Filmic Pro might be called the “Gold Standard” for highly advanced mobile video recording apps on both Android and iOS, it surely is the most popular and widely known one. Even Oscar-winning director Steven Soderbergh has used it to shoot two of his feature films. The fact that a powerful rival has just recently launched is bigger news for Android users though than for those on iOS. There are a couple of very capable alternatives to Filmic Pro on iOS including Mavis, MoviePro and Moment Pro Camera. While options are available on Android as well they are not as numerous and/or complete and for quite a few development has either ceased completely (Cinema FV-5 and recently Moment Pro Camera) or for the most part been reduced to bug fixes or minor compatibility adjustments (Cinema 4K, Lumio Cam, ProShot). There’s also the solid free Open Camera (plus a whole range of variants based on its open source code) and the pretty good Footej Camera 2 but none of them can really match Filmic Pro when it comes to usability and advanced features. That is until now.
Only two weeks ago, an app called Protake – Mobile Cinema Camera popped up in the Google Play Store (and also the Apple App Store). The screenshots looked quite promising and after downloading it and taking it for a quick spin I can confirm that there’s now another immensely powerful mobile video recording app available for both Android and iOS. Protake gives you full manual control over exposure (shutter speed/angle and ISO), focus and white balance, you get support for external mics and a visual audio level meter plus the ability to adjust input gain, a whole set of exposure and focus assistants (zebra, false color, focus peaking, waveform monitor, RGB parade, histogram), different aspect ratios (including different widescreen formats and square but apparently skipping 9:16 vertical), frame rates (incl. 25fps, but not 50/60 on any of my devices – but that might be different for other phones), resolutions, bitrates (they don’t go as high as Filmic Pro’s though), codecs (H.264/H.265), color profiles/looks etc.. You even have an interesting option called “Frame Drop Notice” which I have never seen anywhere else before and some useful one-tap quick buttons for hiding the UI or switching between maximum screen brightness and current brightness. There’s also support for external accessories like Zhiyun gimbals, anamorphic lenses or a DOF adapter. All in all, it’s a feature range almost as complete as FilmicPro’s and the UI is slick and intuitive.
There is however one catch: While you can download the app for free and also use the auto mode to record, you can only activate recording for the pro mode (including manual controls and most advanced features) by buying a subscription. The subscription model has become a common practice for many apps in the last years (particularly for video editing apps) but so far I hadn’t really encountered it in a camera app. The subscription price is 10.99 Euros (9.99 US-Dollars) per year which is somewhat moderate compared to other apps (if you break it down it’s less than 1 Euro per month) but as I said, it’s new for this kind of app (at least to me!) so it might need a bit getting used to. It should be noted that the current price is a 50% off offer so the regular price would actually be double, venturing into financial territory not too many of us might be willing to follow. There’s another thing to keep in mind which probably isn’t of any relevance to most users but definitely to someone like me with a whole zoo of different phones: The subscription will only let you use the pro mode on three different devices at the same time. So if you want to use it on more than three I suppose you will need to buy a second subscription. This should however be a very rare use case.
One last thing: If you are on Android, please note that most features of the pro mode (like setting specific values for shutter speed and ISO) are only available if your Android device fully supports Camera2 API, which lets apps of 3rd party developers access the more advanced functionality of the phone’s camera. If Camera2 API support hasn’t been implemented properly by the maker of the phone, 3rd party apps can’t access certain features no matter how capable their developers are. As a rule of thumb, relatively current flagship phones and midrangers usually have sufficient Camera2 API support, entry level phones only sometimes. If you want to learn more about the topic, check out this older blog post by me.
Let me know what you think of Protake! Either here in the comments or on Twitter @smartfilming.
While I’m personally not that much involved in the production of pure audio / radio content, I have noticed that there has been increasing demand for a way to make audio stand out more in social networks that primarily address the eye. There are some web tools like Headliner, Audiogram or Auphonic and the relatively popular iOS-only app Wizibel that basically take an audio file, generate a visual waveform animation based on it and create an mp4 video file as the end product which is easily shareable on Facebook, Twitter, Instagram etc. Usually you can also add a still image or text to spice it up. Some call this type of audio visualization an “audiogram” and I think it’s particularly useful for audio teasers (for a podcast for instance) or audio content that is only a couple of minutes long. There have been a few options on Android as well (ChkSnd, Audio Vision for Videomakers, Avee Music Player) but while they weren’t exactly bad, they all had some shortcomings. A couple of days ago however I stumbled upon a very promising app that’s relatively new (it was released November 2019): Visualization Video Maker.
After spending a couple of days with the app, I’m sure this one’s a keeper – it’s the best I have encountered on Android so far. It has a good, clean and easy to use UI but still a lot of options to customize the look of your audiogram. The basic workflow is very simple: You start with a given spectrum, then choose your audio file and optionally add a background photo/graphic/text. That’s about it. Of course you can dig a bit deeper and customize different aspects of your video, the app’s UI makes it very intuitive. You can choose from a set of animated spectrums/spectra (bar, circle, line, texture etc.) and define size, color, position and opacity among other things. There’s also a bunch of options to edit your text or photo. You are even able to change the layering of spectrum, text(s) and additional photos/graphics to decide which one is represented as the top layer. Everyone familiar with the layering of graphical elements like in Photoshop for instance should feel at home. You can also “mute” layers which basically disables them so they are hidden from the preview but still in your layer stack.
The app supports the import of different audio formats/codecs including wav/pcm, mp3 and m4a/aac. However I have found that there seems to be a bug affecting LG devices where you get an error message when trying to use wav files with pcm codec (mp3, m4a/aac on the other hand work just fine). I tested this on an LG V30 and LG Q6. I had no problems with wav files on a whole bunch of other Android devices.
Let’s take a quick look at things that could be improved: 1) The video aspect ratios are limited to 16:9 landscape, I couldn’t find any square or portrait format options. When considering that the app is a great tool to present or tease audio in social networks, more format options would be great to have, particularly a square 1:1. 2) From what I can see the app is lacking proper share integration with other apps via the Android share sheet. Yes, you can pick your audio file through the media browser / audio file system but depending on the recording app you used for recording your audio file, finding these files can be a bit annoying, especially if you have lots of audio files on your device. So it would be great to be able to share the recorded audio file from your recording app of choice directly into VVM. I have tried this with a couple of common Android audio recording apps but never was VVM listed as a target when opening the share sheet so I think the problem is on VVM’s side.
In the export panel you can choose between the following video resolutions for your mp4 file: 1920×1080, 1280×720, 854×480 and 640×360. You can also define a custom video bitrate while the frame rate is automatically 30fps. The audio bitrate of the exported video is 128Kbps (no matter the input), which is pretty ok for sharing on social networks but could still be raised a bit to please the more audiophile crowd.
VVM is basically free without any kind of watermark but to export your project you have to watch a 30 sec advertisement if the export resolution is 720p or above or the length over 3 minutes. I suppose this is a pretty fair deal. Unfortunately, there are no in-app purchases whatsoever to avoid watching the ad. So even if you are willing to pay, there’s currently no way. It would have been nice to have the option for a one-off purchase of the app which will then let you always go straight to the export.
And here’s a bonus tip: If you use Visualization Video Maker in combination with the app AutoCap you can even get automatic captions for your clip! Just take the exported clip from VVM into AutoCap and let this app do its magic. While AutoCap is free to use as well, you will have to pay to get rid of the watermark here.
Last thing: I just noticed that there’s actually now an Android app version of Headliner (iOS version as well) but so far I wasn’t able to import/upload any audio files. Despite meeting all the requirements (mp3/wav file, under 500MB and under 2 hours length) I always get an error message “File problem. Please make sure your file is a MP3 or WAV, under 500 MB & shorter than 2 hours”. You also need to create an account for the app so VVM definitely looks like the better mobile option to me at this point.
Is this a useful app in your opinion? Do you think ‘audiograms’ are a good thing? Drop me a line in the comments or on Twitter @smartfilming.
I’m a big fan of advanced mobile video editing apps like ‘KineMaster’ (Android & iOS) or ‘LumaFusion’ (iOS-only) and I’m very supportive of the idea that one should pay for such powerful media creation tools. However, there might be instances when it’s just not possible for one reason or another to do that. So I have always kept an eye on mobile video editing apps that tick all the following boxes: 1) they should be free to download and use 2) if there are different versions the free version should not include a watermark 3) they should be fairly advanced (for instance include the ability to have a second video track) and user-friendly 4) they should be cross-platform (Android and iOS) and 5) they should handle/export at least 1080p resolution with 25/30fps. I eventually ditched one other prerequisite: that you don’t have to create an account to use the app. To be honest, if you want an app that really ticks all the boxes, there isn’t much around. Actually up until recently I would have only been able to point to a single one: ‘VlogIt’. And even that could have been considered a cheat under strict circumstances because while VlogIt doesn’t have a watermark on the exported video, it has a branded bumper outro. I’m not too much a fan of the app’s UI though and its limited to a 16:9 project aspect ratio. Another theoretical contender was the relatively new ‘Adobe Premiere Rush’ but the availability for Android devices is still extremely limited and you only get three free exports before you have to commit to a paid subscription. So things were looking pretty sobering until last week-end.
While routinely browsing the Google Play Store for new video editing apps, I came across an app named ‘VN’. The provided screen grabs looked somewhat promising and I downloaded the app. After launching it, I was greeted with a splash screen that prompted me to log in or create an account. I seriously considered deleting the app again. I’m at a point where I really don’t want to sign up for the 3478th service, particularly not before even being able to try out the app. Curiosity however got the better of me and in hindsight, I’m glad it did.
First things first: VN isn’t really new. It apparently has been around for about two years according to the release date in the PlayStore but the relatively low number of downloads compared to other popular free video editing apps indicates that not too many people seem to have noticed it. VN is integrated into a video sharing community (where you can post videos to their platform and follow other users) which can seem a bit annoying if you only want to use the app to save the finished project to the device and share it to your platform of choice. You don’t have to share the video to VN’s community though, it’s possible to only export it to the Gallery (Android) or Camera Roll (iOS) and save it locally on the device.
With that out of the way, I have to say I was very impressed with VN’s feature set after taking it out for a spin. While it’s not quite as advanced as LumaFusion or KineMaster, it comes surprisingly close for a free app, covering a wide range of dedicated functions for serious video editing while at the same time sporting a visually pleasing and generally user-friendly UI.
VN has a classic video editor timeline layout and is able to handle multiple tracks of video (important for b-roll editing for instance), audio and other visual elements like titles, photos and graphics. In terms of graphics it’s also important to note that it supports png files with alpha channel (for instance to include brand logos). You can also record voice-over into the timeline as an audio track and for this external microphones are supported as well. Another big win for VN is the variety of project aspect ratios available: 21:9, 16:9, 4:3, 1:1, 3:4, 9:16 and even ‘Round’ which is basically a masked square format.
One area where VN really needs to be improved (at least on Android) is handling audio transitions between video clips. There a multiple ways to achieve this but none is included at the moment: 1) it’s not possible to detach the audio of a video clip to make J&L cuts 2) while visual elements can be keyframed, audio can’t – so no audio ducking / automation is possible 3) while quick fade in/out buttons are conveniently available for audio-only clips (music, voice-overs etc), this is not available for the integrated audio of video clips in the Android version (it is on iOS) 4) no audio-only cross-fade is included in the transitions. With all these critical points in combination it’s very hard to avoid rough audio transitions between video clips in the Android version at the moment, the iOS version is slightly better. I suppose the fade in/out buttons for video audio will be added to the Android version eventually.
Talking about audio, at least in the Android version voice-overs recorded within the app itself don’t sound very good (I tested on two devices so far), like they are recorded at a low audio bitrate or sample rate but I’m sure this can be fixed with an update. Also, you can’t boost the audio in the Android version while on iOS you can. A slightly annoying thing in both versions is the fact that just like many other video editors featuring video overlays, the added b-roll footage doesn’t fill the whole frame but is added in a slightly scaled down version so if you want to have it cover up the frame of the video clip on the primary track seamlessly, you have to manually scale it which is not only an extra step but also includes the risk of accidentally moving the image away from the center. I get that this default setting is useful if you want to use the overlay video as a picture-in-picture but it’s not the best for editing b-roll style. It would also be nice to have a visual audio level meter when playing back the timeline.
Other than that, VN continues to provide you with lots of useful editing options like speed-ramping, nice title templates, filters, basic grading and various visual effects. One very clever UI function is that when long-pressing a video clip in the timeline to rearrange the order of the clips, it automatically squeezes the clip into a compact square storyboard thumbnail and only transitions back to the original timeline view after releasing the clip into its new place. This makes it much easier to rearrange clips quickly. VN also gives you a variety of professional options on export, not only resolution but frame rate (24/25/30/50/60) and bitrate. And it’s watermark-free! And available for both Android and iOS! On iOS it even seems that you can use it without having to create an account first. I have only tested it for about a week now and it’s quite possible that I will come across (more) bugs or shortcomings but so far I can conclude that this is a fantastic app, both easy to use and powerful. So is it the best free-without-watermark cross-platform mobile video editing app?
A couple of days after discovering VN, I took a second look at another app, one that I tested about a year ago when it was still in beta but somehow lost track of it over the months. It’s called ‘Feelmatic’ and is available for both Android and iOS and similar to VN (at least when looking at the Android version), you have to create an account for their video sharing platform/community.
Feelmatic also covers a lot of important features for advanced mobile video editing. It’s a bit more basic than VN, lacking some of its “bells & whistles”, but depending on the job you need to get done, it might not be that much of a deal. One might even see it positively as a more focused approach with a toolbar that lets you see all elements at a glance without having to swipe and scroll around, going down the option rabbit hole. It might be easier to grasp for users who are completely new to video editing. When I first tested the app last year it didn’t have the ability to add a video overlay but it does now. Better yet and unlike VN, the video overlay fully covers up the clip in the primary track by default. Feelmatic lets you record voice-over within the app and supports the use of external mics for that. Just like with VN however creating a smooth audio mix can be a problem, as there’s no audio keyframing, audio-only transitions or fade in/out buttons etc. I consider this to be one of two crucial points to improve in Feelmatic. The other is the extremely limited number of available aspect ratios: 16:9 is all there is (unless I’ve missed something), no option for vertical or square. You can bring in footage in other aspect ratios but it will be fit into a 16:9 frame and exported as such.
Feelmatic also has two slightly special toolbar elements, one is called ‘Logo’ which basically invites you to add an alpha channel png file as a brand/broadcaster logo and gives you a choice of four common default positions within the frame. The other one is ‘Subtitle’ which adds text including a half-transparent background for better legibility at the bottom of the frame. This is great for actual subtitles/captions but as far as I could tell, there are no other title options like say for an intro. This is a bit too bare bones for my taste.
The UI is generally good and focused with one minor shortcoming: the toolbar is located in the middle of the screen which makes reaching it in one-hand operation a bit more difficult, at least on bigger phones. If the toolbar were located at the bottom beneath the timeline, accessibility would be better.
The process of getting your project out of the app is a bit more cumbersome than with VN (you have to select a category for your video even if you don’t want to publish it on the Feelmatic platform for instance) but it is possible. That being said, you do get a solid set of export settings including video and audio bitrate. The video bit rate however maxes out at 10 Mbit, the audio bit rate at 128 Kbit which isn’t exactly great. And there are even more limitations: resolution is limited to 1080p (no UHD/4K), fps to a maximum of 30fps. While on iOS this does at least include 25fps as well, the Android version only supports 24 and 30 which is disappointing because other editing apps on Android like KineMaster, VN or CuteCut don’t have a problem with exporting 25fps.
So while I think that Feelmatic is actually a pretty solid and interesting video editing app with great potential definitely worth checking out, VN is more powerful in terms of features and the export process is less cumbersome. You should definitely check out both apps if you are into mobile video editing unless you are worried about their business model. If you don’t mind a watermark on the exported video or paying for a subscription, KineMaster is still the best and most compatible option available for both major mobile platforms. Let me know what you think in the comments or on Twitter @smartfilming.
If you are reading this, there’s a chance you might at least have heard about a mobile operating system called Windows Phone even though you never came close to owning a device running it. But there’s also a chance you never knew such a thing existed so let me just very briefly recapitulate.
Ever since Microsoft had built its quasi-monopoly in terms of an operating system for personal desktop computers and laptops with Windows, many assumed that they would have a good chance of utilizing this might in the emerging field of increasingly potent mobile phones with more complex operating systems. But that didn’t really happen. While Microsoft did introduce the Windows CE-based „Windows Mobile“ for pocketable computing devices in the early days of the 21st century, the real revolution in this market would only happen years later with the arrival of Apple’s iPhone. In a now infamous statement during an interview with USA Today in 2007, Microsoft’s then-CEO Steve Ballmer was extremely skeptical about Apple’s first phone: „There’s no chance that the iPhone is going to get any significant market share. No chance.“ Things turned out slightly different as we all know today. While Apple with iOS and soon after Google with Android went all-in on mobile touch-screen operating systems for smartphones, Microsoft hesitated for a long time – too long as history would tell. When they finally came out with Windows Phone 7 (the „7“ picking up from earlier OS versions under the „Windows Mobile“ moniker) in 2010 they were three years late to the party and never managed to catch up again despite occasional glimpses of hope. One, maybe THE crucial factor for failure was the fact that many popular 3rd party apps were not available for Microsoft’s platform or only in versions inferior to those on Apple’s iOS and Google’s Android. The acquisition of Nokia’s mobile phone division in 2014, a tighter integration with its desktop OS Windows 10 in the form of Windows 10 Mobile in 2015 and the app porting projects “Astoria” (Android) and “Islandwood” (iOS) were last desperate attempts to turn the tide but to no avail. Satya Nadella taking over from Steve Ballmer as CEO in 2014 also meant Microsoft reevaluated its business strategy and philosophy to concentrate on platform-independent services instead of pushing their own platform. In October 2017 a Microsoft executive revealed that they would cease development of new features and hardware for the platform, in January 2019 the company announced that software support for Windows 10 Mobile will end December 10, eventually postponing the date to January 14 2020 which will be next week.
End of life, end of story?
So why would I now bother to write about Windows Phone / Windows 10 Mobile when it’s being lowered into the virtual „cybergrave“ right now? Does anyone care at all? While I do assume that many will not have exactly waited for someone to do this, I consider Microsoft’s passing mobile OS to be worth a look in retrospect because not only was it a really refreshing alternative to Apple’s iOS and Google’s Android in terms of design but it actually had quite a bit of potential as a platform for mobile content creation in my opinion – potential that was wasted or got lost along the way, that is.
Mobile photographers livin’ the Lumia dream
The Windows Phone device that single-handedly put the platform on the map for mobile content creation was without a doubt the Nokia Lumia 1020 which launched in the summer of 2013. Sporting a six-element lens array by Carl Zeiss with a whopping 41 (!) MP sensor to go along, optical image stabilization, a full set of manual controls for photography, a dedicated shutter button and (added via software update a bit later) the ability to shoot in RAW/DNG, the 1020 was a dream come true for mobile photographers, outshining pretty much everything the iPhone or Android handsets had to offer at that time. There weren’t any advanced photo editing apps around in the Windows Phone Store but as long as your focus was on the capturing experience this didn’t really matter much.
What’s with the video?
Things weren’t quite as impressive in the videography department however. Sure, the spectacular 41MP sensor was a very early example of how a photo camera megapixel „overkill“ could be utilized to provide a quasi-lossless digital zoom for video which only needed a small fraction of the 41MP prowess when recording in 1080p resolution. But while you had a pro mode with advanced manual controls for photography at hand, there wasn’t an equivalent for video – the fact that this asymmetrical feature distribution is still the standard with 99% of smartphones today isn’t really an excuse. The common simplicity and bare-bones functionality of most native camera apps doesn’t mean you have to throw in the towel for more ambitious videography work with your phone as long as 3rd party apps fill the gap but that’s exactly the point where we touch upon a sore spot with Windows Phone.
Up until very late in the game, when ProShot added video functionality to its advanced camera app for Windows 10 Mobile in the second half of 2016 there was not a single 3rd party video camera app in the Windows Phone store that provided a robust set of manual controls like ISO and shutter speed to set a precise exposure. You couldn’t even lock the exposure for video in any of the camera apps with video functionality. It wasn’t all bad though, there were some lights in the dark. I never owned a Lumia 1020 but had a 920 for over a year as my daily driver and I was pleased to find out that the native camera app supported the use of external mics via the headphone jack which is often an indispensable feature when using the phone for professional video work.
Another beacon (at least for folks residing in regions which use the PAL broadcast standard) was the ability of Lumia Camera (which was a separate app from the stock camera but could be considered an advanced native camera app) to shoot video in 25fps and not only the standard 30fps that is common for the native camera app of basically every single smartphone on the planet. Unfortunately, Lumia Camera did not support the use of external mics while the stock camera app did not support shooting in 25fps so if you needed both (and many did) you were out of luck. There could have been a happy ending to this when the Windows Phone native camera and Lumia Camera were merged into one app (I think they dubbed it „Windows Camera“) for the new Windows 10 Mobile. You now had white balance presets, manual focus and basic exposure adjustment (but only EV, not precise shutter speed / ISO values, and still no exposure lock!) at hand, plus PAL frame rate support. Devices running Windows 10 Mobile (at least the Lumias) were the only smartphones able to shoot in 25fps natively without the help of 3rd party apps. Up until this very day this has not been possible on any phone running Android or iOS! But incomprehensibly, the fusion of the two camera apps dropped the support for external mics (at least that’s what I found on the Lumia 950 and 550) despite the fact that it was still working in a Windows 10 Mobile preview version I ran on a Lumia 630 before the final release apparently killed it off. As mentioned before, ProShot (which had been a photo camera only for a long time) eventually added a video mode with a lot of pro features like precise shutter speed / ISO exposure control, an audio level meter and support for external mics. But it basically did so at a time when the MS Windows 10 Mobile had already hit the iceberg.
Windows Phone = Lumia?
If you are wondering at this moment why I have been only talking about Lumia devices in the context of Windows Phone and if Lumia phones basically equal Windows Phones you are both right and wrong. Yes, there were other companies than Nokia (and later Microsoft itself): Samsung, HTC, Acer, Blu and HP were among those launching phones running Microsoft’s mobile OS but their support for Windows Phone was very sparse and short-lived so it’s pretty hard to imagine that when someone talks about a „Windows Phone“ device now they are not referring to a Lumia phone.
It’s also undisputed that it were the Lumia flagships following the pioneering work of the Nokia Lumia 1020 which gave Windows Phone its reputation with mobile camera enthusiasts: photos and video footage from devices like the Lumia 920, 930, 950 and 950 XL were able to go head-to-head with iPhones and high-end Android handsets in terms of image quality. So why did Windows Phone fail to establish itself as a viable alternative for mobile content creation with smartphones?
Minding the app gap
Yes, we’re back talking about apps again. While the hardware was competitive (at least in certain cases), the software – or to be more precise: the software eco system wasn’t really compared to the other two dominant mobile platforms. I already pointed out that there was a serious lack of advanced 3rd party camera apps for video (FilmicPro actually ran a crowd funding campaign for a Windows Phone version once, it failed miserably) but the problems were not only confined to the capturing experience, they were just as imminent for post production.
While Windows Phone 8.1 can actually be considered a huge step forward for the platform in terms of having any kind of video editing app available at all (apparently up until WP 8 the OS had prevented 3rd party apps from integrating even basic video editing tasks into their apps), seeing the launch of apps like Movie Maker 8.1, Videoshop (which turned out to become the only video editor available across all three major mobile platforms), MovieJax and the frustratingly short-lived Movie Creator Beta, they were all relatively basic – none of them offered a second video track for instance. That being said, they did allow you to create and produce a simple video story by adding several clips to a timeline, trim off unwanted parts, add audio like voice-over and very basic titles. But those who had hoped that this first wave of usable video editors would mature or bring about even more advanced ones over time eventually had to admit that their optimism wasn’t justified. The problems of a thin and often quality-lacking eco system in general which got caught up in a vicious circle involving poor sales figures and lacklustre involvement of app developers had a direct impact on the special case of using Windows Phone as a platform for mobile content creation.
You can still get things done!
That didn’t prevent some daring creators from using Windows Phone devices for actual professional videography however, tapping into its strengths while working around the shortcomings. I particularly want to highlight the work of Dutch/Frisian mobile journalist Wytse Vellinga who for some time used a Lumia 930 to produce news reports for the regional broadcaster Omrop Fryslan. Here are some fine examples:
Another example is by Croatian videographer Darko Flajpan who’s working for the national broadcaster HRT and also used a Lumia 930 as a main camera for a whole documentary, here’s the trailer:
To learn something about their personal experience working with Windows Phone in a professional context, I asked them a couple of short questions for the purpose of this article.
Q1: Why did you consider working with a Windows Phone at all?
Wytse Vellinga: “Windows Phone had the best camera quality on any smartphone in those days. And the fact that it could shoot 25fps with the native camera app was extremely helpful for me as a broadcast journalist.”
Darko Flajpan: “Windows Phone (Lumia 1020 in particular) got my attention at the time because of camera capabilities. It was a photo/video beast at that moment and still respectful even today. And with a battery grip which had a tripod thread and a shutter button it was the perfect tool for early MoJos. Also, it had 25fps which was very helpful for later editing and broadcasting. I’ve switched to Lumia 930 as soon it was released and with usable 4K@25fps it was unmatched in the smartphone world. So hardware was top notch and OS was quite polished and user friendly. The price of those smartphones was also on a fair side. I still have couple of 930s…”
Q2: What were the main challenges?
Wytse Vellinga: “The main challenges were the lack of good third party apps. There was no good editor, nor was there an app for making radio reports. And as the years progressed it didn’t get better but it got worse.”
Darko Flajpan: “Main challenges were on the software side. There were just two apps for video editing and those were buggy and not user friendly, so for any editing you had to transfer footage to a laptop. Lack of any support from Google (e.g. no official YouTube app) was quite irritating. On the hardware side, Microsoft never made a tiny bit of code to allow mic input to be used by a camera – for me that was huge.”
Q3: Why did Windows Phone fail in the end in your opinion?
Wytse Vellinga: “Because of what I just said. The lack of apps and the lack of support for those that wanted to build apps. It almost looked like Microsoft did not believe in their own platform.”
Darko Flajpan: “Third party developers were focused on higher value markets (iOS, Android), and Microsoft was not making an effort to attract them. From my point of view Microsoft had no clear strategy for smartphones. Brilliant engineers from Nokia (I’ve met a couple of them) were frustrated how Microsoft treated them – they’ve created great hardware and had just frustrations and lack of support from Microsoft’s side. Now, they are working for Apple and Chinese manufacturers.”
Q4: Do you think there’s any space left between Android and iOS for a third major mobile OS?
Wytse Vellinga: “There is always room for something new. iOS and Android are not perfect so there is room for improvement. But you will have to invest a lot of time and energy in getting app builders on board.”
Darko Flajpan: “This is very complex. If someone creates anything better and more attractive to consumers it will be bought, obstructed or destroyed by the two major players in its very early stage, that is my, not optimistic opinion.”
Finally, I would also like to share a short proof-of-concept video story I created using only the low-budget Lumia 550 (cost me about 50 Euro in used condition), shooting with its native camera app and editing with Videoshop. So it was completely produced on the mobile device. Notice: The Lumia 550 is only able to shoot 720p HD (not 1080p FHD) so the video has the same resolution.
“Slide down to power off”
It’s hard to imagine a more serious focus on mobile content creators alone could have made Windows Phone / Windows 10 Mobile a viable success story but it’s frustrating nonetheless looking back at the undeniable but underdeveloped potential of the platform and the devices that came with it. Fairly recently, Microsoft announced its return to the smartphone market: The long-lasting rumors about a supposed „Surface Phone“ will apparently materialize in the form of the Surface Duo smartphone in 2020. This will however only be a comeback in terms of hardware – the device is supposed to run on Android. So what was your experience with Windows Phone? Did you even know it existed? Did you ever use it and if so did you like it? Let me know in the comments or hit me up on the Twitter @smartfilming.
The fact that nowadays pretty much everyone owns a smartphone and shoots video with it has brought a gigantic wave of shaky handheld footage along. While some folks are actually allergic to any kind of shakiness in video, I personally think that depending on the amount and context it can work just fine – but definitely not all the time and under any circumstances. So there is a need to stabilize shaky handheld footage. Now the best thing to get smooth n’ stable footage is to avoid shakiness in the first place while shooting. While there are techniques for shooting (more) stable video handheld, the most common thing would be putting the phone on a tripod (using any kind of rig or clamp for mounting it). But maybe you want to move around a bit? More and more smartphones do have internal stabilization, be it on the hardware side with OIS (optical image stabilization) or on the software side with EIS (electronic image stabilzation). Over the last years there has also been a considerable and increasingly affordable influx of (motorized) gimbals that allow smooth camera movements. But let’s be honest: Unless you’re going to a planned shoot, you probably won’t carry around a tripod or gimbal (if you have one) – as compact as they have become over time, they are still too big and clunky to just put in your pocket. So it’s likely that you will find yourself in situations where you shoot video handheld and want to smooth out some distracting jitter afterwards. While most desktop video editing software has a built-in stabilizer function these days, things don’t look quite as bright on mobile but there are still a few (good) options.
Google Photos The easiest way to stabilize a pre-recorded video clip on your mobile phone is probably to use a little known feature of an immensely popular (and completely free!) app: Google Photos. Select any video clip and open the edit panel (sliders icon in the middle), then choose „Stabilise“. When I first used it I was really surprised how well it worked! The stabilization process doesn’t alter the resolution and frame rate but you will have to live with a lower video bitrate (sample clip: 17 to 11 Mbit/s) while the audio bitrate remains the same. Google Photos is basically available for all Android devices which is great. I have however found that very ancient pre-Android 5 devices (I tested it with two devices running Android 4.4) do not have the stabilization feature baked into the app. “What about iOS?” you may ask as Google Photos is also available on the Apple Appstore. Unfortunately, just like with the ancient Androids, the stabilization feature is not available in the iOS version of the app. Maybe at some point in the future.
PowerDirector If you are looking for a stabilization feature already built into an advanced mobile video editing app with which you can produce your final edit, then Cyberlink’s PowerDirector is currently your only choice across platforms. Select the clip in your timeline, open the editing panel by tapping the pen icon on the left side bar and choose „Stabilizer“. Unlike with Google Photos where the stabilization is basically a one-button operation, PD does give you a 0-100 slider to increase or decrease the level of correction (default value is 50). The higher the level of correction, the more the image will be cropped. PD can keep the footage’s fps as long as it is a frame rate that is supported for export within the app. That means 24, 30 and 60fps – no PAL frame rates unfortunately. Resolution on the other hand shouldn’t be a problem at all, PD supports export up to UHD/4K resolution. You also get to choose between three bitrate options (Smaller Size/Standard/Better Quality), the actual bitrate will be depending on your export resolution. In the case of the sample clip used here the bitrate of 17Mbit/s remained unaltered when using „Better Quality“ but that seems to be the maximum for projects with FHD resolution. If you use a clip recorded in a higher bitrate it will be compressed upon export. The audio bitrate is reduced (sample clip 320 to128 Kbit/s). PD is free to download with watermark and some restrictions regarding certain features – watermark-free export and the complete feature set are only available with a paid subscription. KineMaster, which I generally regard as the best video editing app on Android, is still missing this feature by the way.
Microsoft Hyperlapse Mobile There’s a third option on Android. Microsoft Hyperlapse Mobile shouldn’t be confused with Instagram’s „Hyperlapse“ app (which is only available on iOS so far). They are actually somewhat similar in that their main purpose is to speed up and stabilize video but while Instagram’s app can only do this for footage shot „live“ within the app, Microsoft’s version allows importing pre-recorded clips. By default, the result you get will be a 4x sped up clip but if you want the original speed, you can move the speed slider to „1x“ instead. As for the resolution, Microsoft Hyperlapse only supports import of clips with up to FHD resolution and you have to activate FHD export in the settings as the default setting is HD (720p). The frame rate remains the same, the video bitrate is seriously crunched (sample clip: 17 to 8 Mbit/s), the audio bitrate is kept intact. The stabilization result isn’t as good as Google’s Photos and while the app is free, you do get a Microsoft Hyperlapse branded bumper screen. There are no in-app purchases to get rid of this so you will probably have to trim it off using another app.
Emulsio As mentioned above, while Google Photos is available for iOS, the stabilization feature from the Android version is not. And neither is PowerDirector or Microsoft Hyperlapse Mobile. Also, none of iOS’s best video editing apps including the likes of Luma Fusion, KineMaster, Adobe Rush, Videoleap or Splice feature a stabilization tool at this point. The only (fairly good) option to stabilize pre-recorded video that I was able to find was an app called Emulsio. The interesting thing about Emulsio is that unlike all other apps for stabilizing mentioned here, there’s a whole bunch of controls over the stabilization process at your fingertips. Just like PD it gives you a 0-100% scale for the strength of the correction, cropping more of the frame the higher the % is. But on top of that, you get control over which axes (X,Y,XY) are corrected, you can switch rotation compensation and wobble removal on or off and even reduce rolling shutter. Emulsio does keep resolution and frame rate intact but reduces both video bitrate (sample clip 17 to 15Mbit/s) and audio bitrate (320 to 256Kbit/s). It’s free with watermark, you can get rid of the watermark by purchasing a 8.99€ pro upgrade.
Microsoft Hyperlapse Mobile Before I wrap this up let me tell you that while Microsoft Hyperlapse Mobile isn’t available for iOS, it (still) is for their own (now quasi-dead) mobile platform Windows Mobile. So just for the highly unlikely case that you are a die-hard Windows Phone enthusiast still holding on to your Lumia: You can join the stabilization fun! It basically works like the Android version described above but only supports import/export of HD (720p) clips, higher resolution clips will be transcoded to 720p. So when the resolution is reduced it shouldn’t come as a surprise that video bitrate (17 to 7 Mbit/s) and audio bitrate (320 to 192 Kbit/s) are as well. The frame rate remains the same as the original source clip.
And here’s a video presenting the deliberately shaky sample clip (shot on a Motorola Moto Z in 1080p 30fps handheld) in stabilized versions by each mentioned app (in the case of Power Director and Emulsio the default settings were used):
Have I missed something important? Did a new app or new feature for an established app just come out? Let me know in the comments or hit me up on the Twitter (@smartfilming).
Do you remember OnePlus marketing its phone(s) as the „flagship killer“? A device with all the bells and whistles of a top-of-the-line smartphone but only about half the price? A device that would kill the demand for the very popular but also very expensive flagship phones of Apple, Samsung & Co.? Well, while OnePlus is still a very common name when it comes to getting the best phone bang for the buck, 2018 brought about a new kid on the block that some dared to call the „flagship killer killer“: The Pocophone F1. Wait, the what-phone? Yeah right, Pocophone! It’s actually not another whole new company venturing into the smartphone business but a sub-brand of Xiaomi, the Chinese company already well established in its home market but also slowly expanding around the globe. It’s basically what the Honor phones are for Huawei. The fact that recent phones from OnePlus couldn’t quite withstand the general price bump in the high-end segment kickstarted by Apple’s iPhone X in 2017 introduced an opportunity for someone else to cater to the crowd that wants great specs but isn’t willing to spend a fortune. Enter: the Pocophone F1. When it launched in August 2018 you did get a device with the year’s latest flagship chipset from Qualcomm, the Snapdragon 845, for a crazy low price of just over 300€, undercutting OnePlus (and everyone else’s flagships) by a significant margin. Does this mean the Pocophone F1 could be the new Holy Grail for great smartphone video production on a budget? After using it for a couple of months as a secondary device I would like to share some thoughts. Please note: I will look at this phone pretty much exclusively from the viewpoint of using it as a videography tool!
The Pocophone F1 is available with internal storage capacities of 64/128GB (6GB RAM) and 256GB (8GB RAM), all of them have the option to expand the storage via microSD card to up to another 256GB. So if you are recording a lot in UHD/4K, this is a pretty solid set-up although not quite as impressive in terms of internal storage as Samsung for instance which offers 512GB and even 1TB (!) internal storage on some of their latest flagships. The SoC (System-on-a-Chip), commonly known as chipset or processor, is – as mentioned before – a Qualcomm Snapdragon 845, the company’s most powerful chipset of 2018 and at the heart of many a flagship phone of 2018/2019, including the Samsung S9/S9+ and Note 9 (at least in regions like the US, in other markets Samsung is using their own Exynos chip), the Google Pixel 3/3XL, the OnePlus 6T and the LG G7. Unfortunately it goes without saying these days that the Pocophone F1 does not have a (user) replaceable battery. This trend has been a big bummer for (professional) power users (and environmental sustainability!) but it’s become the harsh reality and everyone just seems to put up with it. The 4000 mAh battery is quite generous but it’s good to have a power bank at hand nevertheless if you are into heavy usage. While the replaceable battery is pretty much a thing of the past, the 3.5mm headphone jack is still holding on to a certain degree and even making a small comeback (hello Huawei P30 and Google Pixel 3a/3aXL!) It’s great the Pocophone has one on board so you can use it to connect external mics and don’t have to rely on the newer USB-C port for which there aren’t so many external microphone options (yet). As for the software side of things, the phone came with Android Oreo 8.1 out of the box but can be upgraded to Android Pie 9.0. It’s running Xiaomi’s MIUI on top of Android and while it’s not the prettiest skin in my opinion, it received the Pie update relatively early last year and has some useful stock apps like a screen recorder with surprisingly many options (resolution, bitrate, orientation, frame rate).
The Pocophone F1 has a total of four cameras which sounds pretty exciting at first but for videography purposes, only two are actually useful because the secondary ones (both front and rear) are just meant to create the popular background blur effect in photos. With the LG V30 as my primary phone and its super-handy secondary rear wide-angle camera that can be used for shooting videos just like photos, it’s somewhat painful to realize Xiaomi doesn’t give you the same flexibility for videography. I recently damaged my V30’s wide-angle lens and it’s hard to overstate how much I miss it. That being said, a secondary camera for video isn’t really a must to produce good video content, we’ve been living for years without them and in general you’d rather have one very good camera than two that are mediocre. So what about the camera(s) on the Pocophone F1 that can be used for shooting video? Usually the camera is the most decisive factor when looking at the differences between cheap and more expensive phones. The main rear camera has an aperture of f/1.9, a sensor size of 1/2.55“, a pixel size of 1.4µm and features electronic image stabilization (EIS), so it’s software-based, not optical. You can shoot up to UHD/4K resolution with 30fps. One strange thing is that the 30fps limit doesn’t only apply to UHD/4K recording but to FHD/1080p and HD/720p as well. So you can’t shoot in 60fps at all (yet). Apparently there’s a firmware update on the way however that will add 60fps recording for all resolutions including UHD/4K but I haven’t received it myself so far. EDIT: I have received the update in the meantime and I can now record with 60fps in FHD and UHD/4K in the native camera app (no support for 3rd party apps unfortunately). The front (selfie) camera has an aperture of f/2.0, a pixel size of 0.9µm, a fixed focus and you can shoot at a maximum of FHD/1080p at 30fps, no stabilization. The quality is decent but I’m not much of a selfie-shooter. So here’s some test footage from the rear camera, the first video was shot with FilmicPro in UHD/4K at 25fps, the second video with the native camera app in same resolution but at 30fps:
While it can’t quite match the latest flagships from Samsung, Google, Huawei or Apple, the camera holds up pretty well in my opinion, it’s actually great on many levels if you consider the low price of the phone and definitely (more than) good enough for professional mobile content creation. Taking my personal taste into account I find the colors to be a bit too popping and saturated, at least when using the native camera app (the colors in the footage shot with Filmic Pro look more realistic and subdued which I prefer). But I’m pretty sure some users might actually like the extra-punch. There was one shot I captured with the native camera app that puzzled me: Despite having regular daylight on a sunny day and no overexposure in general there was some strange and noticeable noise in a the darker part of the image (you can see it here at 2:21 in the video on the right hand side). I’m used to similar noise in low light situations with high ISO levels but not on a sunny day outside. This appears to be a software-based image processing technique called „local tone mapping“ which amplifies part of the image to compensate for underexposure (thanks to Chris Cohen from Filmic Inc. for clarifying!) and is something that can be seen (to varying degrees) on other smartphones as well. You should watch out for it when you have a generally well-lit scene that also contains very dark/darker areas. From what I can see it’s not possible to eliminate this completely even with manual controls in 3rd party apps, but most of the time it’s not really noticeable unless you do some serious pixel peeping (the example highlighted here was by far the most drastic one I have encountered). Still, I thought it’s important not to sweep it under the rug.
The Native Camera App
When we are talking about integrating the device into a more advanced / professional videography context it’s of course necessary to consider what features and controls you have at your disposal using the camera with both native and 3rd party camera apps. The native camera app is somewhat solid but not really great for shooting video. On the plus side, you get to lock focus (auto-focus works well btw) and exposure by tapping/holding (only for the rear camera though, not the front/selfie camera!) and you can also adjust the exposure, but only via general exposure values (EV), not with precise shutter speed and ISO parameters. While the ability to lock the exposure for video is a step forward from an earlier Xiaomi phone I tested (the Mi A1), it’s still another sorry example of a native camera app including a full-featured pro mode with manual controls (shutter speed, ISO, white balance, focus) for photography while at the same time ignoring videographers that want the same for video. For video there’s also no control at all over white balance. If you mostly do static shots from a tripod without much camera movement you can get away with an automatic white balance that works well but if you move the camera (walking shots with a gimbal, pans, tilts etc.) or shoot in environments with both natural and artificial light sources you might be in serious trouble dealing with shifting color temperatures. There’s also no support for external microphones in the native camera app.
Things look slightly better when we go into the video settings and ignore the peculiar omission of 60fps recording I already mentioned. It’s definitely useful that Xiaomi gives you an anti-banding option for 50/60Hz to avoid light flicker (given the fact that you don’t have control over shutter speed and frame rate), the ability to turn image stabilization on/off (it can interfere with the stabilization technique of a gimbal) and lets you choose between the H.264/AVC and the newer H.265/HEVC video codecs. The latter has superior compression which is more processor-intensive but also reduces the file size while keeping the quality, so if you are shooting a lot of UHD/4K video and struggle with your phone’s storage this might be the way to go. Keep in mind though that H.265 is not yet an accepted codec with all video editing software out there. On Android the video editing apps KineMaster and PowerDirector already allow importing and editing clips utilizing this newer codec. All video clips are saved as common mp4 files.
Some more specs: UHD/4K video is recorded with a bitrate of around 43 Mbps (1080p: around 20 Mbps) and uses the Rec. 2020 color space (1080p: Rec. 709). Audio is recorded in stereo at 192 Kbps and a sample rate of 48 kHz (all resolutions). Apart from the semi-automatic regular video mode (which also has a timelapse feature) there are two other video modes: „Short Video“ and „Slow Motion“. „Short Video“ lets you shoot a clip with a maximum length of 10 seconds (featuring a countdown clock) which is not particularly exciting. „Slow Motion“ on the other hand has some potential. When I first got the phone I was able to shoot slow-motion with a maximum frame rate of 240fps at 1080p which is cool but relatively standard these days for flagship phones. However, some weeks later Xiaomi distributed a firmware update that actually added a new feature to the camera app: slow-motion with a crazy 960fps (at a maximum resolution of 1080p), something that Sony first introduced with the Xperia XZ Premium in 2017. Considering that you can do something like that at all with a 300€ phone is just mind-boggling. But like with Sony’s feature on the XZ Premium, there’s a catch: You can only record at this frame rate for about a second. While it’s quite understandable that recording at 960fps for a longer time is a bridge too far for a phone in 2018 (what ‚big‘ camera can do that?), this limits the practical usefulness and requires luck and/or much practice to showcase all of its glory. The recorded clip actually comes out as a 10 second video ‚packaged‘ in 30fps and plays back in regular (or even slightly higher, I’m not quite sure) speed for about 2 seconds, then automatically switches to extreme slow-motion for the rest. Unlike with slow-motion modes on other phones you can’t change the moment the slow-motion kicks in. As you can imagine this makes it very difficult and occasionally frustrating to capture a particular moment unless you are recording something rather monotone and repetitive (like a waterfall or a fountain for instance). And there’s actually a second catch, one that a YouTube comment for my video brought up: Apparently, this 960fps feature isn’t really 960fps but an interpolated 240fps as the image sensor (Sony IMX 363) can only handle 240fps tops natively. Interpolated means that software fills in the gaps between existing frames with additional, generated frames. The results are not as good as real 960fps, lacking the same crispness and clarity. To tell the truth I had already been a bit skeptical from the beginning for one reason: The more frames you have per second, the less light is available for each frame meaning the higher the fps, the more light you need. When I switched from 120fps to 240fps in the Pocophone’s slow-motion mode I could clearly see that the image got darker. When I switched from 240 to the supposed 960fps nothing like that happened despite the fact that it’s a triple jump in terms of fps. If you want to read more about this check out these articles about another Xiaomi phone (Mi Mix 3) using the same technique here and here. Still, you can achieve some really impressive shots that can spruce up your edit with a bit of practice and patience, so it’s definitely nice to have.
One more thing I would like to mention here is the question of a file size limit. As you might know, certain Android devices still have some kind of file size limitation for a single file (usually around 4GB) which basically is of no concern to anyone except: the dedicated videographer shooting (long) videos! The case of the Pocophone F1 is ambivalent in this respect. I first thought there IS a file size limit because it only allows you to shoot 8 minutes sharp in UHD/4K producing a file of about 2.5GB. But when I tested it shooting in 1080p it went way beyond that and only stopped when the device’s storage was full (the file was about 7GB at this point). In a nutshell: You do have a recording limit but only when shooting UHD/4K, not for 1080p/720p.
3rd Party Camera Apps / Camera2 API Support
As I have shown in the previous paragraph, the F1’s native camera app isn’t the worst around but it’s also not really good enough for many pro use cases that involve the need for advanced manual controls and an external microphone. So you have to turn to 3rd party apps for those features. How many advanced controls a 3rd party camera app can offer doesn’t only depend on the app itself but also on the level of Camera2 API (what is Camera2 API?) implementation the phone maker provided for this particular device. Without proper Camera2 API support, 3rd party developers are limited in what they can offer feature-wise. The good news is that Xiaomi’s Pocophone F1 has „full“ Camera2 API support for both front and rear cameras. This means you can install apps that have this support level as a prerequisite (most notably Filmic Pro and Moment Pro Camera) and get additional manual controls in apps that can be installed even on devices with lower Camera2 API support (Open Camera, Footej Camera, Lumio Cam, Cinema FV-5, ProShot etc.).
As Filmic Pro is the most advanced and best pro videography app overall I took a closer look at how well it works on the Pocophone F1. In general it works really well I have to say, among the best I’ve seen so far on Android! I was particularly surprised by its ability to churn out a consistent 25fps frame rate virtually all of the time which is important if you are using the phone for PAL broadcast (Europe, Australia etc.) or in combination with other cameras that shoot in 25fps. The makers of Filmic Pro have heavily invested in making PAL frame rates work on Android (as it’s not supported natively) but not all Android devices are equally good at producing consistent results so it’s nice to see the Pocophone F1 making such a positive impression here. The only times I occasionally noticed a slight drop/deviation was the very first clip after changing from another frame rate (maybe the encoder needs a moment to adjust?) and in low light conditions (the test clips I shot inside the church came out at 24.93fps).
Speaking of frame rates, we’re looking at the only significant limitation within Filmic Pro’s functionality on the Pocophone: Like with many other Android phones the Camera2 API implementation doesn’t support 50/60fps recording for 3rd party apps which is a shame in general. The F1 is still the odd one out here because it can’t even record at 60fps in the native app (yet) while many other phone makers do support a higher frame rate in the native camera but keep 3rd party apps from doing so. Interestingly, you CAN shoot at 240fps for super slow-motion in up to 1080p though! This is cool but at the same time kind of weird (I have also noticed this on other Android devices like my LG V30) and it will be interesting to see what happens when the higher frame rate update for the native camera app drops. As for the resolution, UHD/4K works just fine in Filmic Pro from what I have experienced (I shot all the test footage in UHD/4K), the selfie camera maxes out at 2K and has a fixed focus. One other thing that’s not supported in Filmic Pro on the Pocophone at the moment is image stabilization (EIS is available in the native camera app) so it might be a good idea to shoot from a tripod or use a rig/gimbal to avoid shaky footage. There’s one small bug in the UI that I came across: When you double-tap the exposure or focus reticle to change into the bracket mode (continuous auto-focus and wider exposure metering) the brackets are not centred but appear in the lower right corner. Only when you turn the phone into portrait mode and back into landscape does it appear in the right place. But I’m sure this glitch can be fixed soon.
Once you have shot some gorgeous footage with the Pocophone F1 you might want to edit it directly on the device without having to transfer it to a desktop computer first. I will have a quick look at how well Xiaomi’s phone performs with the two best video editing apps on Android: KineMaster and PowerDirector (yes, I’m aware Adobe Rush has just been launched on Android but it’s only available for a handful of phones none of which I own currently). As mentioned early on, the Pocophone F1 sports a Qualcomm Snapdragon 845 SoC which should be more than capable of handling most video editing tasks. While this chipset surprisingly seems to have caused some video editing trouble by not supporting 4K editing/layers on certain devices like the US-variant of Samsung’s S9/S9+ (the European/Korean version has Samsung’s own Exynos chipset instead), everything’s looking good on the Pocophone F1: The KineMaster device capability test shows support for UHD/4K (2160p) including one layer in that resolution (4 layers of FHD/1080p) and I was able to work with and export UHD/4K with no problem. It also can handle higher frame rates (50/60fps) if you activate this under „Advanced and Experimental Settings“ but I guess we all remember that the Pocophone can’t even shoot these frame rates (yet) so there should be no need to bother with that at the moment.
If you are shooting/producing at 25fps, KineMaster is definitely the way to go as PowerDirector does not support PAL frame rate projects (you can import the footage but it will be converted to either 24, 30 or 60fps upon export). That being said you can import, edit and export UHD/4K in PowerDirector as well, even with a video layer although for editing purposes the app always transcodes layer clips in that resolution down to 1080p/FHD. It’s a general thing in PowerDirector though, not something Pocophone-specific. From the pop-up you get when adding a UHD/4K layer it sounds like it’s just creating FHD proxy files for smoother editing and that the original UHD/4K quality will eventually be used in the export but the makers of the app have yet to answer my request to clarify this. Both KineMaster and PowerDirector also support the use of clips shot with the H.265/HEVC codec on top of the traditional H.264/AVC. So yes, the Pocophone F1 is a great device for editing video on the go!
All in all I can conclude that the Xiaomi Pocophone F1 is a very capable video production tool with outstanding value! It has a (very) solid camera, great compatibility with Filmic Pro and lots of power for video editing. It also has a headphone jack, support for external storage and runs the latest version of Android (Android 9 Pie). An alternative device at this price point could be the one year older LG V30 which is my personal daily driver at the moment: Unlike the Pocophone it has a secondary and extremely useful wide-angle rear camera that can actually be utilized for videography (and not only photography), a native camera app that is light years ahead in terms of professional video controls and features (but also can’t shoot PAL frame rates) and a chipset that’s practically as powerful for video editing as the Pocophone’s newer one – it’s not quite as good with Filmic Pro though and it’s still on Android 8 Oreo. So while the Pocophone F1 is without a doubt an excellent option for the price, the question whether it’s THE best option depends on the priorities of the potential user. The Google Pixel 3a/3aXL just hit the market and could be a viable rival for Xiaomi’s budget powerhouse. If you have questions or comments, feel free to drop me a line in the comments below!
Before captioning videos for convenient social media consumption on the go became all the rage, everyone agreed that having good audio was an essential element of good video, possibly even more important than the image quality. Many will agree that it actually still is despite the captioning vogue of late. So how do you get good audio for video? Let’s make it simple: Get as close to the sound source as possible with your mic! In most cases you will get better audio with a cheap mic close to the sound source than with a super-expensive mic that’s (too) far away (notice: it won’t work at all however if you use a carrot). And how do you get as close as possible to the audio source? An external mic (as opposed to the internal mic of your phone) will be a big help to achieve that since you probably don’t want to shove your phone/camera into someone’s face. But can you work with external mics on Android devices? Yes, you can. And the good news is that it basically works with EVERY Android phone or tablet! Of course I have not tested it on every single Android device on the planet but so far I have not encountered a single one that didn’t support it and believe me I have had dozens so far! In most cases you will however have to use third party apps since most native camera apps don’t support the use of external mics. There are a few exceptions like many Samsung phones and the (recent) flagships of LG and Sony but with other Android phone makers your only chance to use an external mic for better audio while recording video are third party video recording apps like FilmicPro, Cinema FV-5, Open Camera, Cinema 4K or Footej Camera. If you are into video live streaming: Popular platforms like Facebook, Periscope, Instagram or YouTube also support the use of external mics on their mobile apps. Important: Some apps will automatically detect a connected external mic while with others you will have to go into the settings and choose the external mic as the audio input. In general, it’s recommended to connect the mic before launching the app as sometimes the app might not correctly detect the mic when you only plug it in after launching the app. But how can you connect an external mic to an Android device? There are four basic options that I will shortly elaborate on: 1) via the 3.5mm headphone jack 2) via the microUSB port 3) via the USB-C port 4) via a wireless connection / Bluetooth.
3.5mm headphone jack
The most common wired solution for connecting an external mic to your Android device is (was?) the 3.5mm headphone jack, the port where you would usually plug in your headphones to listen to music. For a long time this was one of THE universal things about a smartphone, be it an Android, an iPhone or even a Windows Phone. In the past couple of years however, more and more phone makers have been following Apple’s lead to ditch the headphone jack (starting with the iPhone 7) in an attempt to further push for a slick enclosed unibody design, leaving the phone with only one physical port, the one that is primarily there to charge your phone. Of course this move has also to do with the rise of Bluetooth headphones. Anyway, if you’re lucky enough to still have a phone with a 3.5mm headphone jack you have a range of options to connect different types of external mics. There are two general options: Using a mic with a dedicated TRRS 3.5mm headphone jack connection or using another mic with an adapter. What’s TRRS you may ask? Well it has to do with the number of conductors on the 3.5mm pin. You might have encountered mics with a similar looking 3.5mm pin for ‚regular‘ cameras. But while they look similar, they only have THREE conductors on the pin (TRS), not FOUR (TRRS). Smartphones use the TRRS standard so a TRS 3.5mm pin won’t work unless you use an adapter like the Rode SC4. But you know what? There’s a good chance you already own an external mic without even knowing: the headphones that came with your phone. Yes, you heard that right! They usually have an inbuilt mic for making/receiving phone calls and if you have your headphones connected to the headphone jack while using a video recording app that supports external mics, then this is an easy and cheap way to improve your audio. You might be surprised how decent the sound quality can be! Of course the cable of the headphones is usually not too long so if you are doing a piece to camera or an interview with someone it will be hard to avoid having the cable in the frame and the sound quality of dedicated TRRS 3.5mm mics often trumps that of the headset but I think it’s still great to have this option at hand. Dedicated TRRS headphone jack mics include the original iRigMic (handheld) by IK Multimedia, several lavalier/lapel mics (like the Rode smartLav+, the Aputure a.Lav, the Tonor Dual Headed Lapel and the Boya BY-M1) or the Rode Videomic Me (directional shotgun-type). One might also count the Rode VideoMicro (directional shotgun-type) as a dedicated TRRS mic because you can exchange the TRS cable that it comes with (to work with ‚regular‘ cameras like DSLRs etc.) for a TRRS cable (Rode SC7, sold separately). Other than that you can connect basically any XLR mic by using IK Multimedia’s iRigPre adapter/converter box which has a female XLR input on one side and a male 3.5mm pin cable on the other. XLR is the most common professional audio connection standard.
Just as 3.5mm headphone jacks used to be a common standard on phones, so did microUSB ports on Android devices for charging your phone’s battery. The change from microUSB to USB-C as the preferred „power port“ in the last years very much but not exclusively coincided with the trend to drop the headphone jack. There are hardly any new phones coming out these days that still have a microUSB port (the most recent were all in the budget segment). And as 3.5mm headphone jacks were a universal standard at the time the lack of dedicated microUSB mics didn’t really come as too much of a surprise. Actually the only mic like this that I ever encountered and used was IK Multimedia’s iRig Mic HD-A, an improved digital version of the original iRigMic which featured a microUSB connector instead of a 3.5mm pin. One thing you also had to pay attention to when connecting accessories to a microUSB port was the question of USB-OTG support (OTG stands for „On-the-go“). In simplistic terms one could say that USB-OTG support basically means that you can use the USB port for other things than just charging. For instance as an audio input. Not all Android devices have support for USB-OTG.
USB-OTG support is also of relevance when talking about USB-C, the new USB connection standard for Android devices (it has recently also been introduced on Apple’s iPad Pro series so one might speculate on whether the future will see Apple making the switch for all its devices). One of the very practical things that makes USB-C better than microUSB is that the connector is shaped in a way that fits into the port of the phone in two ways, not only one like microUSB which usually meant you tried to plug it in the wrong way first. The other good thing is that as time went by, USB-OTG has become a more common feature on Android devices so chances are relatively high that your device will support USB-OTG if you have purchased it in the last two years or so. It’s still not a definitive standard on Android devices though, so if you plan to use USB-C mics you should check the phone’s spec sheet first. The introduction of dedicated USB-C mics has been very slow, the first one to my knowledge was the Samson Go Mic Mobile wireless system launched in 2017 which included a USB-C connection cable for the receiver unit along with cables for 3.5mm, microUSB and Lightning port (the latter is the standard on most Apple devices). Boya has recently added two USB-C mics into their portfolio (a directional shotgun-type and a lavalier) and Saramonic has a USB-C-to-XLR adapter cable so there are finally at least some options. For a great overview regarding USB-C mics check out this blogpost by Neil Philip Sheppard on smartphonefilmpro.com. One more thing: While quite a few phone makers include a USB-C to 3.5mm-adapter with their phones if they have a USB-C port (which would let you use 3.5mm mics), these tend to be proprietary, meaning that you can’t use them with other phone brands and if you lose yours you will have to purchase from the same brand again and can’t use a third party adapter. Yes, very annoying, I know. In general, USB-C mics don’t seem to work as universally across Android devices and apps as their headphone jack buddies just yet so if you plan to use a USB-C mic than I would recommend doing thorough testing before using it on an important job.
Wireless / Bluetooth
All the aforementioned external mic solutions have in common that they involve some kind of wired connection to the phone, even in the case of the wireless Samson Go Mic Mobile system or Rode’s RodeLink wireless kit (which can be utilized when connecting a TRS-to-TRRS adapter to it) as the receiver unit has to be plugged into the phone. Of course it would be fantastic to have the audio go directly and wirelessly from a mic (transmitter) into the phone without a separate receiver unit attached to it. And in theory it should be very much possible because modern phones do have two protocols allowing for wireless data transfer: WiFi and Bluetooth. So far, only Bluetooth has been used for that, I’m sure there’s a technical reason why the WiFi way might not be feasible (yet) that I don’t know about. A bunch of potential Bluetooth mics have been around for some time but they usually still need a receiver unit and the audio quality and reliability hasn’t been quite up to the task so far. Bluetooth headphones/headsets with an internal mic is another possible option. Here’s a short test I did using the inbuilt headset mic of my (rather cheap) Bluetooth headphones.
It’s not too bad in my opinion and might suffice for certain tasks but you definitely notice the quality difference to a good wired external mic. Apparently Bluetooth audio that goes directly into the phone is limited to a sample rate of 8kHz by the Android system at the moment (according to one of FilmicPro’s engineers) which doesn’t provide the grounds for great quality audio. There’s also a mic called the Instamic that is basically a self-contained mini audio-recorder in the form of a somewhat bigger lavalier with internal storage that also allows a live audio-streaming mode directly to the phone (with noticeably diminished quality compared to the internally recorded audio) but depending on your job, the quality might still not be good enough and can’t match that of wired connections. You also often get a slight delay between video and audio that increases the farther you get away from the device. And unlike with wired external mics, only a few video recording apps on Android actually accept Bluetooth as an external audio input as of today, the ones I know about are FilmicPro and Cinema FV-5. So while the limitations of Bluetooth mics might still be too big for much/most professional work at this time, it should (soon) be a viable option in the near future. As a matter of fact, there recently was a Kickstarter campaign for a Bluetooth transmitter called BAM! that can be attached to any XLR mic and streams the audio directly to the phone in good quality – unfortunately the campaign didn’t reach its funding goal. Let’s hope it’s not the end of the story since smartphone development is probably headed towards a design with no physical ports (wireless charging is already here!) and then wireless is the only way to go for better or worse! If you have questions or comments, feel free to drop a line!
A little more than six months ago I bid my LG V10 goodbye into retirement. The V10 was the first flagship smartphone I had purchased and I had done so for a very specific reason: LG had redefined what a stock/native camera app on a smartphone can offer in terms of pro video controls. While many other phone makers were including advanced manual controls for photography in their camera apps, video had been shamelessly ignored. With the introduction of the V-series in late 2015, LG offered avid smartphone videographers a feature pack in the native camera app that could otherwise only be found in dedicated 3rd party apps like FilmicPro. While LG’s smartphone sales can’t really compete with the ones from Samsung, Huawei and such, the V-series fortunately didn’t just vanish after the V10 but was succeeded by the V20, V30, V35 and V40 henceforth. As I don’t see the need to upgrade my phone on an annual basis, I went for the V30. It took over the useful dual rear cameras from the V20 and newly introduced features like LOG profile, Point Zoom and CineVideo. After spending six months with the V30, what is there to say about the device as a videography tool?
Hardware features: Lost & Found
Well first off, let’s get that big thing out of the way that bothered me the most before I even bought the V30: abandoning the removable battery. LG was basically the last major phone maker to offer an exchangeable battery on a flagship with the V20, so kudos for that, but they eventually ditched it for the V30. I somewhat do get the idea that a unibody design without removable parts might just make the device look slicker and even has a practical reason when it comes to water and dust resistance (yes, you CAN submerge the V30 without a case thanks to the IP68-rating). But apart from the concerning fact that this is a considerable ecological issue because it makes it likely that you will just buy a new phone when battery life starts to falter, it also does away with the „power management security net“ and fosters the fear of running out of power with your phone. Especially when using such a device extensively for professional purposes, a back-up battery that lets you go back from 0 to 100% in a matter of seconds feels just very comfortable to have around. Sure, external batteries a.k.a. power banks are a common thing by now but they are not quite as compact and fast in getting the recharging job done. While dropping the removable battery is unfortunate, it’s an all-too-common thing, LG only follows the rest of the pack as nowadays you can hardly find a phone that still has this feature. Furthermore, I have to say that I was pleasantly surprised by the V30’s battery life. It’s much better than the V10’s and while doing some tests with very long recordings, the phone only consumed around 30% of the battery when recording continuously for almost two hours. I just hope the battery doesn’t degrade too fast over time.
Speaking of useful features that are en vogue to get the sack: LG is still holding out on the 3.5mm headphone jack which will make a lot of people happy as it’s still a very easy and universal way to attach external mics for better sound quality (or do audio monitoring). The V30 also has a USB-C port which can be used for connecting external mics as well, but as of now there are hardly any USB-C mics out there to make use of that. One very clever and useful exception is the Samson Go Mic Mobile wireless system which comes with a whole bunch of connecting cables, including a USB-C one. One day in the (hopefully not so distant) future, truly wireless audio solutions sending audio in high quality directly from the mic to the phone’s video recording app might replace wired solutions but the current state of quality and reliability in that area isn’t yet up to the task as far as I can see. As for the internal mic, there are actually two, so the LG V30 is one of only a few phones that records in stereo natively. This is very useful if you are capturing a soundscape or if you have sound sources moving around. And to tell the whole story, the V30 actually has a third internal mic: the phone’s earpiece kicks in as a life saver in very loud environments (like say a rock concert) to avoid distorted audio. Another useful feature that the V30 fortunately kept was the support for external storage via microSD card, popping in a 128 or 256GB card is a pretty cheap way to have more space for media and apps on your phone.
Three and a Half Cameras
Let’s continue our inspection of the V30’s hardware and take a look at what might be considered the most important thing for a phone – when talking about videography: the camera(s). While the V10 had a somewhat peculiar lens set-up with a single rear camera but dual front cameras, the V20 flipped this around which I personally find more useful if you’re not a selfie-vlogger. Dual rear cameras have become all the rage in the last couple of years and almost something considered a must-have on flagship phones and even some mid-rangers (unless your name is Google Pixel). Not all secondary rear cams are created equal though. Some are only for shooting nice portrait shots with a blurred background, some feature a monochrome sensor for black/white photography with better low-light performance and dynamic range and some have a different focal length than the main camera, going either for telephoto (zoom) or wide-angle. For smartphone videographers, only the last two options are actually helpful. And while I have been known for whining about the lack of optical zoom on smartphones in the past, I do have to say that from a practical standpoint, wide-angle seems like the best, most versatile choice after all. Especially if you find yourself indoors backed up against a wall, having a wide-angle is just incredibly helpful to fit more of the scenery into the shot. And the ability to shoot two very different images from a single point without having to move around is fantastic. So while the wide-angle secondary camera is actually a rare choice in the market, LG can only be applauded for going down this route. And after the V20 had a noticeable amount of barrel-distortion on the wide-angle, the V30’s 12mm secondary rear cam has been more refined in that respect. It now also has a much wider aperture compared to the V20 (f/1.9 vs f/2.4 – smaller is better) which helps in low-light. There are three limitations when using the wide-angle however: The first one might actually be of use in certain situations – the fact that there’s a fixed focus and therefore no adjusting auto-focus guarantees that there are no unexpected and sudden focus shifts. A fixed focus might be a serious problem for the main camera, but for the wide-angle, it’s ok. The second limitation is a real one though: no OIS (optical image stabilization) and no EIS (electronic image stabilization) either. The third one is the biggest though: the V30’s new „LG-Cine Log“ profile (more about that later) is not available for the wide-angle camera, only for the main snapper.
The 30mm main rear camera has OIS (plus the option for additional EIS called „Steady recording“ – not available for UHD/4K though), laser auto-focus, a f/1.6 aperture and the ability to record in LG-Cine Log. Both rear cameras let you record in UHD/4K (but only up to 30fps, 60fps is only available for FHD resolution, 120fps only for 720p in slow-motion mode) and you can switch between them with a single tap even when recording. The colors of the two rear cameras don’t match 100% if you take a really close look but they are close enough for most purposes I’d say. Now while the main rear camera seems to be excellent for low-light with its wide f/1.6 aperture, the relatively small size of the image sensor (1/3.1“ with 1.0µm pixel size) unfortunately diminishes this advantage. With very few exceptions (especially when it comes to video), all smartphones still struggle with low-light situations so it would be wrong to single out LG for that. I would classify the V30’s low-light performance as solid, but not as good as one could have expected with regard to the promising aperture of the main cam.
What about the selfie camera? Well, I was already a little bit suspicious when I saw the tiny camera hole on the front. As it turns out, not only did LG scrap one front camera compared to my old V10 but the actual quality of the footage isn’t really better than the V10’s from two years ago as far as I could see. That’s a bit of a disappointment for sure but personally, I don’t care too much as I rarely use the front camera. As for resolution, you can shoot FHD in 30fps which is the solid standard but that’s it – no UHD/4K or higher frame rate. Another note: While there isn’t a second front facing camera you still get the option to switch between a wider and a narrower field of view – as there’s no second lens, this is done by a software crop of the image.
Before moving on to the software side of things, a few words about one other very important hardware aspect: the chipset. The LG V30 is equipped with a capable Snapdragon 835 that not only lets you shoot video in UHD/4K resolution (although only up to 30fps in UHD/4K) but also edit it. Importing footage into Android’s two best video editors KineMaster and PowerDirector reveals that you can even have a second video track when working with UHD/4K footage in those apps which is excellent news. For those interested in creating Augmented Reality (AR) enriched video: The V30 is compatible with Google’s ARCore and the Snapdragon 835 has enough muscle to let you use an app like “Just a line” for instance which lets you draw/doodle in AR space. There isn’t too much around in this category yet though.
The King of Manual Video Controls
But while good cameras and powerful chipsets can also be found on other (Android) phones, the unique selling point of the V-series has always been its focus on videography with all the manual controls and features you get in the native camera app. I’ve already talked about that regarding the V10 when discussing native camera apps on smartphones in an earlier post (I still owe the second part of this article, what a shame!) but there have been some significant additions since the V10 so it’s worth pointing out in detail again. Let’s have a look at the interface of the manual video mode: On the far left on the bottom of the screen you find an audio level meter which reassures you that there’s actually audio coming in from the mic(s) and it also helps you to make sure the audio isn’t too loud (peaking). No other native camera app on a smartphone has that – you can only find it in advanced 3rd party apps like FilmicPro, Cinema FV-5 etc. To the right there’s information on what resolution, frame rate and bitrate you are currently using. Next is a button with a microphone icon and this opens up a transparent panel overlay with some advanced audio controls audiophiles will love: You get to change the input gain, activate a low cut filter or set a limiter. While recording, you even get live audio waveforms when having this panel open which gives you even more precise visualized information about the incoming audio than the audio level meter. From this panel you can also apply a wind noise filter and select an external mic if there is one connected via the headphone jack (edit: unfortunately it doesn’t seem to support mics connected via the USB-C port like I originally wrote in this post!) At this point I would like to mention that the app even allows for audio monitoring via cabled or Bluetooth headphones. There’s a small delay to the live audio so listening to it over extended periods of time can be irritating but it’s definitely good to quickly check the audio for possible unwanted sonic interference. The next button is for white balance and you can switch between auto mode and a Kelvin scale that ranges from 2300 to 7500K. No presets are available though. Next in line is focus. Again, you can switch between auto-focus and manual focus. When you choose manual focus mode you get to enjoy another staggering feature for a native camera app: focus peaking. Focus peaking adds a colored overlay to the areas of the frame that are in focus and is therefore incredibly helpful to get the focus right. It can usually only be found on professional „big“ cameras. Focus peaking can be switched on or off when using manual focus on the V30. One shortcoming: You can only use focus peaking BEFORE starting the recording which makes fancy rack focus action while filming still a bit of a gamble. The only Android app that allows focus peaking even while recording is FilmicPro. The EV button lets you adjust the exposure value without having to set precise values for ISO and shutter speed but as there’s no option to lock the exposure in that case I find it fairly useless. On to the two real exposure parameters: ISO and shutter speed. The ISO ranges between 50 and 3200, shutter speed between 1/25s and 1/4000s. One crucial improvement over the V10 regarding the shutter speed is that you can now select „PAL“ shutter speeds, most importantly 1/50s. This is important because in Europe and some other regions many artificial light sources emit light at the frequency of 50 Hertz which causes ugly banding effects in your footage if you are not shooting with a shutter speed that matches this frequency. The last thing you find on the far right of the bottom control panel is what I like to call the „panic button“ and it’s a very cool feature: If you ever find yourself lost fiddling with all the manual controls but need to quickly start recording all of a sudden you can just push the „A“ with a circling arrow around it and everything goes back to auto: white balance, focus, exposure.
But not only the control panel of the main recording interface is stuffed with controls and features, there’s more to find in the settings section which you can access by tapping the cog wheel on the bottom of the left side bar. The first option you can find here at the top of the list is the frame rate. And it’s in here that me and some other folks do miss a particular something: PAL frame rates, PAL being the broadcast standard in Europe and some other regions of the world. Normally you couldn’t really blame a smartphone for not having the option to shoot in 25 or 50fps in the native camera app (the only phones that ever did at least 25fps were Nokia’s/Microsoft’s Lumia phones) but with all the amazing bells and whistles in terms of pro videography controls on the V-series, it’s a real shame that LG didn’t pay attention to that as well. Truth be told, this option will only be of serious relevance to a certain group of videographers: Those who shoot for PAL broadcast and/or use their phone in combination with a ‚regular‘ camera that only shoots PAL frame rates. If you don’t belong in this category, you can be perfectly happy with the options at hand: 1, 2, 24, 30 and 60fps (60fps is not available when shooting UHD/4K or LOG). Still, for the highly unlikely case that someone from LG reads this blog, PLEASE do add the option to shoot in 25/50fps! How hard can it be? I hope there’s a golden future ahead where regional frame rates are a thing of the past but that future might still be a bit too far away to just ignore the present. Yes, you can use 3rd party apps to shoot in 25fps on the V30 but if LG gives us a native camera app so good with manual video controls and the idea that this is a serious videography tool, why be ignorant in that particular area? Next in the settings list is bitrate. Yes, you heard that right, you can adjust the bitrate. Another feature that can otherwise only be found in advanced 3rd party apps. You can choose between three different settings: high, medium and low. The bitrates depend on the selected resolution and frame rate and – upon closer inspection – turn out to be not as high as some power users would have liked. The maximum you get is 52 Mbit/s when shooting in UHD/4K, the „high“ option in 1080p with 30fps is 24Mbit/s. Still, it’s nice to have some control over the bitrate at all in a native camera app. Below the bitrate option, there’s another very interesting feature that will excite every audiophile: You can toggle on „HiFi recording“ which pushes the audio bitrate for video to a crazy 2400 Kbit/s (24-Bit PCM Stereo) while the regular set-up is 156Kbit/s (AAC) and no other smartphone I encountered exceeded 320Kbit/s. If you want to edit your footage on the phone be warned that not every video editing app supports PCM audio (KineMaster and PowerDirector do though) – and neither does Twitter’s video player by the way.
What the LOG!?!
But let’s move on to the big new feature that LG introduced to the V-series with the V30: LG-Cine Log. What’s „log“? I won’t and I can’t go into the details of this but let’s just say it is a special shooting profile that applies certain processing to the image which will give you a better dynamic/tonal range and generally allows more flexibility in post production when you want to create a specific look for your footage. It’s a feature usually only found on professional cinema cameras and calls for a certain amount of post production (grading/coloring) because the „raw“ footage usually looks rather dull and pale. So if your workflow includes a fast turnaround you probably shouldn’t use the LOG profile. It’s a very cool feature though, I absolutely love it, not least because the regular footage might be considered over-sharpened and over-saturated, an unfortunate habit of many/most smartphones as they are trying to satisfy what they deem the crowd’s taste. And while I’d say that the V30’s non-LOG image quality is a tad behind Google’s recent Pixel phones, Samsung’s S9/S9 Plus/Note 9 and the latest iPhones, the native LOG profile makes up for that in my opinion as you can really create stunning footage with it and have immense flexibility in post production. However it can’t be denied that shooting LOG probably is only of interest to a certain group of videographers. But hey, if any smartphone should have the ability to shoot LOG in the native app, it should be the V30! Two things to keep in mind when using LG-Cine Log: You can’t use the wide-angle lens and you can only shoot up to 30fps. Here’s a “show reel” of footage shot in LG-Cine Log on the V30 (graded in FCPX).
And here are two shorter videos with LG V30 LOG footage, one “raw” like it is originally recorded, the other with minor grading applied.
And as I already talked about bitrates earlier on, it’s particularly unfortunate with regard to shooting LOG that the bitrates can’t be bumped up to higher levels. One last thing: When using LOG profile you can find a button in the top right corner of the main interface that lets you toggle on and off at LUT (so-called ‚Look-Up-Table‘). Again, I don’t really want to get into the specifics here but suffice it to say that this gives you a preview of what the graded result of your LOG footage COULD look like, it is NOT recording that preview! The image that is recorded is ALWAYS the one that you can see when LUT is toggled OFF!
Let’s wrap up the settings menu with a quick look at some other features: Bright Mode and HDR can’t be used in the manual video recording mode (only in auto-mode) which renders them useless for me. Steady Recording is an additional (software-powered) stabilizing option that crops the frame and can’t be used when recording in UHD/4K. Tracking Focus tracks a person or object while moving about the frame which can be useful in certain situations. It doesn’t always work perfect but it’s worth trying out. Covered Lens gives you a warning when you (accidentally) cover part of the wide-angle camera’s image. This can indeed be helpful as I have occasionally found myself inserting my pinkie into the frame without the intention to do so because the wide-angle has a really wide angle. On the right hand side of the settings menu you can activate a timer (3 or 10 seconds) and select a resolution. Resolution varies between 720p and UHD/4K and offers three different aspect ratios (16:9, 18:9 and 21:9 – the latter two are only available up to 1080p). 21:9 is interesting because the ultra-widescreen format gives you a certain „cinematic“ effect. If you combine that with the according frame rate (24fps) and LOG profile you are setting the stage for that sweet silver screen look. And for those of you interested in creating vertical video content, you can also shoot vertically with all features & manual controls. Manual mode is however not available when you are using the front camera though – a little bummer.
More fun with shooting modes…
The manual video mode is outstanding but what about any other interesting video modes in the native camera app? There’s one particular mode that was also first introduced with the V30 and got a lot of attention before the phone’s release: CineVideo. The mode actually has two separate features bundled together in one mode – the bundling aspect however left me somewhat confused. So one aspect of the CineVideo mode is that you can apply a couple of slick „cinematic“ filters (some are even calling them LUTs, not sure if that’s correct though) to your image. But while you get control over the strength of the filter and the vignetting that comes with it, that’s basically it. Yes you do get some very rudimentary exposure value control but you can’t lock the exposure or set specific values for ISO and shutter speed which is really unfortunate and dramatically reduces the usefulness. The other feature in the CineVideo mode is Digital Point Zoom. You can choose a point within the frame and smoothly zoom in by using a virtual slider. Yes, the zoom is only digital but to my surprise the quality loss isn’t all that bad and even when fully zoomed in, the image can still be considered acceptable. So it’s a real shame that LG restricted this feature to the CineVideo mode – it would have been very cool to have this in the manual video mode as well. There you can also zoom digitally by using the common zoom gesture with two fingers but the zoom will be very abrupt because there’s no slider. And you also can’t zoom in to an off-center point of the frame like you can with the Digital Point Zoom.
So one small general gripe I have with modes and features on the V30 is that certain useful things are only available in certain modes / in certain settings and not in others which can be a little frustrating at times.
„Popout“ is another fairly interesting mode as it uses both the main and the wide-angle camera simultaneously to create a picture-in-picture video with two different views from the same camera standpoint. The cool thing is that you can apply some effects to the wide-angle image: Fisheye, Black&White, Vignette and Lens Blur. You can even combine some or all of them at the same time. On top of that you can also change the layout of the picture-in-picture to have a circle instead of a rectangle or have three segments of which the top and the bottom are filled by the wide-angle camera while the middle one is filled by the main camera. It’s more of a fun mode and I don’t use it often but it can come in handy when you try to create something more playful for instance for a short social media video.
The simultaneous use of two cameras gets even more interesting with the „Match Shot“ mode. This is a fantastic feature for vloggers and mobile journalists reporting as a one-(wo)man-band – I have already mentioned this mode in my blog post #12: It creates a split-screen recording using both the front and a rear camera simultaneously which means you can basically show yourself AND your own point-of-view at the same time. This is just super cool if you are doing an on-the-scene piece-to-camera for a news report or some travel vlogging. For each screen segment you can choose between the regular view and a wide-angle so you have some flexibility there as well. Best of all: external mics are even supported! Some downsides on the other hand: The aspect ratio is fixed to 18:9 (resolution of 2880×1440 is good though, so one can adjust to 16:9 in post), the frame rate is only 24fps and everything’s running on auto, no manual controls. Still, it’s an amazing feature with great potential and it’s a real pity that apparently LG has ditched this mode again on the V40. Here’s a video (not mine) with the Match Shot mode in action:
If you are into square video and doing super-short teasers for longer content you might find some use for the „Grid Shot“ mode which lets you shoot four very short clips of a maximum of 3 seconds each and assembles them into a split-screen square video (resolution: 1440×1440) playing back all four clips at the same time.
The last interesting mode for video is „Slo-Mo“. You get slow motion with 240fps – but only in 720p and with barely any manual controls. It’s nice to have but it’s definitely not LG’s strong suit – Apple and Samsung offer much better quality here in their flagship phones.
Camera2 API & 3rd party apps
So with the V30’s native camera app being so amazing is there any need at all for 3rd party apps? Yes and no, or as we like to say in German: Jein. The biggest reason for using a 3rd party app is probably the frame rate: As mentioned before, the native app does not offer any PAL standard frame rates (25/50fps) which might be important to some users. Other than that, the only app that can actually beat LG’s native camera app when it comes to features and controls is FilmicPro which gives you among other things focus peaking during recording, a waveform monitor and false color analytics to check exposure in difficult situations, the ability to shoot in higher bitrates and the option to use the more efficient (but not yet fully mass-market compatible) HEVC/H.265 codec instead of the standard AVC/H.264. But as I have pointed out in an earlier blog post, the ability to have advanced manual video controls in 3rd party apps on Android devices very much depends on how well the phone maker has implemented the so-called Camera2 API (if you want to learn more about it, check out my two blogposts about it here and here). Without proper implementation, 3rd party app developers can’t access/make use of certain controls. So how’s the Camera2 API support for the V30? Well, it’s a mixed bag. It does have the highest support level („Level 3“) for both rear cameras (only „Limited“ though for the front camera) so theoretically things should be fine but apparently LG overlooked a small bug that affects focusing in 3rd party camera apps. Sometimes, the focus gets stuck and you have to quit and re-launch the app. While I have experienced this first with FilmicPro it also happened with other 3rd party apps, so it seems to be a more general issue and not only related to a FilmicPro. Let’s hope LG can fix this nuisance with a software update. A positive aspect of LG’s Camera2 implementation on the other hand is the fact that 3rd party camera apps do get access to the secondary rear camera, something other Android phone makers are less welcoming about. So far, only FilmicPro and ProShot have actually integrated this as a feature though. In the case of FilmicPro this means that there is a way to shoot in LOG profile with the wide-angle lens after all! A word about frame rates: The ability to shoot in 25fps is one major reason for some to use 3rd party camera apps. Using the V30 with FilmicPro in 25fps has been mostly consistent and reliable so far (occasionally you do get 24.93 or something not 100% on spot) but you don’t get the higher frame rate PAL option of 50fps (something very few Android handsets seem to be able to allow at this point). And neither do you get 60fps which is available in the native app so LG still keeps some shackles on the API here for 3rd party apps. Surprisingly though, you can shoot at the even higher slow-motion frame rate of 120fps (up to FHD). So I’d say slow-motion capability comes out as a tie between native camera app and FilmicPro: The native camera app lets you record in 240fps using the slow-motion mode but only in 720p while with FilmicPro you „only“ get a frame rate of 120fps but a higher resolution (1080p).
In the long run…
Before concluding this rather detailed inspection of the V30 I would like to address one more aspect: maximum recording length. While quite a few smartphone videographers usually take relatively short clips and don’t really care if there’s a limit of say 20 minutes for a single video, it’s really important to know about that for others. Android used to have a single file size limit of around 4GB (this particular size seems to be related to the well-known FAT32 format but to my knowledge it actually isn’t as the limit isn’t exactly 4GB), but many phone makers were able to get rid of that with their own version of the Android OS (Sony, Huawei, Nokia, BQ, HTC for instance). Unfortunately, LG isn’t among them. That being said, LG vastly improved things compared to the V10. On the V10, the recording would stop upon reaching the file size limit and you would have to manually restart the recording. Not a good thing, if you were using the phone as an alternative angle for a longer event while having your focus on the main camera or if you really needed every second of the recording. With the V30 you don’t have to manually restart the recording anymore, it basically records continuously for as long as battery and storage allows. In the background however, the clip is chopped up into chunks of 4.29 GB and you lose a very short segment in between (I’d say it’s around 2 seconds maybe). It might not be the ideal solution for certain jobs but it’s definitely better than having to restart manually. After all, some might even argue that in case of file corruption it’s better to not have a single file. Of course then the ideal solution would be a spliced clip that can be seamlessly reassembled afterwards without dropping a single frame.
So, in the end, is the LG V30 a smartphone videographer’s dream machine? For the most part I’d say yes, its focus on videography is absolutely unique in the smartphone market, the range of advanced pro tools for shooting video that is available right out of the box without having to bother with 3rd party apps that might have certain quirks thanks to Android’s fragmentation is utterly brilliant. The native camera app has been rock-solid in terms of reliability, it hasn’t crashed on me once so far. It’s not quite perfect though: Especially when taking into account that this phone was made for (professional) videographers, it’s a bit puzzling that LG didn’t bother to include PAL frame rates for its native camera app. I’m not an expert on this but I’d say it shouldn’t have been too much of a problem technically to do so. Maybe they just didn’t care? Who knows… This leaves me with two wishes: a) Please, LG, go the extra inch and include PAL frame rates in the native camera app with a software update and b) to all you other smartphone makers out there: please follow LG’s example in paying more attention to your phone’s native camera app in terms of advanced manual video controls. Thank you.
Back in February I published a list with a wide selection of (potentially) useful Android apps for media production. Despite the fact that I mostly write for this blog in English now, the list was published in its German version first. I did promise an English version however and I’ve been working on it ever since. The new English version is not just a translation, it’s actually an update with some apps having been kicked out and others added. And what occasion could be better to finally publish it then at the time MoJoFest is happening in Galway, Ireland. MoJoFest is an exciting 3-day conference (May 29th to 31st) about content creation with mobile devices, initiated and organized by former RTE Innovation Lead Glen Mulcahy. Check out their website and follow the hashtag #MoJoFest on Twitter! I’ll be giving a workshop/presentation about smartphone videography on Android devices on Thursday, May 31st, and as a precursor, I’ll upload the English version of my app list here. Please keep in mind that there might be some typos or even outdated information in it as the mobile world keeps spinning at an incredible pace and things can change quickly. This is also a highly subjective list and by no means “definitive” or “ultimate”, you may find that other apps which are not on the list suit you better for your work. If you think an app you know and love should absolutely be on this list or if you have new information about apps already on the list, please do contact me! But now without much further ado…
When using a headline like the one above, camera people usually refer to the idea that you should already think about the editing when shooting. This basically means two things: a) make sure you get a variety of different shots (wide shot, close-up, medium, special angle etc) that will allow you to tell a visually interesting story but b) don’t overshoot – don’t take 20 different takes of a shot or record a gazillion hours of footage because it will cost you valuable time to sift through all that footage afterwards. That’s all good advice but in this article I’m actually talking about something different, I’m talking about a way to create a video story with different shots while only using the camera app – no editing software! In a way, this is rather trivial but I’m always surprised how many people don’t know about it as this can be extremely helpful when things need to go super-fast. And let’s be honest, from mobile journalists to social media content producers, there’s an increasing number of jobs and situations to which this applies…
The feature that makes it possible to already edit a video package within the camera app itself while shooting is the ability to pause and resume a recording. The most common way to record a video clip is to hit the record button and then stop the recording once you’re finished. After stopping the recording the app will quickly create/save the video clip to be available in the gallery / camera roll. Now you might not have noticed this but many native camera apps do not only have a „stop“ button while recording video but also one that will temporarily pause the recording without already creating/saving the clip. Instead, you can resume recording another shot into the very same clip you started before, basically creating an edit-on-the-go while shooting with no need to mess around with an editing app afterwards. So for instance, if you’re shooting the exterior of an interesting building, you can take a wide shot from the outside, then pause the recording, go closer, resume recording with a shot of the door, pause again and then go into the building to resume recording with a shot of the interior. When you finally decide to press the „stop“ button, the clip that is saved will already have three different shots in it. The term I would propose for this is „shediting“, obviously a portmanteau of „shooting“ and „editing“. But that’s just some spontaneous thought of mine – you can call this what you want of course.
What camera apps will let you do shediting? On Android, actually most of the native camera apps I have encountered so far. This includes phones from Samsung, LG, Sony, Motorola/Lenovo, Huawei/Honor, HTC, Xiaomi, BQ, Wileyfox and Wiko. The only two Android phone brands that didn’t have this feature in the phone’s native camera app were Nokia (as tested on the Nokia 5) and Nextbit with its Robin. As for 3rd party video recording apps on Android, things are not looking quite as positive. While Open Camera and Footej Camera do allow shediting, many others like Filmic Pro, Cinema FV-5, Cinema 4K, Lumio Cam and ProShot don’t have this feature. When looking at the other mobile platforms, Apple still doesn’t have this feature in the iOS native camera app and the only advanced 3rd party video recording app that will let you do it appears to be MoviePro. And while almost extinct, Lumia phones with Windows 10 Mobile / Windows Phone on the other hand do have this feature in the native camera app just like most Android phones.
Sure, shediting is only useful for certain projects and situations because once you leave the camera app, the clip will be saved anyway without possibility to resume and you can’t edit shots within the clip without heading over to an editing app after all. Still, I think it’s an interesting tool in a smartphone videographer’s kit that one should know about because it can make things easier and faster.
EDIT: After I had published this article I was asked on Twitter if the native camera app re-adjusts or lets you re-adjust focus and exposure after pausing the recording because that would indeed be crucial for its actual usefulness. I did test this with some native camera apps and they all re-adjusted / let you re-adjust focus and exposure in between takes. If you have a different experience, please let me know in the comments!