The latest addition to the Wacom family of tablets, the MovinkPad 11 is a super slim, stand-alone Android tablet, and a Wacom pen based drawing surface, with the heritage of the celebrated Cintiq series. A mouthful, right?

I will never forget visiting a feature film post production studio, where an artist was working on one of the earliest full size Cintiq monitors. You know the one where you are actually working on the image with a Wacom pen on the screen. Not the usual working surface, where your hand eye coordination must be fluid and organic.
Making adjustments directly on the image on the screen.

Since then, I have been tracking the genesis of this product, and honestly, this latest iteration does everything I hoped for. And with the added advantage of being a standalone tablet.

You can load up the MovinkPad 11 with programs and content when wired, then take the tablet and work conveniently with the Wacom pen and no wires. The Movink is sitting in a Twelve South adjustable tablet stand for the photos but a great item to pack for travel.

My fave program to work on is Lightroom, and once loaded and content added, I was able to do all my normal work on a couch using the touch sensitive pen. Here are some examples of my photos on the MovinkPad 11 in Lightroom.

And each subsequent screen has samples of the LR tools coupled with an image.

To get the images off the tablet, you can wi-fi it to a computer, or phone, or wait till you wire it to your main workstation.

Wacom Pro Pen 3 is battery-free, supports and has 3 side buttons. It allows for customized weight, grip, and nibs (3 are included)

How thin is this tablet?

Although currently in BETA, You can use the tablet wired to your computer as an additional screen with the include USB-C cable, when needed. A bit of a process to set up, which is probably why it’s in BETA.  Have a look at the video in the link, here. It’s called the Instant Pen Display .

Plus once you are working with your main computer, you connect MovinkPad 11 with 1 USB-C cable (included) and edit directly onto your images like the original Cintiq.

BTW, My normal desktop workflow always includes a secondary screen.

I know what you are thinking: doesn’t an iPad do the same? 
Well yes, and no. Both are standalone tablets, but some major differences are:
A: the pen- Apple pen needs to be charged, Wacom pen doesn’t. If you have ever been using the Apple pen and it runs out of juice, you will love the Wacom!
B: They both use apps available in the Google Play Store,
C: Wacom is designed for Android, but worked when wired into my MAC laptop.
D: Price – Movink is about ½ the cost depending on model, it could be more.
E: iPad lets you add an SSD for additional storage, Movink is locked at 128GB.
F: Movink has a matte screen, and iPad is super glossy

You still get all the features of most stand-alone tablets like web access, search engines, app store, built in speakers, etc.. At about 1/2 the cost of an iPad.

As an extremely light tablet, the MovinkPad 11 is an easy choice to put into my camera bag, and with the optional protective case it travels well.

This has been primarily marketed to illustrators, and I totally get that.  With an included drawing program, a sketch artist is up and running fast. My goal has been to see how this works with photos.

To be clear, this is an Android OS, although I was able to use the Adobe programs , with no problem.

Is this tablet for you? With all the comparison features, check your personal workflow for your decision.

For me, being able to sit with a tablet, not think about a charged pen, and use my daily programs is a winner.

Pretty darn good IMHO. I hope next gen allows for additional storage using an external SSD.

Specs & Key Features

• MediaTek G99 CPU
• 8GB RAM | 128GB Storage
• 11.5″ 2200 x 1440 IPS Touchscreen
• 9.6 x 6.3″ Active Area
• Wi-Fi 5 (802.11ac) | Bluetooth 5.2
• 1 x USB-C 2.0 Port
• 8192 Levels of Pen Pressure Sensitivity
• 5MP Front Camera | 4.7MP Rear Camera
• Includes Wacom Pro Pen 3 & Nibs
• Android 14 OS

In a new series exploring the world from Pole To Pole, Nat Geo not only shares the environments you may never see, this particular episode discovers a new form of energy: arctic phytoplankton. Scientist/Oceanographer Allison Fong  found that they can photosynthesize and hold to energy longer than ever thought possible. This incredible find is invaluable because, by seeing change in phytoplankton, they can predict what the future holds when ice melts.

I know, I know. Lots to absorb, so just enjoy the brilliant footage and the story of the expedition.

Phytoplankton samples under a microscope aboard La Commandant Charcoat. (credit: National Geographic)

In short, this phytoplankton discovery under the North Pole helps scientists predict the future of the planet in regards to a newly discovered energy source.

Phytoplankton samples under a microscope aboard La Commandant Charcoat. (credit: National Geographic)

Premiering on 1/13 on Nat Geo, it streams on Disney+ and Hulu the following day

Tom Williams, the show runner, was invaluable giving insight into this episode.

To capture this incredible sojourn, they mixed ARRI Alexas, Sony Venices, and REDs, alongside Shotover rigs, traditional drones, and FPV drones.

Using pretty much every mount imaginable—many of them custom-built and 3D-printed—to get shots pushing through hundreds of miles of sea ice toward the North Pole.

La Commandant Charcoat breaks through the Arctic Ice heading for the North Pole. (credit: National Geographic)

La Commandant Charcoat cuts through the field ice in the Arctic. (credit: National Geographic)

You will be awed by the footage captured as the ice breaking ship, La Commandant Charcoat, makes it way to the North Pole, and the critical dive for samples.

Allison caught Nat Geos attention years ago through a project called MOSAiC, where scientists intentionally froze a research vessel into Arctic ice and lived there for six months. Pretty crazy, and that alone told them she was someone special.

She was challenged to help the team do something equally ambitious. Her work—alongside a much larger scientific community—is part of urgent, ongoing research into life within Arctic sea ice. This isn’t theoretical. By 2050, Arctic summer sea ice may disappear entirely, fundamentally changing the ecosystem it supports. Capturing that life now matters.

 This expedition was one of the hardest things they attempted in this series.

First, Alli had to dive under meter-thick ice at the North Pole to collect samples—already an extreme risk. Once collected, the organisms only live for a couple of days. The clock was immediately ticking.

Expedition Leader and Oceanographer Allison Fong prepares to dive under the Arctic Ice in search of samples. (credit: National Geographic)

Microscopic filming requires absolute stillness. Unfortunately, the lab was on an icebreaker smashing through sheet ice for hundreds of miles, shaking the ship constantly. The workaround was ingenious: a webcam on the bow, monitored from the lab, watching for a break in the ice—sometimes just seconds of calm water. When that moment came, everything had to be ready.

It worked just enough times to get what they needed.

At the North Pole, the crew was stripped down to one main drone operator, one assistant, and six drones—traditional and FPV.

And under the ice? Just one camera diver. That kind of diving is a highly specialized skill, and the risks increase exponentially with more people. The rule was simple: if one person had a problem, everyone surfaced immediately. So we trusted one extraordinary cameraman to carry that responsibility. No pressure at all.

There was no control room in the traditional sense—but kit maintenance became mission-critical. Being thousands of miles from manufacturers or repair shops, so the camera team worked around the clock. Conditions changed constantly. Blue skies could turn into zero-visibility blizzards in minutes. Everything had to be ready to roll at a moment’s notice.

And the to capture the phytoplankton, the microscopist, Jan van Ijken, is a master of his craft. He’s filmed phytoplankton many times—but never in the high Arctic, and never while setting up a microscopy lab on a moving icebreaker. He’s described it as one of the most difficult challenges of his career. There were moments he wasn’t sure it would work. Thankfully, dedication and patience won.

Nat Geo will always go deep and not only show you incredible images, but give you a world view as well.

Seems like a strong trend with the iPhone 17Pro becoming a perfect camera for capturing ProRes RAW content.

You need to have the right tools depending on whether you are handheld, using a cage, or a gimbal. Using the internal storage on the phone will not work for the files at their highest capture capability.

In this video , we’ll walk through some choices.

OWC is owning the CFExpress B media card world right now with the Atlas Ultra series with speed, less chance of overheating and a system that allows you to triple the speed.

Couple the card with their card reader and  free software, and you have a winner combo.

If you are looking to use a gimbal, the perfect design of the Planck SSD creates a slim attachment, with storage up to 2 TB. In addition they offer a creator hub, that makes it easy to shift to cage set-up and add in a mic receiver and power pass through.

Happy New Year!

For the first post of 2026, we’ll go with a video about a truly versatile tool: The HollyLand  Lark Max 2 mic system.

Sure you get a lot of accessories in the kit, but I was brought to this system for 1 main feature: The ability to monitor the audio recording in REAL TIME!

There are work arounds whether you are using a wired headset into a mirrorless camera, but hearing your audio with a phone, video camera like an Osmo Pocket 3, or any camera as it happens is not only a time saver, but a critical part of your content capture.

These mics have 32 Bit Float, internal recording capabilities, time code generation, ability to add additional lav mics.

That is another feature I was happy to discover reviewing this set-up: I could add a Sanken COS-11D high end mic, plugging into the mic via an included adaptor. To be fair, the included lav mics in the set are excellent, although when I am shooting a vid with my pro cameras, I’ll bring in the Sanken.

Here is what is in the 2 mic kit:

It can all be held in the included pouch.

More vids coming!

Tracking the worlds fastest land animal, the cheetah, and telling a story at the same time is no simple feat.

In “Cheetahs-Up Close”, the story is told of a mother cheetah and her 2 cubs.

Two baby cheetahs cuddle close to their mother. (credit: National Geographic/Tom Walker)

At its essence it’s the story of survival. Another insightful doc about the animal kingdom from Nat Geo. Premiering on 1/1/206 on that channel, then streaming on Disney + and Hulu the following day.

This is not scripted. This is not pre-planned. Storytelling is shaped in the field rather than pre-scripted. While DP Tom Walker and director Bertie Gregory begin with a narrative wish list, they allow real behavior to dictate the story—tracking male coalitions, females with cubs at different stages, and the changing tactics that come with survival.

The goal for the mother is to get the cubs fed, and that entails separating singular prey from their herds.

A cheetah catches up with a wildebeest during a hunt in a heavy rainstorm. (credit: National Geographic/Tom Walker)

Walker primarily handles long-lens ground footage, while Gregory captures aerial perspectives via drone, with constant communication but independent execution.

“You go in with a plan, but the animals always write the story.” Tom Walker

The footage you’ll see happens organically and thanks to the expertise of DP Tom Walker, tracking these animals is smooth and seamless. Imagine going over a landmass, with a stabilization rig attached to your vehicle and your head buried into a viewfinder with camera controls located on a control board where it’s almost an intuitive feel.

Denis Mollel and Tom Walker sit in a safari jeep looking at wildlife through binoculars (credit: National Geographic/Tom Walker)

“Every cheetah chase you see is done in-camera — no post stabilization at all.” T. Walker

Central to the success of the footage is Walker’s longtime collaboration with expert driver-guide Denis, whose ability to read terrain and animal behavior allows the camera and vehicle to move in perfect sync. He was giving large props to Denis in our chat.

That quote alone speaks to Tom’s over 10 years of experience. In addition, there are some magic hour light shots of the cheetahs that present portraits you probably haven’t seen before.

Two cheetahs cuddle together in the grass. (credit: National Geographic/Tom Walker)

“I’ve been filming the same cheetahs for over ten years; you start to understand them individually.”

Using a 5-axis GSS gimbal mounted to a vehicle, paired with a RED Raptor Super 35 camera and a Canon 50–1000mm lens with a 1.5x extender, Walker achieves ultra-smooth tracking shots while maintaining critical distance to avoid influencing animal behavior or prey.

Another piece of gear used, was the spinner designed to keep rain off the lens, as it does have a tendency to rain that time of year. Lens was clean even after downpours.

Water pouring onto a GSS camera with a rain spinner attachment to show how it works. (credit: National Geographic/Jigar Ganatra)

Bertie Gregory came up with a plan to put a silicon glue into any of the entry points on the drone to be able to shoot in the same rain. It worked!

A Mavic drone sealed with glue to improve waterproofing. (credit: National Geographic/Jigar Ganatra)

Ethical considerations are paramount. Walker emphasizes that neither vehicle positioning, nor drone use is allowed to affect predator-prey interactions. Long lenses, careful distancing, and experienced judgment ensure the animals remain unaware and undisturbed. The edit reflects this restraint, conveying the reality of predation without graphic imagery.

Bertie Gregory looks at wildlife over his RED camera viewfinder. (credit: National Geographic/Bertie Gregory)

Filmed over approximately four weeks during peak migration season (January–February), the production operated from remote tent camps deep in the Serengeti. Walker captured roughly 1TB of footage per day, supported by a fully self-sufficient power system—vehicle-mounted batteries, solar panels, and an upgraded alternator—allowing the camera to run up to 15 hours daily without external charging.

 I have been to the Serengeti and have seen the results of the natural hunts of the animals.

Three cheetahs eat a kill whilst being watched by a lioness. (credit: National Geographic/Tom Walker)

I was glad to see that although hinted at, and briefly shown, the high grass hides most of the gory details. In the shot above the rack focus brings the attention to the observer, the lioness, who was ready to jump in and claim the kill.

It’s just nature.

A fluffy cheetah profile. (credit: National Geographic/Tom Walker)