Besides the object photography that can be seen throughout this entire website, here I’ve gathered some of my other photos in different genres:

Weddings:

People documentary / set images:

Model portfolio:

Objects:

Lanscapes and nature:

Enjoy!

Video of first tests of Sirui AF 40mm T1.8 1.33X anamorphic lens with my a6700 camera. Just have received this lens and decided to take it with me on a short walks with my wife and my dutchhund. It was already late evening, sunset time but the sky was scattered with clouds. Moreover, I’ve decisively chosen to test it at such low light environment and trying ti chase my wife among the trees – this would show the selectivity and reaction of lens autofocus. All shots are at 1.8 aperture, 10 bit, 4:2:2, Slog3, H265, 200Mbps codec. Shot at 60p for 24p timeline.

I am certainly satisfied with the results in video. Earlier, I was trying to take some photos with this lens and didn’t like how AF acts in single shot mode for photos. Like 70:30 hits and misses. But in video, with continuous AF + subject tracking it does pretty good job of maintaining focus on the subject. Even when it slightly goes off – it comes out natural, looks like intended or oraganic (not perfect, like focus puller person would do). Enjoy:

Further test would be focused mostly on anamorphic aspects like flare handling, desqueeze options, etc.

IEMs have long been gone from simple functional equipment to pieces of art. Higly intense competitive landscape of the consumer IEMs market forces manufacturers to be creative and provide more additional incentives to attract potential customers. This involves improvements and advancements in all aspects – R&D, materials used, craftmanship, design, tuning quality, bundled accessories and even the philosophy behind their products. It is a very fertile ground we are now having as their customers.

In a little while, Hidizs is releasing MY LIN Special Edition IEMs which are reviewed in this article. These are based on MS2 Pro but the roots are almost totally faded – changes in the design, new tuning, new philosophy. Technically it is still MS2 Pro, sharing the same single DD and single BA driver combination, but the sound would differ to a great extent. But before jumping in the differences in tuning, let me remind you of technical details that are similar to both – MY LIN SE and MS2 Pro:

Specs:

Now, about the differences:

• outer shell design has changed, introducing carbon fiber faceplates with color accents
• set of accessories now contains some additional stylized perks
• still H-2019 target but with the additional tuning

Declared tuning differences:

• Stronger low-end presence for an immersive atmosphere
• Tighter bass control for better layering and separation
• Controlled bass decay for clearer mids and highs

Compared to the MS2 Pro, MY LIN delivers a deeper, more enveloping bass, maintaining clarity without overwhelming the sound.

• Reduced sharpness around vocal peaks
• Clearer articulation with better vocal presence
• More natural timbre for instruments

MY LIN softens the upper-midrange for a more balanced, relaxed listening experience, ideal for vocal-focused genres like J-Pop.

• Cleaner treble transitions for a more natural presentation
• Reduced grain for a smoother high-frequency response
• Improved air without piercing edges for natural cymbals and highs

Where MS2 Pro emphasizes sparkle, MY LIN emphasizes smooth extension for a fatigue-free listening experience.

If everything stated above is true, MY LIN SE might become a better option for me, at least. I always prefer dynamic / planar orver BA / piezo, smooth and dark over crispy and bright. MY LIN SE promise larger and refined lows and less intrusive treble. We’ll see in the sound evaluation section.

New design and accessories:

MY LIN SE arrived in stiff white box with colorful graphics prints. This box was wrapped in the additional layer of transparent film.

Inner compatrments reveal 3 layers with soft podium for IEMs, filters and ear tips at the top, MY LIN stand podium in the middle and pouch with the cable at the bottom. Very nice packing, precise cutouts for each single element, no rattle of any accessory inside. This is the first aspect which many of US/EU manufacturers should learn from Chinese IEMs market.

Along with common accessories like cable, ear tips, filters and carrying pouch, MY LIN Special Edition includes an acrylic stand that resembles the design and phislosophy of the product, plus a set of MY LIN stickers and microfiber cloth. I still wonder why Hidizs didn’t include universal 3.5 SE/ 4.4 BL interchangeable plug audio cable like they did in the recent planar MP145 PRO IEMs. Thus, this stays as an option while placing your order at their online store. I still beileve that one day universal cable would become a part of the standard bundle for all IEMs regardless of brand, segment or budget.

The shape and materials on IEM shells didn’t change – ergonomically designed and produced from zinc alloy, polished to mirror-like appearance. But the faceplates are new. Instead of leather we now have eye-catching arbon fiber inserts with red / blue color particles under a thick layer of transparent lacquer. Looks exceptionally attractive and shimmers with colors under bright light conditions. And there are still compensational openings covered with aluminum grills present, which looks good but limits the use of IEMs during workouts or under the rain.

Ergonomically, these are similarly lightweight, moderately sized and comfortable IEMs, with long nozzles and plenty of ear tips options to find the best fit. Should be no problems for the most of us. Also comes with a 3 sets of intechangeable pneumatic filters to further tune the sound.

The sound:

First of all, I did like the sound of MS2 Pro. Here is my article on that: LINK. But I’ve stated that I wanted more overtones in lows and less susceptability to lower quality records in which treble BA driver emhasized imperfections by its excessive clarity and resolution.

I am testing MY LIN SE with Hidizs AP80 PRO MAX DAP on similar tracks, low gain settings, no EQ and with balanced filters.

One of the main feature of MS2 Pro and MY LIN SE IEMs is their ability to be driven well by simple audio sources like a regular smartphone.And it is true, with such combination of impedance and sensitivity, both deliver the dynamics, richness and high volume level from very weak sources. DAP like AP80 PRO MAX is excessive and its high gain output should be used with caution – it may damage IEMs. Therefore, some powerful sources like my xDuoo tube amp with 2W of power output is not a great pair since I can’t go over 20% of its volume level not being afraid to cause any damage. Therefore, MY LIN SE should really serve a role of everyday companion for a smartphone or portable DAP. No reason to try to deliver more power.

I can definitely hear the positive changes as to my liking in the new sound tuning. The tonal range slightly shifted towards lows, no more excessive clarity on treble and smoother, more rich bass. Mids now exhibit more presence and body as well. Everything in this range feels thicker and more upfront. Midbass behaviour and dynamics has not changed a lot, same fast and juicy slaps with slightly more weight from the lower region but the speed and dynamic are there, even at low gain settings on DAP. Furthermore, the susceptibility to the quality of recording is not that prominent anymore – slightly dimmed resolution and less treble clarity smoothing out some imperfections. I wouldn’t call it moody, no, the overall resolution is still very good but the tonality shift and more weight of the lower region make these IEMs sound more evenly and relaxing. If I were to choose between the og version and MY LIN SE – I would definintely pick the second one since I love such darker tonality more.

In overall, the promissed changes in the sound are as declared. It is totally audible in A/B comparison. If you never heard either one before: og MS2 Pro are more resolving and bright while MY LIN SE are smoother and darker that suits more genres. Technically and ergonomically both are similar, only the design and accessory pack changes.

Conclusion:

Five stars to Hidizs for creating more than a mere product. For unique philosophy, beautiful design, bundled accessories to resemble the idea and for the positive experiments with tuning. Not only the pneumatic filter set as the final stage of delicate personal changes but globally transformed ranges to change the tonality for the other part of auditory which likes smoother delivery. MY LIN SE are very easy to drive with any portable audio source, universal in terms of record quality and genre, relaxing in sound. Great combination for everyday use.

Hidizs MY LIN Special Edition would be released on May 12th, 10:30 AM (EST) with the following pricing:

Limited Flash Deal: $89.00 (31% OFF, first 100 units only)
Launch Price: $99.00 (23% OFF)

Link to MY LIN SE at Hidizs official store: LINK

About five months ago, I’ve published my review of the original NF ACOUS NM25 monitoring IEMs. Based on a single DD unit and aimed towards enthusiast and professional musicians, NM25 exhibited stellar overall audio performance, thanks to thorough factory tuning. Its build quality and fit comfort didn’t disappoint either. As much as a love single DD IEMs, NM25 have managed to tick all boxes and deliver on all of the nuances that make such type of IEMs universally perfect.

Almost half a year later, NF ACOUS is releasing very limited version of NM25 IEMs – Ossuary Silver Edition. This is accomplished in collaboartion with the independent silver crafting studio (Ossuary), where the technical perfomance left untouched but the exterior is redesigned – faceplates are thoroughy handcrafted from a solid 925 silver blocks, beautifuly stylized, intorducing specific theme and reflecting the character. Silver edition design style definitely resembles the precision, clarity and distinctivity in sound, perfect for rock and metal genres that NM25 are capable of. And the new look is georgeous! Can’t recall any other so bold-looking piece of art in IEMs for the past decade. I’ve already experienced the moment of astonishment of my teenage daughter when she saw it for the first time – having some attraction to black color, heavy bands and the corresponding subculture, she couldn’t take her eyes of these IEMs and immidiately wanted it in her possesion. So, not only the audio quality, but the style involved, makes NM25 Ossuary Silver Edition to be perceived as a piece of art for own collection.

While technical specs and the impression about the sound can be found in my review of the original NM25 IEMs, I wanted to share the new looks that I’ve managed to capture during the recent photo session:

Original photos from NF ACOUS:

Hope you’ve enjoyed the new style.

NF ACOUS NM25 Ossuary Edition would be launched on 20th of April, 2026. It would be available as NM25 “Ossuary Silver Edition” separate product page at NF ACOUS store: LINK

First batch would be limited to 50pcs only. Catch up if you want to have this piece or art in your collection!

Just a follow up to my original video rig build post: LINK in which I have described all initial compnents and how did I come to those choices…

Some time has passed and there were new parts of the build incoming and some changes after few tests. Among the new parts:

• video sender / receiver
• v-batt
• dummy battery for camera
• matt box
• couple of new filters
• rotating side handle
• manual follow focus
• rail system
• portable lights

and the changes has been made to the choice of wireless mic system. I’ve added Comica Boom-XD D2 Pro wireless mic system with backup recording function just because I’ve found a great deal at local store.

Now, one by one. Video sender / receiver:

Necessary for remote monitoring and / or when camera is fixed at some weird angles / places / height where it is hard to reach it. There are plenty of choices around. I’ve chosen inexpensive Synco brand TX & RX pair that supports 4k or 1080p input and sends 1080p. Quite small, has foldable antennas, ability to work from NP-F batteries or USB type-C input. TX has HDMI loop function to pass the signal to the external monitor and RX has 2 hdmi outputs. Works great, delay is about 40ms which is not distracting.

While testing it, found one peculiar thing about a6700: when you are shooting with PP instead of LOG = hdmi output is fixed to 4k despite HDMI output is set to 1080p. When shooting in LOG mode – HDMI output settings is not fixed and you can choose the output resolution. Not every HDMI sender or monitor would accept 4k signal. So, keep in mind if you are shooting with PP and Viltrox DC-550 monitor – it accepts 4k but does not loop it from HDMI input to HDMI output to feed the stream upward to video sender. Workaround is to either shoot in LOG and set HDMI output to 1080p or shoot PP with 4k output and feed the video sender with this stream first and than let it loop the signal to the monitor. This way works.

V-batt and dummy battery:

Purchased Ulanzi BP-VL99 v-mount battery to power all rig components from it. Camera (by smallrig d-tap to dummy battery adapter with step-down regulator), monitor with d-tap to 5,5mm barrel adapter, video sender with USB A to type-C cable, camera cooler with type-c to type-c cable. This battery has 1 X type-C, 1 X USB A, 2 x D-tap outputs. The convenient part is that one battery can supply voltage for a long period of time to all of the components and even shows how much time it would last. With this setup and this battery it is about 6H of continuous use.

The bad part is the arguments about using 1 power source for all of the components and chance of frying camera or other equipment with the ground loop. Some words about that: there are existing cases when people fried their camera boards / hdmi controllers when used with v-batt single source to all of the equipment.

• How: there is a chance of closing ground loop (passing the current) through HDMI cables instead of power cables.
• Why: because not only power cables interconnect all equipment, but HDMI cables as well, which have common ground with the rest of the board electronics and the current might flow through it instead of power cables.
• How to avoid: by stricktly following connection/disconnection procedure: connect all power cables first with all equipment turned off, than connect HDMI cables, than power all equipment on. When truning off: turn all power down, disconnect hdmi cables first, than disconnect power cables.
• Other possible causes: connecting dummy batteries or adapters to v-batt firsts and than trying to insert dummy batteries / power connectors to the equipment. This might cause uneven current delivery to positive / negative terminals and send all power though other interconnection cables. Or, using low-quality d-tap to camera dummy batteries that would not regulate raw battery voltage (16-20V) and supply it directly to camera that needs lower voltage.

Yep, sounds risky. But remember that lots of camera operators used this power method for years and haven’t had any problems. Follow the procedure and logics to protect your equipment.

There are also some people that insist on using type-C charging with power delivery while shooting for a long time and if the camera has this option… I would object, since this also generates even more heat inside the camera and type-c can also fry camera mainboard if there is a problem with power supply or camera type-c circuit.

Another option is to use type-c dummy battery (step up regulation): I would warn you not to use such options by cheap brands, especially designed to work with external wall power adapters. Such adapters can cause voltage spikes and cheap type-c circuitry would still fry your camera.

The best option, seems to be to use type-c dummy battery by respected brand fed from v-mount battery or power bank with no possible voltage spikes.

In either case, you still rely on circuitry, voltage regulation, etc. If you don’t want to risk anything – use different genuine batteries for every component. But this is not convenient, heavy and unreliable in terms of shooting time.

Matt box:

I didn’t consider this option first – it seemed bulky and incompatible with round lens filters. I was trying to find some universal lens hood but failed. After digging to matt boxes deeper, I’ve ended up buying K&F Concept Matte Box (Nano-Xcel) that accepts rectangular and regular round filters, comes with 4 adapter rings to fit different lenses. I am using it with my lenses + step up ring to 67mm (my lenses are 52 and 55mm) and matt box on top. It allows regular round 67mm filters and works fine with both CPLs and NDs.

Rotating side handle:

Having all rig assembled and operating follow focus with the right or left hand requires some solution to hold this setup conveniently and securely. I’ve tried non-rotating smallrig handle and it puts a lot of strain on my wrist at low camera angles. Therefore, I bought universal left/right hand handle that can release this strain by adjusting its angle by a single press of a button. This now allows me to hold the setup with right or left hand and operate follow focus, zoom or filters with another hand.

Manual follow focus + rods:

It is good to have such a rileable autofocus in Sony cameras… But it is useless with manual lenses and for some creative shots where you want focus to follow some special pattern. Plus, manual follow focus can also be used to control zoom. I’ve received Tilta follow focus along with the 15mm rods and rod holder. Tilta FF has physical stops to limit the range of rotation for some lenses or to do quick A to B point focus shifts. But when you want no limits – those stops hang at the bottom and make noises…. Therefore, I’ve removed those completely.

Portable lights:

Since I am doing a lot of object photography / videos, I bought 2 light sources: Ulanzi L024 40W RGB Video Light 2500-6500K which operates either on built-in batt or from the external power adapter (+ 40cm softbox) and Neewer FL10 video light that can also operate on built-in batt or from type-C power. These lights are perfectly enough to light up object or talking head subject indoors. Planning to get another 150-200W Ulanzi constant LED light to make my setup more versatile, to use it outdoors or to light up larger spaces.

That is how it goes for now. Updates would follow. But I think that the setup is 99% ready for some shots.

More pics of my setup:

The best inspiration for me in writing this article about Hidizs’ new MP145 Pro IEMs is that finally, I can clearly depict facts to support the statement that Hidizs, as a company, listens to its auditory and approaches the new products with the feedback in mind. MP145 Pro is the derivative of the original (og) MP145 magnetic planar IEMs that were and still stay quite rare on the market. The pros of this technology is obvious – agile diaphragm with faster response time, more precision due to even flex driven from both sides and naturally more air pushed with the larger diaphragm area. Such IEMs produce highly resolving, thick sound with outstanding instrument / voice separation.

Original MP145, released back in 2023, are excellent planar IEMs for the price, with just a few complaints mentioned by the owners: slightly prone to hiss/sibilants (skewed towards upper mids) and not that ergonomically perfect for everyone. Both issues were addressed in MP145 Pro. But even more…

This is the comparison of MP145 V/S MP145 PRO specs:

FR curve closer:

Main structural changes:

• 1T fully symmetrical magnetic circuit (+40% magnetic flux for enhanced clarity, stable magnetic field, and greater driver efficiency)
• 14.5mm ultra-precision nano-grade planar diaphragm (+30% more copper & wire density for better detail, faster response, and a wider dynamic sound)

Changes in sound:

Sound Signature: transparent, more controlled bass, a reference-grade midrange with reduced coloration, and exceptional treble extension for a more expansive soundstage.

The main changes in sound are the results of the final tuning with more even response distribution in upper mids/treble, slight elevation in bass region and some heavy changes in treble. Whether it is for good or worse – we shall see in the sound comparison section.

What’s in the box:

Hidizs did not disappoint with the bundle contents, as always. Here, in a small but sturdy box you’d find:

• IEMs
• 24 pairs !!!! Carl!!! of silicone ear tips (3 x vocal, 3 x bass, 3 x balanced, 3 x anemone)
• 3 pairs of sound filters (rose gold – balanced, silver – high freq, red – low freq, 2 pairs in a separate storage case and 1 pair applied to IEMs)
• large storage case for IEMs
• audio cable
• SE 3.5mm plug
• balanced Pentaconn 4.4mm plug
• some papers

I’ve also got WDC badge along with the bundle which reminds that Hidizs actively collaborates with WDC organization for whale and dolphins preservation program. Learn more about it here:

The first and the most crucial update in MP145 Pro, for me, personally, is the change in audio cable and plugs provided. I’ve been communicating with Hidizs about such option since the release of the og version which I thought lacked the connection versatility out of the box. Such product is an investment that builds joy for their fans for a long period of time and people want to have everything packed together to get the most satisfaction from their purchase. Why would I want to search for third-party balanced or SE cable options if I already made a vote for Hidizs and believe that their equipment worth it… I wanted all components to be provided and tested by Hidizs, and included.

Anyway, I am impressed that Hidizs have listened and now we have the possibility to connect to either SE or balanced source straight out of the box and in the most convenient way. Just detach one plug and connect the other one. Great!

The other notable change is the new shape and overall ergonomics deriving from that. Shape is still very complex, based on whale tale inspiring design with lots of CNC time involved.

Here is some great video of how MP145 Pro are made:

But despite that the weight added a couple of grams, IEMs appear smaller or more rounded. The main change that adds to the ergonomics is the prolongued and thinner sound nozzles that allow for more natural and deeper fit. I would say that MP145 Pro would definitely fit more people.

The only question that I have left is the choice of color for the storage case. I don’t understand why black box with either gold, blue or black IEMs contains turquoise case. The only clue is that it should address the color of the ocean. If so – that’s fine,, there is a logic, at least.

The sound:

I’ve tested MP145 Pro and the og MP145 with Hidizs AP80 PRO MAX DAP (balanced output + balanced ear tips + balanced filters)

First of all, the best part that stay the same for MP145 Pro and it predecessor is the ability to drive those IEMs with low/mid power portable sources. Not a smartphone, of course, but the DAPs with >80mW power like AP80 Pro and above do a great job when set to HIGH gain. Other planar IEMs that I posses are more power-hungry and require >200mW and more to be driven this well. Hidizs gone to low impedance / high sensitivity combination for planars which is an achievement by itself.

Secondly, all the best virtues of the sound of this technology are here: excellent dynamics, layering and intstrument separation, high resolving potential and lots of texturing, especially in mids. Thick mids and overall warm timbre is usually defining and revealing this tech, which is also true for MP145 Pro.

I do like how Hidizs has retuned treble part. It is not that prone to sibilants anymore as it was in og version with low quality recordings and some bright tracks at higher volume. Now, it sounds less aggressive, still maintaining good clarity, presence and extension. Feels more balanced in the sound picture.

Mid bass has the least changes – slappy, fast, dynamic and tight, while the lower bass has been slightly brought forward and the presence is now larger, to my ears. The original MP145 was pretty warm already, due to the elevated bass exposure, but MP145 Pro is another step forward towards bassheads. It is not enormous – just larger than expected for planar IEMs with good control and fast decay. Not smudgy.

So, while the nature/timbre/signature of the MP145 Pro and the og version sound stay close, some obvious changes were made, most notable on refined, less edgy treble and slightly amplified bass. My verdict is that those changes are for good, since IEMs sound wider and smoother in overall, exposing planar advantages and keeping the rest of the prime characteristics untouched.

I also like the synergy of AP80 PRO MAX & MP145 PRO pair. Having more powerful balanced output with 4.4mm plug allows AP80 PRO MAX to reveal planar IEMs potential sonically, with more robust and secure physical connection between the two. Along with more drivability, balanced port also eliminates more noise on the background, slightly widens stereo panorama and separates channels better. The amount of output power is enough even at SE 3.5mm plug, but feels like there is more room ahead on balanced output that positively affects the dynamic range in overall.

Conclusion:

My collection of planar magnetic IEMs grows. While the choice is still quite limited, rare products that are available shape this segment and deliver impressive results. It is obvious that Hidizs is concerning this technology as the cutting edge and investing its time and efforts to bring each single products in this niche close to the entire excellence. This is a flagship model with all positive outcomes of such treatment. Furthermore, this is the 2nd gen release, all rough edges indicated by the auditory are now polished. With MP145 Pro release Hidizs literally declares that feedback matters and that their community response shapes the future. As to the product itself – MP145 Pro IEMs have matured technically, ergonomically, in connectivity and, what is the most important, in its refined, more delicate sound.

MP145 Pro are planned to be released at Kickstarter on March 5th, 2026, 10:30AM EST. Prices are planned as follows:

Limited Super Early Bird

• MP145 PRO: $159.00 (Only 300 Units)
• MP145 PRO + AP80 PRO MAX: $338.00 (Kindly share the combo if you think it’s worth to get.)

Early Bird

• MP145 PRO: $169.00

Limited Special Edition

• Titianium Alloy Special Edition: $299.00 (Only 299 Units Worldwide)

Link to the MP145 Pro official page: LINK

Click NOTIFY ME AT LAUNCH to receive the news when MP145 Pro would become available at Kickstarter

Additional link to Hidizs and WDC social media:

Hidizs:
FB: https://www.facebook.com/hidizs/
Ins: https://www.instagram.com/hidizs/
X: https://x.com/Hidizs
Tiktok: https://www.tiktok.com/@hidizs.official

WDC North America
Whale and Dolphin Conservation (WDC)：https://us.whales.org/about/

Facebook: Whale and Dolphin Conservation
https://www.facebook.com/uswhalesorg/

Instagram: whales_org
https://www.instagram.com/whales_org/

Twitter / X: whales_org
https://x.com/whales_org

Tiktok: whales_org
https://www.tiktok.com/@whales_org

Recently, Hidizs has announced the upgraded version of their flagship magnetic-planar IEMs – MP145 PRO. Again, the release involves WDC whale & dolphins preservation program, serving not only to further audio market development but dedicating to the notion, joining the charity and connecting musicians, fans and nature enthusiasts.

Improvements cover most of the audio performance aspects and some address better ergonomics. Here is the full list of upcoming changes:

• Ocean Conservation Commitment | Hidizs x WDC (Whales & Dolphin Conservation)
• 14.5mm Nano-Grade Planar Diaphragm | +30% Copper Content & Wire Density
• 1T Symmetrical Magnetic Circuit | +40% Magnetic Flux
• Upgraded Design | Ergonomically Optimized Housing & Tuning Nozzles
• Upgraded Cable | High-Hardness & Durability & 6N High-Purity SPC 4-Core Braided Cable
• Versatile Cable Plug | Interchangeable 3.5mm SE & 4.4mm BL Plugs
• Premium Eartips | Exclusive ‘Sea Anemone’ High-End Liquid Silicone Eartips
• Transparent Sound | Controlled Bass, Rich Midrange, Exceptional Treble for Expansive Soundstage
• Impedance 30Ω | Sensitivity 104dB | Ultra-Low Distortion <0.05%
  

With enhanced dynamic range, clarity, bass control, soundstage depth, and extended high-frequency
detail, the MP145 PRO provides a truly distinct experience compared to the MP145. These upgrades not only set the MP145 PRO apart but also elevate its overall sonic performance, making it an ideal choice for audiophiles, professionals, music enthusiasts, and gamers. It delivers the precision required for both critical listening and immersive audio experiences.

Important to highlight that Hidizs really listens to their audience, responds and commits – MP145 PRO, finally, would include the cable with interchangeable 4.4 / 3.5 jack – something that has been suggested several times during Y2025. Along with all other accessories in a rich set Mp145 PRO aims to create a great value for money, all around.

Traditionally, Hidizs would be launching MP145 PRO on Kickstarter, around early March, giving the possibility for the most active fans and contributors to save significantly in the first few batches. Follow Hidizs on Facebook or Instagram to have the chance – this refined version of a product, based on highly-praised original MP145 would be a steal.

Some more pictures, specs and features:

Welcome all of my readers / followers and greetings with the past NY and Christmas holidays!

Today I am opening the new section of my blog, dedicated to photo / video camera rig, software and workflow that I would use in the upcoming year. But first, why and what is the background that makes me feel that I can share my opinions and thoughts to public:

I am not new to this field. I’ve been working as a professional photographer / videographer for more than 8 years and acting as a part time photographer another 10 years. By term “professional photographer / videographer” I mean that I was full time into that, taking and successfully fulfilling paid orders. The term “pro” for me is exactly the profession, rather than the quality of a rig, like many others believe. Yes, it definitely means that the “pro” person has more experience and understanding which gives an advantage to deliver higher quality of work even with the most basic tools. Some of my pictures below are shot with a regular smartphone from 2018. Creative approach, composition, understanding how to work with the available light or the ability to set the frame artificially, location and shot planning, clearly imagining the final result – are more important than having ARRI camera and no clue what to do with your frame.

As a photographer, I was mainly dealing with weddings, model portfolios, animals, aerial panoramas and lots of product sample shoots for digital promotions. I’ve also worked for location company, that was searching, keeping and renting locations for movie production companies (I was responsible for location interior / exterior photos). As a videographer, I was mostly doing aerial videos from large and small copters and some ground work for different YT review channels. 99% of the product pictures in hundreds of articles of this blog has been shot / edited by me. You can also find many of those photos at different online shops or brand official websites.

Some of my photography works have been highly praised what brought me 7 awards in the photo contests which were held by different organizations in different countries. Examples are: Kenko/Tokina photo contest in Japan, Epson photo contest in CIS region, DPReview contests in England, several local Ukrainian photo contest like Steel Edge, etc.

Here are some examples of my works:

And here is one of the vids I’ve done for YT moto review channel (Honda NC700, Y2018), as an example:

Some cuts from my commercial aerial shoots back in Y2014, based on DIY gimbal and hexacopter (Sony NEX-5T camera), long before large DJI cinematic rigs became a mainstream:

Despite always leaning towards the photography and the art side of it, video making has been the most interesting for me due to the entire process, complexity of the setups and final endless results in motion you can achieve. And after a long period or rare shooting occasions and completely different field of work, I am finally decided to get back into videography field. There are some reasons beyond the hobby since I am already doing some photos / videos for my main job, but I am planning to broaden my approach and to film some commercial and non-commercial works in the nearest future. Although, before jumping straight into accepting any commercial orders, I have to familiarize myself with the current tech, gear, possibilities, formats and workflows in order to deliver good results. I am staying fully self-conscious that I would have to go this path and learn almost from scratch since ground video work has changed a lot and I need to get used to the new approaches it is based on.

Some pics of me and my team doing some aerial and ground shooting long time ago:

So, the plan for Y26 is to get the right gear without breaking the bank and set myself on modern rails by learning and assisting on projects first, acting mostly as B-roll camera, with the further potential of individual works and clients. I’ve gone this path with the photography before and still believe that this is the best way to practice, have some good footage to demonstrate later and to acquire the necessary experience and confidence.

And finally, the reason for this article is to describe the components of my rig – it might help someone in the similar situation. It might also attract some valuable comments and advices from others.

Camera:

As a photographer, I’ve always been using Nikon as my main system. It was totally satisfying for me those days and there were no plans to shift BEFORE I’ve started to do ground and aerial videos. Since than, I’ve switched to Sony cause it had much better video capabilities back in the days. And even now, the army of Sony users is enormous and this brand rules in the beginner and semi-pro equipment. Yes, I know about all of those brilliant GHs by Panasonic, know the new Nikon ZR, know about the new Canon C50, etc. But since I’ve been staying with Sony for video since Y2014 – I’ve decided to go along with my choice.

My camera now is Sony a6700. Why? Cause it is hybrid – good for both – photo and video. I don’t like ZVs and don’t want to invest (for now) in FXs and I am totally ok with APSC format. Therefore, the best hybrid is a6700, at least for me. The main reasons are:

• IBIS (in body image stabilization, 5 stops claimed)
• Best modern autofocus (face, eye tracking and AI subject recognition)
• 4K 50/60fps with no crop, 10 bit, 4.2.2. 120fps with 1,5X crop
• SLog3
• Custom LUTs
• Variability of codecs and bitrate (from 140 to 600Mbit/s)
• Small rolling shutter (14-16ms at 4K, 6-8ms at 1080)
• Large batteries
• Gyro data for further stabilization in Gyroflow
• Size and weight
• Connectivity options
• Weather sealed
• Price and lens selection

Cons:

• Micro HDMI instead of full-sized HDMI
• No built-in active cooling (manageable)
• only SD cards

Pros outweighs cons by miles. Moreover, cons are manageable and I will describe how it is done later.

As to the camera setup:

I’ve got V90 SD card which handles all of the camera potential. The highest bitrate of 600Mbit/s, S&Q, All-intra… And I don’t get why some people use V60 or even V30 with this camera. Why buying a6700 for video and not investing more into the most compatible storage? Anyway, cards are not cheap but acceptable. 128GB card would allow more than 1 hour of filming at max bitrate in 4K 50p 10bit 4.2.2 (not All-Intra).

Second, just dived in H.264 (XAVC S) V/S H.265 (XAVC HS) difference and planning to use H.265 from now on. It is preserving more details on moving subjects and better on color shifts but requires more from your PC while editing. Since I am already on RTX 5070 Ti (13700F CPU, 32GB DDR5 6000 RAM and NVMe SSDs) that has full hardware decoding support for both codecs in all of its forms (4.2.2 10 bits), I would stick to the newer codec. All-Intra is not an option for now since there is no material to film and grade with such quality. If there would be some commercial shoots where the highest quality is requested – I would probably go to All-Intra with the least amount of compression. H.265, 4.2.2, 10 bits, 25/50/100p in Slog3.Gamut.Cine with the highest bitrate are all main options now, depending of the subject.

Other camera settings are common for most of the users: continuous AF with eye, face priority and touch point subject tracking, sometimes manual (about that later), PP with Slog3, Slog3 display assist to REC.709, Zebra on 70 (skin tones) and lower limit on 94+ (highlights max in Slog3 before clipping), base ISOs (800 or 2500), 180 shutter angle.

Why PP + display assist instead of a dedicated LOG shooting and own LUTs:

• I don’t like to sharpen in post and leave sharpness at 0 (not -7) in PP
• Zebras meter Slog3 footage when using PP and display assist, rather than metering LUT when shooting in Log and applying LUT
• HDMI outputs 4K instead of FHD

tell me if I am wrong with anything stated above. If one day I’d find some creative LUT to stick with, I might switch to LOG shooting since it is the only possibility to have custom LUT over the picture in camera.

Small additional tips on camera setup: I’ve split main photo and video settings (there is such possibility), set each video and photo mode which I want (ISO, framerate, codec, bitrate, shutter, focus, pp, etc) and assigned to 1/2/3 memory recall slots on the upped dial. Now, for example, to switch from 25p to 50p to 100p – I need to rotate this dial from 1 to 2 to 3 only, when sub-dial for photo/video/s&q is in the video mode. The rest of the settings would change accordingly to the slot selected and what you have saved there. Fast and convenient way to quickly change settings without going to the menu. It is also handy when you are looking at external monitor with full screen picture / clean output which is not showing you camera menu (if hdmi output is not clean and you want menu and all other overlays to be shown on the external monitor – you’d end up with different aspect ratio and partial fit of the picture to the monitor, which is not good).

Lenses:

Using 3 lenses: Sigma 18-50mm F2.8 as the main one, Sony 18-135mm F3.5-5.6 OSS as B-lens, Nikkor 50mm F1.8 on rare occasions, just because I love it and have it. It is on the manual Fotga adapter.

Sigma 18-50 has its reasons: it is quite inexpensive but covers good angles, has a constant big aperture and it is small and very lightweight. This is a very big advantage when planning to work with stabilized gimbals. It is also excellent for photography: great contrast and sharpness across the range, plus almost absent focus breathing (change in picture plane while pulling focus). Disadvantage is that it doesn’t have optical stabilization, but even if it did – the quality of OSS in third-party lenses when used on Sony cameras is significantly lower in comparison to Sony native ones.

That is why I keep 18-135mm F3.5-5.6 OSS Sony lens. It is doing a great job on stabilizing the video together with IBIS, covers more range and decently sharp. Despite its variable and quite small aperture, it is still good for daylight videos, especially “run and gun” style when you still have to close down the aperture. Moreover, Sigma and Sony have similar filter diameter and both are compact, which makes them a good pair if you want to save on NDs, CPLs or to easily balance both on the gimbal.

Nikkor would be used for low light and interviews where the more shallow depth of field or more light is required. Since it is manual – I would have to use it with follow focus system. About that later.

I am also planning to invest into some Viltrox fix-focal prime lenses (17 or 20mm / 1.2-1.7 aperture value) for low light situations and to get the maximum bokeh and sharpness. Those are excellent at only a fraction of cost and deserve to be the main choice for primes.

Lens accessories:

NDs, VNDs, CPLs, UV protection filters are a must. NDs (neutral density) and VNDs (variable neutral density) filters are necessary to keep open aperture for the sake of shallow depth of field and pleasing bokeh, simultaneously maintaining 180 degree shutter at base ISO. Without ND/VND you would have to either close the aperture, bring down ISO or raise the shutter in bright light, which is not acceptable. I’ve got 7artisans 2-5 and 6-9 VNDs for the great reviews and good price. You can watch this helpful video and decide for yourself: (the choice of VNDs, CPLs and even UV is a responsible step, as it would directly affect picture quality)

I’ve got 67mm versions of VNDs and step-up rings from 55 to 67 due to 2 reasons: one is that when using larger filter you would work mostly with the central part of it and reduce vignetting further. Secondly, simply because not every manufacturer produce filters smaller than 60mm. Filters come with hoods, so there is no problem with protecting it on the lens.

CPL (circular polarizer) is necessary to reduce the amount of reflections and flare from the objects and also effective in giving more depth to some colors at certain angles. I’ve got one 67mm from K&F Concept.

And also got a couple of UV lens protection filters (55mm) just to keep lenses clean.

I would also have to get some universal rubber lens hood that would go over enlarged 67mm filters and fit the lens to protect it from direct light sources and flares. Haven’t found one yet.

There are compendium systems (matt box) that are often used while filming and that substitute circular filters and lens hoods. But I don’t like this idea since it is quite large, expensive and requires special drop-in filters. At least, not at this stage.

What else necessary:

Camera cage: necessary to protect camera body and to add lots of various mounting options for other equipment. For me, the best two options are either SmallRig 4336 or Tilta Lightweight Kit. Both are excellent options. And both feature micro-HDMI port protection, which is a must for a6700, or you are risking to rip it off. I went with SmallRig + additional upper/lower handle + micro-HDMI to HDMI adapter.

I’ve also bought no-name additional cold-shoe for this cage and ARRI to external monitor holder. Also planning to get side handle for better grip with full setup. The only problem with this cage is when you use micro-HDMI clamp, 3.5mm audio monitoring port would not be accessible. But I can assure you that this is minor issue since same ports are available either on the external monitor or even in your gun mic. Tilta version of the cage, as I understand, obstructs this port similarly.

External monitor: necessary since the camera is more convenient to shoot when held by the top handle when its own monitor would not be visible. Moreover, external monitors usually provide more brightness, have hoods, have the additional software aiding functions like waveforms, false colors, de-squeeze, zooms, etc. My choice is very affordable Viltrox DC-550 (not PRO, not Lite) with touchscreen. It has 1200nits of brightness, comes with the removable / folding hood, battery (can be powered from type-C and 12V barrel connector, as well), has 2 mounting options, audio monitoring 3.5mm output and packed with all necessary functions and overlays like focus peaking, zebra, custom LUTs, waveform, false colors, etc. It also comes with cables and good mounting solution for 1/4inch threaded holes. What it didn’t come with is micro-HDMI to HDMI (only had full HDMI to HDMI and mini-HDMI to HDMI cables). So, I’ve got this cable from SmallRig.

One tip: you can go with Monitor+ app for Android / iOS that does the same job and even more – it shows you the picture from camera using wire or wireless, has all types of overlays and even controls your camera settings (even does focus pulls and touch to focus). This app is great. The only drawback is the stability of framerates over the wire or wireless. In both case it might drop some frames, resulting in non buttery-smooth picture. Decide for yourself.

Gun microphone / wireless microphone / wired lavalier: absolutely a must to have wireless and gun mics. Gun mic can reach further and capture with better clarity than in-built mics, while wireless mics are necessary to record speech sound. For gun – I’ve got very popular and cheap Boya BY-MM1Plus with cold shoe mount and external monitoring output.

Boya Boyalink 2 is my choice for wireless system (2 mics set with 1 receiver + powerbank) which allows to record stereo / mono or 2ch sound depending of the configuration. I love Boya products and usually chose those over DJI, Rode or anything else. And I know, there are much better gun mics like Comica VM or Rode, but I am good for now with much cheaper option.

Active cooling: since a6700 doesn’t have active cooling and can potentially overheat / switch off in the middle of the session, I’ve decided to add Ulanzi fan with battery to my setup. It fits into monitor niche and can be powered from type-C or battery. And it perfectly fits and balances on my gimbal. I’ve tested this setup and didn’t see any signs of overheating even when temp limit was set to normal instead of high in camera menu. Fingers crossed, it would save a6700 from overheats forever. Its fan is audible, but not distracting the video when gun mic is used.

Gimbal stabilizer: again, I have my own preferences and avoid DJI products at all costs. This is a long story with a roots to those time when DJI ruined / stole drones and gimbal tech that was achieved in DIY field (just a reminder that it all existed long before DJI stepped in) and left many people without income, jobs or further interest. Anyway, current consumer / prosumer DJI products are often hanging behind and cost inadequately, therefore, I went with Feiyu-Tech Scorp Mini 3 PRO due to the following reasons:

• small and lightweight, with the capacity of 2kg
• removable handle with remote control over gimbal
• AI module built-in and covers pretty long range, gesture control, follows you
• universal for mirrorless cameras and smartphones
• can control a6700 over BT or cable
• very long battery life
• rich set of accessories
• vertical / horizonal shots
• doing excellent in stabilization and other modes
• has an option of follow focus
• super cheap

Gimbal would not be the main gear in my case, spending a lot on such device was not an option. But I’ve managed to find one that does a great job and is packed with the features like no other. Here is the example of me testing it with a6400 + 18-135 3.5-5.6 lens (25p, Slog2, OSS on, with VND filer, regular (no ninja) walking) on long and short ends. Later, I have balanced the roll axis more precisely and it eliminated minor stab issues even at the long 135mm end without rebalancing from 18mm.

Manual follow focus, rods, holders: for the better focus control and shifts in video, I still believe that manual focus mode is a must. AF does a great job but for the reason of art, slow or A/B focus pulls, plane selection, etc – all still should be performed manually. This can be achieved with manual mechanical or wireless follow focus systems (pullers) that are available from SmallRig, Tilta and many other brands. I’ve ordered Tilta manual follow focus because I like it more than SmallRig and to save some cost. Similarly to SmallRig, it is compatible with any 15mm rods to mount on the camera rig.

For example, this is a good rod holder / base plate that accepts 15mm rods and acts as a mount for camera cage with Arca-Swiss type holder. Such kit with 25-30cm (in length) rods would be a good option for holding follow focus, V-battery (about that later), matt box (if needed), lens support – all at the same time. And it can be easily attached/removed from camera cage and / or tripod with 1/4inch / 3/8inch screws.

One more accessory for the follow focus is the rubber ring with 0.8 tooth mod that would go over the lens focus or zoom rings and allow follow focus gear to rotate it. 0.8 is a standard but the ring diameter varies. I’ve got a set for my lenses by Tilta.

Understanding which one would fit is not a problem: measure the diameter of focus ring on your lens in mm and divide it by 3.14. You’d get an approximate diameter of the focus ring you need. Better to choose the one that equals to your calculations with its least number. And why not using the adjustable ring that comes with follow focus – cause it would distract your movements with its joint. Cinema lenses, usually, are equipped with 0.8 teeth on focus rings by default.

Power options: the easiest and the cheapest way is to power everything from power bank with type-C cables directly. But, in case of the dummy type-C or wall outlet power adapter battery for camera – I’ve seen some negative reviews that such dummy batteries caused significant damage to electronics and the camera has to be fixed (caused by sudden voltage spikes). Plus, my own experience with such battery and a6400 camera showed that mechanical shutter overpowers the dummy battery and camera shuts down. Moreover, too many long cables would limit the functionality and increase the risk of dropping camera or its accessories. On the other hand, never seen any negatives about dummy batteries with D-Tap interface that are fed from V-mount batteries. Plus, such dummy battery also reduces heat inside the camera since the element itself is not heating up.

Therefore, I am planning to get V-mount battery holder and V-mount battery from SmallRig or any other brand to feed all of the accessories and camera itself. Such V-mount holder would fit to 15mm rods and allow for the best weight distribution of the whole rig when the battery would be mounted at the back. Plus I’d need V-mount battery itself and D-Tap dummy battery for a6700. The rest of the accessories would be powered with type-C cables from the same battery.

Software and workflow: here is the list of software I am using and planning to dive deeper into:

• DaVinci Resolve – very popular video editing tool, mostly famous for its endless color grading abilities and most of the functions available even in free version.
• Gyroflow – additional stabilization based on gyro data. Great that a6700 records this data to meta by default. Free, excellent software. There is also Gyroflow plugin available for DaVinci.

When color grading SLog3 in DaVinci, I’ve learned that the best way to preserve max amount of data is to convert from Slog3 to DaVinci wide gamut as the first CST node and back to Rec.709 as the last CST node (after which you can add nodes with LUTs). All of corrections and grading should be done between those 2 CSTs.

That is it for now. I am still waiting for the follow focus to arrive and still considering V-mount batteries. But everything else is ready for experiments and practice. Hope that this article would help someone with the understanding of first video rig build and with the choice of some components. Feel free to provide your feedback in comments section or to give an advice on accessories or the workflow. I would share more posts after discovering something new or having some good results.

Greeting with the past holiday season to all readers! It is quite late but I am a hostage of circumstances and kind of slow postal services. My sample of the new DAP from Hidizs, Christmas special edition, has arrived only several days ago. Catching up with sharing my thought on this latest incarnation of AP80 DAP lineup which Hidizs released in cooperation with Linsoul.

The latest version possesses PRO MAX suffix now, which, I believe, originates from having 4.4mm balanced output (like in AP80 PRO and PRO-X versions) and the largest screen in this series. Both features were much anticipated and I can conclude that most of my expectations from the next Hidizs DAP were met. I never wanted to have another Android-based DAP due to excessive functionality and battery drain together with quick aging (thanks to constant Android version increments and loss of software compatibility as a result), neither I wanted to have another DAP completely isolated from the network services… So, here it is: AP80 PRO MAX is Linux (HiBy OS) based, with long-lasting battery, Wi-Fi, Bluetooth and network services that are a must this days. And I am very glad that it has 4.4mm balanced output with more power compared to regular 3.5mm jack.

AP80 PRO MAX Full specs:

And damn me, this is really MAX version by far according to current specs. So, what else has changed since PRO and PRO-X:

• Now we have faster and newer CPU
• Display grew from 2.45 inch 480×360 to 2.95 inch 360×640
• MicroSD support up to 2TB
• Bluetooth updated to 5.1
• Has WiFi now (but only 2.4GHz)
• Tidal / Qobuz / DLNA / AirPlay support added
• Single-ended / balanced SNR and dynamic range all became better
• 1300mAh battery instead of 800mAh
• MQA unfolding advanced to 16x type

With all of that, the size and weight increased fractionally. The difference in weight with PRO-X is only 9g (from 72g to 81g) which is an achievement considering how much more we get in a slightly bigger package. The new AP80 PRO MAX still stays one of the smallest DAPs on the market, currently.

Besides the dimensions and weight, I admire so many positive updates over the previous versions of this DAP. Larger screen is what makes the first impression and the new ability to operate with network files and stream music from internet services – that what makes the long term use modern and more versatile.

What is in the box?

I’ve got Christmas edition version which has arrived in a large stylized gift box, together with additional perks inside:

• Thermal gift cup
• Greeting card from Hidizs
• AP80 PRO MAX DAP
• USB-c to A cable
• USB-c to c cable
• Extra set of protective glass for front and back (1 set was pre-applied from the factory)
• Warranty card
• Leather case in a separate small box

This Christmas gift packaging definitely made my day, although arrived a little bit late to the party. But I assume that anyone who got the same edition was happy with its looks and incentives. I would be glad to receive or present such bundle under the Christmas tree. The only small concern was the size – quite large comparing to the DAP itself. But it is logical, since it also holds thermal cup.

Back to the DAP itself: I love the new generation. It is bigger due to larger screen, it is easier to hold in hand due to vertical rectangular form and it is still made of aluminum with complex edge shapes and beautiful finish. More colors were introduced as well. And there is also the most expensive copper special edition version available. I, personally, love the new colors like green and red. My version is green and it definitely emits Christmas vibes.

Back and front both covered with glass that has rounded edges (I believe it was called 3D glass before in smartphones). Touchscreen is now more sensitive and precise – perhaps the screen size adds to this feeling. And the screen itself, with the stated resolution, looks crisp and vibrant. Hidizs didn’t mention IPS this time but I don’t see the difference in colors or view angles with the screens of the previous version where IPS was stated among the specs.

Play, Pause, Next, Previous buttons stayed at their convenient places but what was substantially improved is the size and feel of the crown ring (potentiometer with the knob). It is much larger now, protrudes further from the shell and much easier to operate with one hand when holding this DAP. Finally, I can change the volume without using both of my hands. Another addition is the LED indicator on the right edge that informs about different audio file types more common for Hidizs DACs.

Also want to mention the leather case which is quite handy, has high quality craftsmanship and leaves the right edge with all control elements totally exposed for the ease of use.

In overall, AP80 PRO MAX is much better in hands, much more convenient to operate and similarly excellent in terms of built quality. It new dimensions still make it one of the smallest DAPs on the market but Hidizs has managed to substantially increase user experience with the new shape and larger screen / control elements.

DAP in use:

HiBy OS is common among all Hidizs DAPs and I can’t see much of a difference here. The interface became more responsive due to better CPU and scrolling through 600 songs on my SD card with different file types, with and without album art is not feeling sluggish. Not ideal, bur definitely smoother than on my old AP80.

Haven’t noticed significant changes in OS functionality apart from the new streaming / network abilities and pedometer removal (which was a rudiment function anyway) and the removal of bottom to top slide quick menu that was responsible for fast changes in gain, brightness, volume, etc. But we have the top down menu instead. It has quick network / function toggles, brightness / music play controls now.

The most important audio settings, like gapless, MSEB, filters, volumes, EQ, etc – are all still located in HiBy Music app as before. Such excellent and unique functions for HiBy OS like HiBy Link (when you can totally control you HiBy Music APP from a smartphone or even stream audio from from it to the DAP) – work as expected. I couldn’t check Quboz or Tidal since those are not available in my region, but I’ve checked DLNA and the new Wi-Fi transfer functions. DLNA works as expected – streams audio over local network from DLNA server, while Wi-Fi transfer is the possibility to explore and send files to DAP over the air instead of using card readers or USB connection. It is slower but very convenient – AP80 creates webserver which can be accessed within browser at certain IP address:port which DAP tells you. You would see all files, manage folders and upload / download files.

The only little nuance here is that you should stay on Wi-Fi transfer screen in DAP in order for the function to work. It would shutdown web server as soon as you leave this app page.

Don’t forget that AP80 PRO MAX can be used as USB or Bluetooth bidirectional DAC. And there is a dedicated ASIO DAC driver available for Windows at Hidizs website / download section. It ensures the best audio quality on PC but at a cost of slight delay in sound. I would suggest to use Windows system driver for videos and ASIO for music only.

I left AP80 PRO MAX to drain fully charged battery while advancing through the playlist (mainly flac 24/96 ) and got 8:43 hours of continuous play. Charging back consumed another 1:07 hours. There was some shell heating, but nothing to worry about.

Sound impression:

First of all, I wasn’t expecting any revelations in sound quality compared to all other Hidizs AP80 series DAPs. Literally, we have almost similar architecture with AP80 PRO-X and sightly better (next gen) in comparison to AP80 and AP80 PRO. All built around ESS chips with the sound signature common for Sabre – more on the colder/brighter side, tending to precise, detailed and even “clinical” delivery. Technically, such DAPs, if not tremendously miss-tuned, are very good for monitoring with high resolution and clarity in sound – which is true for all AP80 series, indeed.

Musically, I would always prefer slightly moody and thick approach of AKK delivery. Yes, it is less precise, less detailed and feels like lower-mid oriented, but I love the thickness and timbre more. But, again, when both sources, no matter ESS or AKK, are developed well – you might hear the tonality difference but the rest of the variable sound characteristics would mostly be caused by the end-gear – your headphones / amp / speakers. What I want to say, from my practice (over 10 years, 100 of pairs of IEMs, headphones, amps, DACs and DAPs) – pairing warm dynamic / electrostatic IEMs with AP80 and ESS chip might sound even warmer and thicker than cold BA / piezo IEMs paired with AKK chip. And AP80 series is known for not trying to exaggerate in any FR range, therefore, making it a good and balanced source to pair with any end-gear to hear its influence.

So, back to AP80 PRO MAX – neither single ended port performance nor the BA are distinguishable for me from the whole series. Yes, there are positive changes in SNR and DR figures, but the ability to register such difference is an option for the testing equipment, not human ear (not mine, at least). What I am more aware of when using AP80 PRO MAX after the previous versions is that it lasts longer on a battery charge and it is more convenient to use due to larger screen and volume knob.

Therefore, I wouldn’t say anything new here. Like all previous gens, AP80 PRO MAX is a clean, detailed and balanced audio source with plenty of power to feed tight headphones / IEMs with BA output; regular, but much, much better than your smartphone on single ended port in terms of dynamics, resolution and separation and has brighter / colder tonality common for 99% of DAPs based on ESS chips, no matter the brand. Great source to pair with dynamic, planar, hybrid IEMs or headphones and excellent in resolution for further tube amps/pre-amps.

Conclusion:

Perhaps, the main question is whether AP80 PRO MAX is worth upgrading from the preceding Hidizs DAPs. Definitely yes, if you love the sound and want more convenience in use, longer battery life, network and streaming services. If all of that is not of the highest priority – AP80 PRO-X still nails it at a lower price. Earlier versions would lack more: unreliable 2.5mm BA instead of Pentaconn port in AP80 PRO and only 1 DAC chip for both channels with 3.5mm SE output in the regular and the cheapest AP80. Personally, I think that AP80 PRO MAX is a steal for the price asked, especially if it is a first encounter with Hidizs DAPs and there are no obstacles like possessing any previous versions. For me, finally, it is time to force both of my AP80 and AP80 PRO into retirement and integrate PRO MAX into my lifestyle. More convenient to use, more secure to hold, less straining for eyes, more universal for network and streaming services and similarly good in sound quality.

Link to AP80 PRO MAX at Hidizs official store: LINK

Around four years ago I have encountered NF Audio brand for the first time and put my hands on their lower segment NM2+ single DD IEMs. I was quite impressed with the overall build quality, accurate monitor-like performance and wide sound stage it produced. I’ve rated that model pretty high, especially considering its price. Although, I didn’t dig too much into company profile and its background.

In 2025, after dozens of different IEMs tested, I am coming back to reviewing another NF ACOUS (branding has changed from NF Audio in 2024) model of IEMs – NM25. This is currently a new flagship in PRO series for consumer auditory, priced highest if not to consider custom IEMs that this company offers for the professionals or the demanding end-users. But don’t worry, we are not talking about thousands. MSRP for NM25 is only $199, which makes it a bargain considering all qualities it possess. I would try to clarify and prove this statement further along the text.

First of all, it is the company itself and the background of NF ACOUS that elevates it above other more regular consumer-oriented brands: NF ACOUS has long been dealing with the professional musicians and artists, developing and supplying its models to use it in severe stage environment or/and as monitoring equipment in recording studios. Perhaps, no need to explain how this affects the overall quality imposed on the product, derived from professional use expectations. Here is the list of bands and artists NF ACOUS is already supplying their IEMs to: LINK. Such experience cannot omit bleeding into consumer segment and those signs are noticeable everywhere. More about this later…

Moreover, there were several milestones achieved by the company when they have developed their own BA driver that is used in the most expensive professional-grade custom IEMs along with the drivers from Knowles and Sonion, launched first-for-China electrostatic/BA hybrid IEMs, obtained several VGP awards on different models and even collaborated on stylized IEMs for gamers. What has not changed – the professional market orientation and supply. Custom IEMs with personal STL for further processing to achieve the perfect fit and sound characteristics remain common for NF ACOUS company.

Now, back to NM25 – the new flagship consumer single DD IEMs by NF ACOUS and its declared specs:

• Dimensions: 150 × 132 × 83mm
• Driver: MC2L-100A Dual Magnetic Circuit & Dual-Acoustic Chamber Electronic Tuning Dynamic Driver
• Cable: 0.78mm dual pin 5N Silver Coated OFC
• Sensitivity: 108 dB / mW
• Impedance: 32Ω
• Sound Insulation: 25dB
• Frequency Response: 9-40kHz
• Distortion: < 1%
• Max SPL: 125dB
• Connector: 3.5mm

Among all of the features, wanted to highlight the two, which should be vital for the advanced audio performance: Clutter Trap 2.0 patented technology which is a special physical element of the inner chamber structure that tames the unwanted peaks for smooth sound delivery and the availability of 5 nets and 2 sponges that act as sound dampers (something like an acoustic foam in speakers to calm down sound reflection and back firing).

In the box:

The box itself is capable of making the best first impression: high-quality graphics with embossed elements, contains all technical data, has the counterfeit protection sticker and made of outer thick cover with side opening for the inner main box.

The inner box opens like a book with integrated magnets that hold both sides together. Inside, we have warranty card, IEMs storage bag and 6,35mm adapter on the left and IEMs / audio cable and a set of ear tips on the right. So, the full contents are:

• IEMs
• 0.78mm 2 pin 5N Cable
• User Guide
• Storage bag
• Ear Tips (sizes: MS, S, M, L)
• 3.5-6.35mm Adapter

The design:

The design of NF ACOUS NM25 is another aspect where the attention to details is getting more apparent. NF ACOUS declares aviation grade aluminum with 5-axis CNC production and the additional surface treatment. Most of the surface has rough matt finishing with an eye catching thin polished bezel around the front panel.

The shape is quite complex, with lots of design elements (cutouts for branding, channel indicators, model name, logos on sides even filled with the paint, I bet that this is handmade) that required a lot of the additional CNC machine time to accomplish. This is pretty impressing for the IEMs in such price segment.

Output nozzles are moderately long and covered with aluminum mesh to prevent dust.

One more advantage of NM25 over many other IEMs is resin protective cover around 2pin port for audio cable. This makes the connection sealed, much sturdier and reliable. Pins on the cable end are placed inside the resin housing as well, finalizing the tight and protected fit. 6,35mm to 3,5mm adapter also carries branding, looks good and feels made to serve for a couple of centuries. As to the cable – it is following the design of IEMs, comes with 3.5mm jack protection cover, equipped with aluminum splitter, jack housing and velcro tape.

Another small detail is that all ear tips have some mix of material compound on the inner part that makes it much more convenient to fit on the sound nozzles. Usually, it would take several attempts by an unexperienced user to fit ear tips (made of silicone) on the most of IEMs. But these, that are bundled with NM25, are free of such flaw – fitment can be done in one simple move.

The sound:

First of all – the fit is perfect for me. As it should be for the vast majority of people and such custom-like shape which is the most versatile for everyone. NM25 are neither too big nor too small, as well as the moderately protruding nozzles allow for comfortable placement. Flexible ear guides add to the overall fit reliability and convenience. I could even run and workout wearing NM25 but I am afraid that the aluminum shells with compensation openings would not last long in such scenarios.

In general, NM25 sound tend to colder type of sound where upper mids and treble have extra resolution and extension while lower mids and lows are well developed but slightly more congested. This is not bad at all. The majority of single DD IEMs tend to dark and warm signature to compensate the limitations of DD driver in treble reproduction and poor overall legibility.

Large amount of instruments and fast music genres are weak sides of such type of IEMs. As for NM25 – it is unexpectedly good in both aspects while still doing a good job on mid and low bass. In mids, voices and instruments have this extra clarity due to the influence of highly detailed treble, mid bass has powerful and juicy slap with plenty of volumetric feel, lows stay clearly defined in their boundaries, with adequate texturing and obvious presence. Only the lowest bass is less pronounced and fall off quite quick. Despite extra details and presence, treble or upper mids are not getting distracting or shouty. The excess of extension and tuning is accurately adding to the resolution while keeping high peaks and sibilants under control.

Perhaps, one of the main advantages of NM25, besides its treble and the resulting sound clarity, is the ability to render instruments and voices in the mix separately. Very good separation and handling of each single performer throughout the entire range and great outlining. Everything stays coherent and holds its shape.

Conclusion:

NF ACOUS NM25 is a solid performer and very strong competitor in single DD IEMs segment. Taking into consideration its adequate pricing, excellent build quality, the attention to small details as a legacy deriving from professional-oriented manufacturing, rich box contents, good fit and unexpectedly clear and highly coherent sound – NM25 aiming for the highest nomination. At least from my side. Additionally, less common tuning for single DD with the orientation towards bright signature makes NM25 quite unique and interesting. Best for pairing with a dedicated DAC/DAPs based on AKK chips or with tube amplifiers.

NF ACOUS NM25 available at AMAZON US, AliExpress and a list of distributors.

Official page: LINK