
and more…

Web –
iTunes –
Shortlink –

Posted on July 1st, 2015 by Matthew Allard | Category: Action Cameras, Arri Alexa, Blackmagic design, Brushless gimbals, Canon Eos5DmkII, Go Creative show, Lenses, Lighting, Olympus | Permalink | Comments (0)

Canon C300 mkII autofocus and assisted manual focus – will they transform the way you shoot?

By site editor Dan Chung:

The Canon C300 mkII on show at the Top Teks event in Central London

The Canon C300 mkII on show at the Top Teks event in Central London. (Picture by Elliot Smith)

Canon’s Dual Pixel CMOS AF (DAF) on the original C300 and C100 was groundbreaking. They were the first large sensor video cameras which had accurate enough autofocus for me to actually use on productions. Other competing manufacturers introduced autofocus, but it was still too hit and miss and I would prefer to use manual focus instead. This comes as no surprise to anyone who has followed Canon’s dominance of the digital SLR market. The main reason their cameras are still the number one choice of many action photographers is the speed and accuracy of the AF systems Canon make.

Good as the original C300 and C100 with DAF systems were they were still not really good enough in many common video situations. This was mainly because the autofocus only worked if the subject was in the centre of the frame. Any off-centre subject, such as your typical interviewee, could not be tracked using the AF system. The only way to work off-centre subjects was to point the AF spot at the subject, lock the focus, then recompose. This clearly doesn’t work if your subject is moving around. In addition the old DAF had little control over the speed of focus transitions. Part of the beauty of a nice focus pull when done by hand is that the operator can adjust the speed of transition to match the mood and feel of the shot.

Canon 1

Enter the C300 mkII. The key features include an all-new sensor, 4K internal recording and improved build of the top handle and connection cables. But for me, the key development is that the C300 mkII has a much more advanced autofocus system. The aim of Canon’s designers was to make something that behaved in a far more natural way and was good enough to use for serious shooting. Now the system can focus anywhere within the central 80% of the frame. In addition the camera can now track faces in its continuous AF mode. If there is more than one face on screen then it will detect it and offer the user the choice of which face to focus on by toggling between them. The speed at which this camera shifts focus can be set faster or slower, mimicking human control.

If you really don’t want to use the autofocus, then the C300 mkII has another trick up its sleeve. There is an assisted manual focus option that aids the operator to focus. If you are using a compatible EF lens then markers appear on screen near the subject. Little arrows indicate which way to focus and when good focus has been achieved. This sounds complex but is really easy to get the hang of.

We saw C300 mkII prototypes working at the NAB show earlier in the year, but I was keen to really try out the AF system for myself in conditions that I typically work in. Luckily, last week I was invited to a Canon event organised by UK dealer Top Teks. The C300 mkII was on hand with Canon Explorer Simeon Quarrie operating it. The camera was still pre-production but between us we were able to play around and see just how good the autofocus system is. Unfortunately we weren’t allowed to record in the camera or externally, but I was able to shoot the screen and this gives a pretty good indication of what it was like. Apologies if it looks out of focus from time to time – this isn’t the camera, rather the low quality of the screen recording. I can assure you it really was nailing focus most of the time.

The test environment wasn't perfect - but exactly the type of conditions I typically might have to shoot in.

The test environment wasn’t perfect – but was exactly the type of conditions I typically might have to shoot in. (Picture by Elliot Smith)

For the first test we used a Canon 24-70mm f2.8 L and a Litepanels Astra LED light for illumination in an otherwise poorly lit room. I really wanted to see how the AF tracks in a typical interview where the subject (in this case me) moves around a lot while talking. The system worked incredibly well, locking onto the eyes almost all the time. The only time it shifted focus was when I placed my hand in front of my face for a longer period. A brief flash of the hand in front of the face didn’t seem to phase the camera’s brain. In short, I was amazed. I can really see this being used all the time for interviews and it does a better job than I would have done by eye.

Next, I tried the face detection AF with two subjects (me and the man from Canon). Simeon toggled between us using the jog dial on the camera. You can see how the focus shifts when he selects the subject. If there are more people in frame then more boxes appear on screen and you can again toggle between them. We tried different speeds and you can see how it changes the transition time. Overall I think it looks pretty natural and again I was impressed. If there is one thing I would like to have seen that isn’t on the C300 mkII it is a touch focus on the camera’s own screen. This is despite the consumer level EOS70D DSLR having it built-in. You can, however, perform touch focus using a connected tablet running Canon’s remote interface – but it would have been far better to have it on the camera itself as well.

Lastly, we tried the assisted manual focus. This is as big an innovation as the DAF and I found it worked really well. I asked Canon reps whether lenses other than AF EOS ones will work. They said that Cine lenses and manual glass won’t. I asked specifically about the CN7x17 KAS S 17-120mm Cine servo zoom which can be purchased with an EOS mount with electronic contacts. I was told that there may be a possible solution for lenses like this in the future that would allow them to work with the system, but there was no firm commitment.

I think that despite all the naysayers who claim that we would never see autofocus used for ‘serious’ production, Canon have finally made a system that will see autofocus commonly used by pros on a daily basis. Solo operators working on factual programmes will probably benefit the most, although there are plenty of other applications such as brushless gimbal and Steadicam work. Hopefully the technology won’t take too long to filter down to the cheaper offerings in the Canon range.

One other thing I learned while playing with the camera is that it finally displays the waveform monitor in the built-in EVF. This is something the other C series cameras didn’t do and it’s great to see Canon listen to users and add it in here.

An shot of what can be seen on the built-in EVF. Waveform is clearly visible.

An shot of what can be seen on the built-in EVF. Waveform is clearly visible.

Hopefully, the autofocus system in the final production camera will live up to the promise I witnessed at the Top Teks event. The camera is still not scheduled to ship until September, but to me it’s clear that Canon intend to make autofocus a key selling point and something that separates it from rivals like the Sony FS7 and F5/55. Whether enough buyers will see this as a ‘killer feature’ remains to be seen.

Videos and stills in this article by Elliot Smith.

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Posted on June 30th, 2015 by Dan Chung | Category: 4K, Canon C300 mkII | Permalink | Comments (0)

Atomos free update brings Sony FS700R and FS7 4K RAW to ProRes recording to the Shogun

By site editor Dan Chung:


Atomos have today added some eagerly anticipated features to their Shogun 4K external monitor/recorder. With the introduction of AtomOS 6.4 the key improvements are the addition of a 4K DCI RAW to ProRes function for the Sony FS7 (with XDCA-FS7 expansion pack) and FS700R, as well as Pre-roll recording of up to 2s in 4K and 8s in HD. 4K DNxHR from DCI RAW is also supported.

Atomos claim that the clever part is the accurate conversion of the 4K RAW output to Slog2, Slog3 or Rec709 in 4K 24/25/30p resolutions. The competing Convergent Design Odyssey 7Q+ has had a 4K RAW to ProRes feature for a while as a paid upgrade – Atomos are now giving this feature to their customers for free.

AtomOS 6.4 also adds the ability to add a LUT to the output and also to the recorded material. This could prove incredibly useful for factual productions where directors and producers want to see an image with LUT applied on a wirelessly connected monitor via a wireless transmitter, such as the Teradek Bolt Pro or Paralinx Arrow.

There are other new features such as anamorphic de-squeezing for use with Anamorphic lenses, custom time lapse recording and expanded metadata tagging.

You can download the update now from the Atomos website.

Below is the full info from Atomos:

Melbourne, Australia – 17th June 2015: Since the Shogun launched in late 2014, Atomos has constantly kept users updated with free features, adding significant value to the already affordable all-in-one 4K/HD monitor-recorder. The AtomOS6.4 released today adds some of the most anticipated features for users to date including;
FS700 & FS7 4K-DCI RAW to ProRes/DNxHR record
Anamorphic de-squeeze including 2x, 1.5x, 1.33x and Panasonic 8:3 modes
Pre-roll recording (up to 8s in HD and 2s in 4K)
Custom time lapse recording – Keyframe
LUTs able to be applied on output, in recording, on screen & split screen
Playlist generation of all clips on the disk, user selected clips, cut edited favourite clips or a combination of both.
Expanded meta data tagging – Wide shot, close up, Talent 1 or 2, Over exposed, Bad Audio, Colour correction and cut away. FCPX 1.4 XML upgrade
Genlock activated for synced playback and play-out in Genlock environments

“We have unleashed thousands of dollars of value for free,” says Jeromy Young CEO and co-founder of Atomos. “Features like RAW transform the FS700 from a HD camera to a 4K camera with accurate colors and real conversion to REC709 for the best ProRes and DNxHR recording, the Anamorphic de-squeeze adds even more functionality to the Panasonic GH4, Playlist converts the Shogun into an affordable play out server on set and time lapse gives a creative edge to all of our users in the field”

The AtomOS6.4 update is available for free download from The features added to the Shogun are included here in full;
FS700 & FS7 4K-DCI RAW to ProRes/DNxHR record
Users can take the RAW 4K-DCI feed from the SDI output on the Sony FS7 and FS700 and record direct to 4K-DCI ProRes or DNxHR. The linear RAW feed can be recorded as Slog2, Slog3 or Rec709 and can support 24/25/30p resolution. For the army of FS700 users in the field this is the feature they have been waiting for, converting their HD camera into a 4K powerhouse.

Anamorphic de-squeeze for 2x, 1.5x, 1.33x and the specific Panasonic 8:3 mode support
Anamorphic was one of the key trends from this year’s NAB, led by a mass of new anamorphic lenses and the announcement from Panasonic to add anamorphic squeeze to their popular GH4 camera. With this update the Shogun can de-squeeze an anamorphic image from 2x, 1.5x, 1.33x and Panasonic 8:3 modes. Another reason to add GH4 with Shogun

Pre-roll recording of 8s HD, 2s 4K
With pre-roll activated the Shogun is continually cache recording – up to 8s for HD and 2s for 4K. Perfect for capturing action sports or long wildlife shoots, ensuring you always get the shot even if you hadn’t hit record yet. Works in all modes including RAW.

Custom time lapse recording
One of the most creative features added is video time lapse. With this feature users have complete control over their unique time lapse style with the ability to adjust the number of frames, time between capturing the next frame, total record time and clip playback length. The user interface has been well thought through to make the process easy and with the ability to set multiple steps, add a smooth transition and even schedule the recording time, capturing the perfect time lapse sunset is now a much easier task.

LUTs able to be applied on output, in recording, on screen and split screen
Since February, Shogun users have been able to upload their own LUTs in a “.cube” file format to review and measure the effect on the monitor before recording. Now in OS6.4, additional LUT capability has been added with the ability to view the LUT on the output, on the screen, bake it in the recording and even view in half screen mode to see the direct result of the LUT on the final image.

Expanded meta data tagging
We have expanded the meta data capability of the Shogun to allow for on the fly tagging wither during recording or during review in playback. The 10 meta data tags available (Favorite, Reject, Talent 1, Talent 2, Over Exposed, Color Correct, Bad Audio, Cut Away, Close up, Wide shot) allow for key word search in FCPX and can be transferred across to Adobe and AVID using readily available online tools.

Genlock activated
The Genlock terminal on the back of the Shogun has been activated to allow for synchronised playout and playback.

Playlist generation
The ability to record, playback and review quickly on set has been an integral feature of Shogun and now with playlist functionality the process for reviewing rushes and favourite scenes on set is easier than ever. Play all movies in recorded order, or hand select a playlist for playback in any order – either your choice of multiple clips, just the Favorite sections of a clip or a combination of both. This functionality makes the Shogun one of the most affordable 4K play out server solutions available on set.

Posted on June 30th, 2015 by Dan Chung | Category: 4K, External recorders, Sony FS7, Sony FS700 | Permalink | Comments (0)

Cinegear 2015: Redrock Micro Scout UltraCage – Motorised focus mini rig for a7S, GH4 and DSLR

By technical editor Matt Allard, video by Adam Plowden:

Redrock Micro have a new update on their ultraCage Scout which we first saw at NAB earlier this year. The Scout integrates a finger wheel and motorized follow focus for geared cine lenses, as well as a base station which incorporates batteries for the electronics. They have also added the Rhino mount which we previously reported – a single rod system for a much stronger mounting solution for the motorized focusing wheel.

Screen Shot 2015-06-30 at 8.48.34 AM

The ultraCage Scout offers a very compact electronic follow focus system for small camera such as the Sony a7S and Panasonic GH4. The rig will also accommodate DSLR cameras like the Canon 5D Mark III, but it will not not fit taller DSLRs such as the Canon 1D C and Nikon D4s.


The Scout should be a little great hand held solution for new cameras such as the Sony a7R II that feature the new multi-axis stabilisation systems. The added opposite-side handgrip should give the camera balance for handholding shots and the integrated fingerwheel electronically drives the focus without your hand ever leaving the grip.

The system is really aimed at one man band operators who are using larger focus throw lenses that are difficult to operate by hand. One of the main benefits of the system is it doesn’t require a traditional 15mm rod system to mount the follow focus – saving a lot of bulk.


The ultraCage Scout can also be used as a traditional remote follow focus by adding the optional microRemote handheld controller. As the base station is built into the rig the system is already wireless ready and will immediately work with the hand unit. It has a range of up to 1 mile line of sight This is ideal for users who would like to keep their camera in the Scout cage and then place it straight onto a gimbal.

The ultraCage Scout is available for $2,299 US.

This from Redrock:

Scout cage
2x adjustable top arms (for cameras ranging from 91mm to 125mm tall)
2x integrated cold shoe mounts for accessory mounting
Ready for optional bottom rail clamp (sold separately)
Integrated remote basestation, wireless ready
Integrated fingerwheel controller
1x Redrock Torque motor including 19mm/15mm rod clamp
1x Torque motor cable
1x 4″ Rhino Shoe Clamp for motor mount
2x 18650 3400mAh protected Lithium Ion batteries for powering integrated microRemote
1x 2 cell charger

Total Weight: 2.5 lbs (1.13kg)

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Posted on June 30th, 2015 by Matthew Allard | Category: Brushless gimbals, Camera stabilsation systems, Camera support systems, Canon Eos5DmkII, Follow Focus, Panasonic GH4, Rigs, Sony A7, Sony a7rII, Sony a7S | Permalink | Comments (0)

Zacuto Gratical X EVF is good to go: Lower cost viewfinder with a la carte options for $1650

By site editor Dan Chung:

Gratical X Product Update from Zacuto on Vimeo.

If you’ve been eyeing up the Gratical HD OLED EVF from Zacuto but couldn’t really justify the expense, then now’s there’s a cheaper way to own a high quality viewfinder. As we previously reported the Gratical X is exactly the same top grade hardware at a lower cost. The catch? You need to add the features you want in the form of paid upgrades. If you wanted every single feature of the original Gratical HD then you are still better off going for that option. However, if you only need one or two options such as peaking, or pixel to pixel zoom, then the Gratical X is for you.

The Zacuto Gratical X

The Zacuto Gratical X

I envisage the Gratical X as being perfect for users of cameras that output most of the info they want to see over SDI or HDMI, and who don’t need to record that output as a clean feed externally (either because they only record internally in the camera, or the camera has multiple outputs for which the overlays can be separately turned on and off). If you find you really did need a specific feature after all then you can simply buy it later.


Obvious cameras to pair the Gratical X with would include the Canon C300 and Sony FS7, which both output a plethora of overlaid info over SDI and HDMI. At the price it might even be an effective option for more traditional ENG cameras and even smaller cameras like the PMW200 or EX1.

You can pre-order the Gratical X here.


More from Zacuto:

Zacuto now offers two Gratical models; the Gratical HD and the Gratical X. Both units start with a 5.4 million pixel micro-OLED display, high quality precision optics with a built in diopter, and a powerful FPGA dual core processor. The models differ only in software. The Gratical HD EVF comes packed with professional features like Vectorscope, Waveform (3D), Histogram, LUT import and creation and much more. The Gratical X EVF includes only basic features and our unique, customization program allows you to build the software package that’s right for you.

The Gratical X will start at an attractive price point of $1650. Upon activation, the unit will have HDMI and SDI inputs, display adjustments, color bars, blue gun. Additional software features like pixel to pixel zoom, peaking, false color, LUTs, zebras, frame store, HDMI and SDI outputs and many more can be purchased a la carte or choose one of our bundles with savings.

The Gratical X will need to be activated and software features will need to be purchased at (coming soon) by the end user. We will be shipping an activation card with the Gratical X so customers will be aware of the steps required to activate before use.

For those wishing to invest in a complete, professional, electronic viewfinder, the Gratical HD with full features, free future features in development and firmware upgrades for life is still the gold standard and best value at Zacuto.

The Gratical X will be shipping end of July 2015, Limited quantities to start. Get your pre-orders in now. First come, first served.

Full disclosure: Zacuto is an affiliate partner of

Posted on June 29th, 2015 by Dan Chung | Category: Canon C100, Canon C100 mkII, Canon C300, Canon C300 mkII, EVF, Sony F5, Sony F55, Sony FS7 | Permalink | Comments (0)

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