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Someone named Vitaly hacking a camera? Oh boy. 😅

I know we’re not supposed to talk about action cams, but this action cam is not! Why is no one talking about the Mission 1 Pro ILS? This thing looks so good. Have I bought into the YouTube shill hype? I just sold another camera and a couple of lenses to get it. Is anyone else going to pull the trigger on one?

Seriously, look at the ridiculousness of this. The JJC LCD hood fits perfectly on my S9. The LCD viewfinder is something I purchased with a used GH2 about 5 years ago. It fits perfectly on the ILS and doesn't really require anything else. That said, I find the LCD bright enough for daytime use. The viewfinder is really the only thing that would really help for focus. Yes. You can set it to one color or it dynamically decides a color (never seen that before). You'll need to have it on sensitive for it to mean much. I think there might be a steep learning curve if you're not used to manual focus though. I often prefer it. It slows me down and gives me something to do other than being intentional on framing.

After looking and foraging my various drawers in the house, I was able to find 3 Bell & Howell lenses from my grandfather: 0.7 inch, 1 inch, and 4 inch lenses. This was standard war-time military issue for war journalists. I also found 3 plastic Lomography lenses: I have ordered some inexpensive Chinese lenses too: 7Artisans 10mm f/3.5, TTartisan 17mmf/1.4, and TTartisan 25mm f2- a holy trinity for about 350 euros. From what I've heard, these lenses all suffer from poor corner performance; however, I'm throwing away 45% of that APS-C image anyway and only keeping the sharpest part. I figure those will be a perfect size too with the total kit under 1kg. I considered the Laowa cine lenses, but decided that they were simply too pricey for the concept of this kit. I'm bummed about not being able to use my AF M43 glass, but I love the limitations of straight up manual focus. I'll be shooting a lot with the 17mm this weekend.

The things that impress me most about this camera are the frame rates and processing. In addition, it’s so damn small and light. I purchased it, and it’ll be here tomorrow. I’ve seen both super positive and super negative opinions about it, but it really does feel like a new category. I have a few assumptions about it, though: I think it will be a stellar performer when it comes to moiré and rolling shutter. It’s also going to be pricey to get wide, sharp lenses for it. That’s why I plan on using it with my S9. I feel like they could complement each other well. I’ll definitely be playing around with it over the next few days.

So I rented the Pyxis 6K this week to run some tests. We're building a new studio and I wanted to see if these would work for us in our workflow. My criterion for these studio cameras is the following: - Somewhere in the $2000-3500 range - SDI output - Solid 4k image - Clean image for fast workflow (no denoising in post) - Good autofocus - Simple workflow Honestly after spending a few days with the Pyxis, I enjoyed it more than I thought I would. It's a really simple camera body, and everything is laid out really well. It's smaller than I thought it would be, but built from a heavy duty metal, and kind of heavy overall, which I didn't mind. The 5" monitor is amazing. It's also built out of some kind of metal, but still thin and light. It powers and does video from a single locking USB-C cable. It's touch enabled, so the menus and autofocus can be controlled from there, and the image is really bright and easy to see in the sun. It's honestly just really nice to be able to put the camera on a tripod, plug in the locking and included AC adapter, plug in the monitor, and you're good to go. No janky adapters, dummy batteries etc. The image is really really good. It's very sharp, clean, and as much dynamic range as you could want. I was able to underexpose shots by a solid two stops to hold highlights out a window and the image looked really good after recovery in post. The autofocus kind of surprised me as well. It's DPAF, added somewhat recently in a firmware update from BM, so I wasn't expecting a lot. But it was really solid. Not a lot of control options, but when a head comes into frame it locks on and tracks really well. I feel like I can totally use this for talking heads with no worry about it losing focus. Overall the biggest downsides were the lack of internal ND filters, which is a real killer. For our studio workflow, this is totally fine. But it would be amazing if ND was included for if we want to use them for other projects. Also rolling shutter was pretty noticeable in 6K. Not a problem again for studio work, but could be an issue if used for other things. The other two downsides for me would be the lack of codecs and resolution options. There is no downsampling in camera. If you want to record in 4k or 1080P, the camera crops the sensor. Also you are limited to b-raw, there is no h.265 or h.264. Again, this isn't really an issue for us since the camera can still output a full sensor downsampled 4k signal from the SDI output, while being set to 6k internal. But for other workflows, I could picture this being an issue. I think there is a love hate relationship with this camera's simplicity. All the basic, core functions are there, and really easy to access, like resolution, frame rate, audio, LUT control, proxy recording, etc. But when it comes to anything more complex, this camera is kind of lacking. On one hand I really like this because it keeps things simple and uncluttered. It's really nice to pop in the menu for something and not have 10 million options to sort through. On the other hand if you're missing something important, this can be devastating. Overall This camera nailed what we're looking for in a studio camera, but I'd be hesitant to buy it for run and gun use. I think for run and gun the one and only reason I would buy a heavier cinema camera is for the internal NDs, so with the Pyxis lacking them, it wouldn't really make sense over something like an A7IV or an FX2 which would both be in the same price range.

Thinking of it as a Super-16 FILM camera represents an incredible opportunity when combined with the high-resolution sensor - zooming in post. My experiments with emulating S16 film showed that even a moderate amount of blur applied in post hides a huge amount of detail in the image. This means you can crop into the source image significantly and the blur will hide it. For example: If you were to put a 12mm lens on it, then you'd get a ~35mm FOV at 6K, which you then blur. If you were to put a 12mm lens on it, then crop 2x you'd get a ~70mm FOV at 3K, which you then blur and the blur hides the zoom in post. If you were to put a 12mm lens on it, then crop 3x you'd get a ~100mm FOV at 2K, which you then blur and the blur hides the zoom in post. Depending on how much blur you applied (if you were going for a vintage 16mm look or a more modern 16mm stock emulation) I suspect you could zoom up to 4-6x in post before the digital nasties started being visible through the emulation. I don't know what kind of digital zoom the camera offers, but if it allows it then you could frame in-camera and not be throwing away bitrate when you crop in post. This gives two advantages: 1) It turns any prime into a zoom, perhaps even a 4-5x zoom - much more than the 2-3x fast zooms like 18-35 etc 2) if you crop in post then you can apply additional stabilisation, making it feel a lot larger than the tiny camera it is I suspect that mostly this advice will fall on deaf ears, as people are drastically afraid of softening their images, like they'll be punished in the afterlife for it. When I saw Goodfellas in the cinema on 35mm film projection, it looked like somewhere between 720p and SD - and that was a 35mm feature film!! The amount of blur to accurately reproduce even a semi-ballpark 16mm film emulation is beyond most modern thinking, but if you can wrap your head around the concept then the ILS can become a drastically useful camera.

Interesting update on the FP front. A user has apparently developed a way to use the FP's internal gyro data to get post-production stabilization via the cam's SD card (vs needing to attach an additional piece of external hardware). You can get more details here: https://discord.com/channels/1542149935523299378/1542153963837853807 And this is an FB group where the developer made the annoucement earlier this week, and is discussing it with other owners: https://www.facebook.com/share/v/1EPzkeRZny/?mibextid=wwXIfr There is also a user (Vitaly Li) who literally just posted about a new mod they're developing that could give the FP 3000x2000 open gate: https://www.facebook.com/share/v/1F1sixsTzz/?mibextid=wwXIfr Personaly I've moved on from my dreams of owning an FP, but this is seems like pretty promising news for FP users.

And… …selling it. It’s been a decent stills experience but less so video. From the stills perspective, it takes nice pics but back to the same old dilemma I always have and that is the best camera I have with me at all times is always going to be my phone and it’s a PITA to carry 2 devices. On the video side if things, it worked well enough on the gimbal but operating the gimbal as a one man band hybrid shooter is as much a PITA as that ever was so selling the RS4 mini also and replacing both, ie the gimbal and the L10 with a Pocket 4P. Also, in the static role, overheated in literally no time in the type of environment I typically work in and at not much difference in size to an S9 with a small lens, which despite not having a fan, is surprisingly durable. More so than my S1Rii’s I *think*. I have not tested the latter but as my S1Rii’s have overheated in a static role multiple times and my S9 never has… Anyway, L10, I wanted to really like it, but it’s not cutting it for work purposes (never really expected it to as than as D cam at best) and can’t really be bothered as an EDC and with hindsight I shouldn’t have bothered, but hey, we sometimes need to try to find stuff out. Anyone want to buy a lightly used L10 in the UK?!

Another new size appropriate lens for the S9 in the form of a 20mm f2.5 launched today. https://www.wexphotovideo.com/panasonic-lumix-s-20mm-f2-5-lens-3358704

I was pretty excited about this idea, but with the limited lens selection, even with the new 40mm f/2, it’s still bigger than my Sony A7R II with the Rokinon 35mm f/2.8. An A7C would be even smaller. It still doesn’t really feel like there’s a proper upgraded/full-frame version of the GX85 + 20mm f/1.7 combo, which I absolutely loved

Completed filter holder V1..... It's far more compact than anything else I've seen that fits anything other than a naked iPhone, which is important because if my phone is a huge rig then I may as well be using a "real camera" and if I can't fit the whole thing in my pocket then that means carrying a bag and (once again) I may as well be bringing a real camera. I cut up some 2mm aluminium sheet to bridge the gap between the two sections of the Tiffen and epoxied it in place. Then I added another layer of 0.22mm aluminium that was painted black (that I ordered by mistake - thinking it was 2mm) to cover it up and give it a semi-nice finish. I did a bit of filing around the edges and added some black nail polish to tidy up the edges, and finally put a pop-socket holder on it so I can hold it a bit more securely. This is how I typically hold my phone when shooting, it's nice and stable and it gives me a good grip. The case is super grippy, so I'm optimistic that it'll work well. I deliberately called it Version 1, because after discovering how easy it was making this one I'm thinking that version two should be a custom one designed from the ground up. After all I have all the tools and plenty of spare materials. I'm thinking I might have a ring of rare earth magnets set into the sheet, and I'll base it on a step down ring that's stepping down from a few sizes above so it's got a bit of material in it. Hopefully I can create something that attaches really well and is still nice and slim.

If your use case is with C mount Super 16 lenses, "a bunch of lenses" might fit in a coat pocket. The tripod can also be an insanely light tripod or even something like a Manfrotto MP-3.

If you're going to get an ARRI phone, why wouldn't you get one with a built-in gimbal?

I envy the Ronin 4D for that.

GoPro ILS vs BMPCC OG... not a completely scientific test, but lots of shots in different scenes, so a good real-world comparison.

For me, 6K is ideal - I don't lose detail when reframing and even with some denoising, a lot of the fine detail sticks around. Really, for anything from 4K through 8K, it's fine for me. 4K just means I have to be more careful with my frame and 8K means using a bit more disk space (which I have plenty of for now, hope hard drive prices come down someday, though). But yeah, the frame rates are fantastic. They're one of the big reasons that Camera Conspiracies loves his M1P ILS so much.

I think we had some discussion about it! I'm very pro-Mission 1 ILS. I've bought a couple of Backbone-modded cams over the years (well, the first one I bought as a conversion kit for an existing previous-gen GoPro, which I promptly screwed up and then sent to them to help me fix nice guys!). The thing that's kept me from using either one is that monitoring is bad on them. The HDMI output on the older GoPro lags. We're not talking 3 frames... more like 1/4-1/2 second. And the monitor output on the Insta360 One RS... isn't. There's no wired display option for it and the wireless display to the phone is also laggy, even in an area with no wifi interference. Neither was made for pulling focus. And holding a wee little action camera right up to the eye to focus on its little screen (very little on the One RS) stinks - and tools to punch in, while available, are clearly an afterthought and are clunky. So they're most usable for something where you focus once and then just roll - which doesn't fit a lot of my use cases for a smaller sensor. Though they were great for the eclipse that came through the US a few years ago. Anyway. The M1P ILS seems to fix that problem. The screen is as big as you'll find on an action camera. Wired monitoring is possible and (from what I've seen) low-latency. Dynamoc range is, by action camera standards, good. The only reason I didn't buy one when I got the "in stock" notice from B&H was that... well, I just got a Pyxis 12K because the current sale is crazy. That and it's GoPro - they'll be on sale for at least $100 off within a year. That's how I got my M1P non-ILs.

For anyone looking to do something similar a suitable harvesting product is this Allied Vision industrial camera that uses the same Kodak CCD. They are also long since defunct of course but are available on eBay. https://www.ebay.co.uk/itm/284133056331 I think the price seemingly on the high side is probably reflective of people looking to do a DIY Digital Bolex too but when you consider that a used D16 is not easy to come by and is well north of £5K then for someone determined enough this route is something of a relative bargain. Pi 5 and its eco-system have now matured sufficiently to be able to handle the Allied Vision software in the intervening years so it’s definitely viable as a DIY project. Not trivial of course but viable.

It seems RED SDK beta 9.3.0 released in 9th of September has this line: Added: trim support for R3D NE. Hopefully it’s not long until both Resolve and RedCineX Pro include this SDK🙂

Side 100%. Can’t stand tall stuff! I’m rebuying the battery grip for one of my S1Rii’s because it’s just a bit too unwieldy with the Sigma 28-105 f2.8, especially in portrait orientation where having that shutter trigger button is a boon. That lens is only on the camera 20-25% of the time but it makes sense to just keep the battery grip on at all times for the constant familiarity in handling even with smaller & lighter primes plus it would be faff to keep switching. On the other S1Rii, I have the Smallrig half cage which is basically just a base plate with a side rectangle that is supposed to protect any cables, but has 3 threaded holes. Just a case of attaching the thingy that holds a P4 to that left side and then simply have it in the horizontal plane when I want to capture some gimbal video whilst shooting stills plus the ability to flip it to the portrait mode the rest of the time when I want to shoot social media BTS BS. Also much easier workflow than shooting open gate and having to frame for both 16:9 and 9:16 in the same shot and sort through all that footage. Less kit, less BS, better workflow.

Nothing wrong with ZR dynamic range IMO, and highlights look good too. With NRaw ETTR just below clipping point is needed, but with R3D NE exposing correctly by false color works well. Just get Cinematools false color LUT to ZR, make your own in Resolve or use Parallax Monitor app. The ZR is no pocket 4P with DLog2 DR wise, but pocket 4P IQ still does not look even closely as nice as ZR, and guess which one breakes sooner in very low light. The pocket 4P IQ as a gimbal camera is still nice step up from earlier oversharpened stuff and does not look bad when mixed with raw shot with ZR and Z6iii. Have not used RedCineX much after discovering it does not support R3D NE trim save either.

The single biggest issue is that operating the thing one handed is not great and one handed is the only way to also shoot stills at the same time. The answer is to primarily shoot stills two handed and have the video unit attached to the photo unit and in that regard it needs to be small and operate on its own mini gimbal. Et voila, the Pocket series and its rivals. I also need a better BTS and quicker social media option so again, better tool for the job.

I wonder if it will ever get the 'Red-lite' raw codec 'everyone' wants... If that ever happens, what a fucking camera it would be.

Definitely the best value of it’s kind… For not much more than 500€£$, what it’s capable of is nuts! It’s only real Achilles heel for me is the build. Mine is in the XLCS cage so it’s like Robocop visually, but that does’t change the rear LCD, buttons or dials. I’m not one for chasing the next gen camera for the sake of it, but for real world upgrades that would make a genuine difference. Bring in the S9ii…

The 12K line has a steep discount going now, too.

For people in the US, at least (I'm not sure abroad), Panasonic are running some trade-in deals. The one for the S9, in particular, is fantastic if I understand the terms right: https://www.bhphotovideo.com/a/trade-in/61933 The S9 is $1,197 normally, but there's a $300 instant rebate and if you do a trade-in, you seem to get an extra $350 + trade-in value of what they describe as "any working digital/film camera." I wonder just how much of a potato would still quality - $547 for a brand new S9 is genuinely tempting. It's pretty much the most pocketable full frame camera on the market now - would be nice if it had internal ProRes, but I think Panasonic's HEVC implementation is decent. Also, kind of crazy to get sensor shift stabilization on a FF camera for that size/price.

Funny that sony raises prices and blackmagic cuts prices. Allthough for me with the storage space costs at the moment. Braw isnt cutting it. It is better then h265, sure. But I just cant justify the storage costs. I wished they included compressed prores again. Love blackmagic though, it has an amazing look. I think I owned lost of their cameras until the pyxis. But its shitty on gimbals, and storage adds up, not as much as the nikon zr though. I hope nikon announces good news on IBC in a couple of weeks. My c500ii will do for now.

With 10 years experience in the industry, you should start by reaching out to all the clients you worked with in the past, who you feel like you delivered great content to, and who you have built a good relationship with, no?

Good morning, everyone! A short and super-relaxed video from the final days of summer on the island of Thassos. Featuring music from a bygone era— a time many of us wish we could live in! Enjoy a video that made with a7iv + Tamron 28-75 f2.8 and GoPro12 !

Ditto. Sadly too many compromises for me... I really hope they work on something new though as their lenses are 👍 and I use them exclusively now. I have a feeling they won't bother though with stuff like the ZVE1, ZR, S9 available (and hopefully S9ii in the near future).

The more I think about being able to shoot with 180 degree shutter on my iPhone 17 Pro, the more I feel drawn to shoot with it. I don't know what it is, but there's a certain X-factor in the idea for me. CineD posted their (incomplete / failed) lab tests recently and there are some interesting things to note. The first is that the rolling shutter is absolutely excellent. 3ms for the main 24mm camera, <6ms for the 100mm camera and 5.6-7.4ms for the 13mm camera. The 3ms is equal to the fastest of any camera in their database: Very impressive, especially considering that this is much more likely than most cameras to be shooting fast-moving things or being shakily hand-held, like when shooting inside moving vehicles etc. The other thing they tested is Dynamic Range, which (because of the internal processing) couldn't be fully tested. However, there are a couple of images of the waveform from the Xyla, including the below one, which shows the 12th stop peeking above the noise floor: They conclude that it's likely got "around 11-12 stops above the noise floor" which is a very good result for such a small sensor. To me these things are both very encouraging and just makes me want to shoot with it more.

How bad is the dynamic range on this camera? Particularly the highlights? (I tend to just rate at base ISO and shoot traditionally rather than ETTR.) I was hoping Red's highlight recovery (which isn't that great imo as you lose all color information) would help, but it seems to be disabled in RedCineX? I had sworn off new cameras but I sold my old ones and might need something for work.

The problem is that people online gather to complain (if they are happy they are usually silent), and the more appealing the price is, the more they seem to want to be sure they are getting their money's worth, assuming that every missing feature is an attempt to scam them of their money. The ZR price puts it into the radar of bargain hunters who have this mindset. I'm confident enough that Nikon will improve h.265 log footage adequately to make it satisfying to use for those situations where RAW or Prores footage takes up too much space. It might not be the best h.265 nor does it have to be, given the price of the camera, but it shouldn't be noticeably soft, either. I also hope the Prores LT codec comes soon, and that the noise reduction can be adjusted when using Prores HQ and LT formats.

I agree - back in early 2025, I'd been looking for a camera that could do good 4k50 in a compact, lighter, body (smaller and lighter than the Pana G9 and OM-1 that I already owned). Never really thought it would be a full-frame camera, but when Pana seriously dropped the S9 prices in the UK in Feb 2025 I grabbed a 'like new' red S9+18-40 lens bundle from Amazon, basically to try it out properly. The outcome was I now own two S9 bodies and five L-mount lenses... 🙂 (and rarely use my OM-1) I didn't think I'd make much use of the real-time LUT capability, but I now use it all the time in conjunction with V-Log. My handheld 'general video' S9 is in a SmallRig Half Leather Case, which is nice to hold, adds a small grip and looks good. I use the Pana 70-300mm F4.5-5.6 lens sometimes (which supports Dual-IS), and the S9 stabilisation is good enough to shoot hand-held video at 300mm (with EIS enabled). The Hybrid Zoom feature is great too (although for video that only works up to 30fps).

Whoa, nice! 🤩 With the discount, used prices are below standard used prices.

Presumably it is so that the footage from the ZR can be more easily color graded by those who are familiar with RED footage, and the material from the ZR can be mixed with that from RED cameras with easier and better color compatibility. Nikon's issue is that the video from its hybrid cameras (especially in SDR mode) is designed to color match with the stills from Nikon cameras and cinema people have their own preferences that differ from that of the stills world. Nikon has been gradually adding features to make it easier to make the footage look similar to that of RED cameras, and this is another step in that process. Personally I like the SDR colors from Nikon cameras in video as they are so familiar to me as a stills shooter, and if I want to present video and stills from an event, they match by default. I appreciate that for video there are reasons to use log formats for encoding the data in a more efficient way to get a wider range of tones and colors recorded while keeping file sizes in check, and this encoding can vary from camera brand to camera brand, making mixing the footage across brands to a cohesive whole more challenging. The 4:2:0 vs. 4:2:2 has to do with how the colors of adjacent pixels are encoded to save space, I don't necessarily see how this would affect the overall "look" or dynamic range of the footage, which the log profile might affect. Nikon does support 4:2:2 in Prores in the ZR. I would assume the RED Log profile would likely be available for Prores files as well, after suitable firmware updates have been made available.

If the h265 is still 4:2:0, of what use is this slightly different log profile?

Nikon have announced an interesting firmware update for 2027. Could be a confidence that’s announcing this three days before IBC or maybe someone else is announcing a competing camera there that Nikon need to get ahead of. Either way, it looks like a great update for existing users. Full details here https://www.nikon.com/company/news/2026/0908_01/

Unless you desperatly need build-in NDs, internal prores or EF lenses without an adapter. I would have retired my 6kPro a few years ago if the FF camera had ProRes, or even a good h265 codec.

They’ve managed to put themselves in a position where their full frame 6K is significantly cheaper than their Super 35 6K version so the latter will hit that sub $1000 point when they clear it out as it makes zero sense at this point.

Yes, you should title them with as many poophemisms as you can find that sound like footage they’d like to steal. Building a log cabin Clearing the pipes Cutting a cigar Decorating the White House Downloading some software Feeding the fish Laying some cable Stocking the lake with brown trout Etc etc

I'll be sure to fill up any cloud storage they give me, then. Maybe I could treat them to a retrospective of my year in toilet flushes, but give it a bunch of other labels like "Doing a sick jump on my bike"

Last time you did it, I bought one! : D

My finger was hovering over the checkout button on that one for a few hours today, but it looks like someone nabbed it. I picked one up during the $1500 fire sale in 2024 and regret selling it later. Amazing camera for that price.

You beat me to posting it. If you want IMX410 and usable autofocus, it'd be hard to find a better choice. Let's see how used prices react as well. Judging by B&H, they're reacting very nicely for the CC6K - there's an L-mount one for $1,435 right in condition 9 right now. That's... even slightly lower than the new price was for a minute a few years ago. 😅 But for $1,435 - that's a hell of a camera. If I didn't already have the problem of "more cameras than I actually use, I should sell some of these," I'd be furiously clicking buy right now. Pyxis 12K used prices seem to only be about 10% off new on B&H and on Adorama and MPB, they didn't catch up at all yet so used are now much more expensive than used. Now... if they would drop the price of the Pyxis 12K to $3,500, I'd already be in the middle of figuring out which camera I'd be making myself sell to justify getting it.

All of them of course. Gotta make that coin whenever and wherever you can.

They will be very important as the cameras will be the capture device for the worldwide free training data they’ll be getting from the cloud storage/editing function that will be offered to the users who’ll be unwittingly doing the training for the company. And paying for the capture device as well. And they ban DJI for being untrustworthy eh? Makes you wonder which family member is backing this financially ?

Great hack for the filter holder! I'd somehow missed how obnoxious they made the camera bump on the 17. Sheesh. I'll have to look to see if my Magsafe filter holder fits over my case (the standard iPhone 16 Pro soft plastic case from Apple). I think I eventually found one, but it's been a bit since I used it. But that is also my preference - just let me use the normal case and a normal screw-in filter and not some weird one with a proprietary filter system that won't work with my next phone. And yeah, Magsafe is definitely the way to go for filters - and if your filter adapter passes through the magnet, you can also get a magsafe CF Express reader/writer. That's really useful when shooting ProRes on the 16 - and presumably for shooting raw on the 17 series.

Getting ready for my next trip and I'm going far more minimal this time, and so the focus is on using the iPhone 17 Pro as my second / backup camera. As such, I've been working on a vND solution for it. The significant considerations for me are.. It needs a ton of ND As it doesn't have an aperture, if you want 180 shutter then you need enough ND to shoot F1.78 in bright sun It has significant IR pollution issues It suffers from IR pollution far more than my GH7. If I shoot with my GH7 and my 1-5 stop True Colour vND I never get IR issues, but the iPhone gets them even with just this 1-5 stop adapter. I need an adapter that works with my iPhone case I'm not taking my phone case on and off when I use an ND, and the "solutions" that the smartphone filter companies provide seem like pretty shitty cases compared to the rugged cases that I prefer to use. I want it to be as small as possible - adding an ND filter shouldn't make it look like I'm shooting a Nolan feature film As such, I've developed the following approach. I'll stack my existing 58mm K&F 1-5 stop True Colour vND with a fixed NiSi 3-stop ND that also has IR filtering in it I'm modifying the Tiffen MagSafe filter attachment I bought to work with my Otterbox case (photos below) Cutting it like this and overlapping them gives the height step-up required so the filter part sits on top of the lip that the case has around the cameras. After some testing, I found that I could position the 58mm filters so that they don't obscure any of the rear cameras (including the ultra-wide). The two limiting factors in the arrangement are that I can fit two 58mm filters but not three (the third one starts obscuring the ultra-wide camera) and if I position it so the three filters are fine on the ultra-wide then the other cameras start to be obscured by the filter holder. The above is only held together with super-glue, but I have will cut some 2mm aluminium sheet and glue it in place with 5-minute araldite (epoxy) to make the thing sturdy. The MagSafe connection is remarkably strong, partly because the Otterbox case has magnets in it designed to transfer the magnetic field to the outside of the case. It'll be strong enough for careful use anyway - it's not like I'll be shooting with it and also wrestling people at the same time! The more that I think about how good these smartphones are now the more ideas I have on shooting with it. Once you toss in high-quality filtration like this, plus anamorphic adapters and all sorts of other things, the shooting possibilities get really exciting!