Mobile Journalism Blog

News, reviews, examples, experiences, tips & tricks from the mojo world

Mojo stuff at IBC 2019: interesting new microphones, foldable gimbals and multi-camera streaming

IBC in Amsterdam is one of the biggest exhibitions on broadcast equipment in the world. Loads of big cameras, studio systems, TV set-top boxes, editing systems, and so on. It’s interesting, funny and strange at the same time because many of the big companies there still invest in ‘old’ technologies (like satellite transmission, bulky radio recorders or even -and I’m not kidding- Teletext).

But if you look good, you will find more and more companies that specialize (or at least develop products) for mobile phones and similar devices. In this blog post, I’ll try to highlight some of the new products I found that are interesting for mobile journalists and smartphone filmmakers.

The good news is: I wrote a similar blog post on IBC two years ago and since then things have gotten better. Within the thousands of stands at IBC it still feels like searching for a needle in a haystack, but the number of companies that focus on (or at least develop for) mobile phones has increased.


2019 is the year of foldable gimbals. After the Snoppa Atom (that came out almost a year ago) almost all gimbal manufacturers copied that look and functionality. Brands like DJI (not present at IBC), Feiyutech, Zhiyun and MOZA now all have folding gimbals that don’t block the phone’s charging port, giving more possibilities to connect an external microphone.

Feiyutech made one of the smallest ones (the VLOG Pocket, which I tested in July).

Zhiyun Smooth-Q2

Zhiyun displayed the Smooth-Q2, which is available for pre-order on Kickstarter right now. It has some quite impressive specs and is really small.

MOZA not-so-Mini-S

MOZA’s new Mini-S on the contrary, is not mini at all. Even though it’s foldable, it’s still pretty bulky. MOZA also displayed a new version of the non-foldable Mini-M1 gimbal. That’s even bulkier, but they added a cold shoe mount on the top of the gimbal, so that’s a nice addition. I’d love to see that on more gimbals.

MOZA gimbal with cold shoe mount

Bottom line: we’re coming closer to the perfect gimbal for everyday mojo use. For me, that perfect gimbal is stable, durable, small, easy to connect to external microphones (with cold shoe mount and/or an internal microphone extension cable) and affordable.

Multi-camera streaming

Multi-camera streaming with mobile devices has been possible for a long time, with apps like Switcher Studio, Terradek Live:Air and Cinamaker. Now there’s a new competitor: TUBICON from Stryme. Stryme is a company that makes video servers and other broadcast/enterprise solutions. They have a web-based switching panel and accompanying mobile apps. It’s totally cloud-based, so you don’t have to be in the same wifi network (or even on the same continent) to use the TUBICON system.

The quality and delay (almost none) looked pretty great. Functions like lower-third graphics and auto-switching are available. Since the company has a background in video processing, they claim they even get good results with very limited internet speed (and that’s the case at IBC) They have a free version, but that’s watermarked, so only usable for testing purposes. Their paid tiers are pretty expensive (starting at $750 per month) and definitely not targeted at smaller companies. However, they are planning on introducing a much cheaper package.


This will be the most extensive part of this blog post since there’s so much to talk about.

Wireless mics

Apparently, the introduction of the RØDE Wireless Go has caused a revolution in the microphone world. Most of the ‘prosumer’ microphone brands at IBC (like Saramonic and Comica) presented their own version of a compact wireless system, designed especially to use with mobile phones and small cameras.

One of the downsides of the RØDE Wireless Go is that you only can connect one microphone at the same time. Luckily, Chinese companies are always there to improve existing ideas. So both Saramonic (for sale since this week) and Comica (for sale in a couple of months) presented a dual-channel solution.

Saramonic Blink500 transmitter

Saramonic’s version is by far the most interesting one. Newsshooter has a quite extensive preview of the system, so you can read all the details there. The Saramonic transmitters are a little bulkier as the RØDE transmitter, so that’s a disadvantage if you want to use them without a separate lavalier mic. They use the same system as RØDE where the mic clip also functions as a cold shoe adapter. Luckily, Saramonic didn’t put their brand name on the mic clip (RØDE did), so in the end, it might look even better on camera (if you wear the transmitter on the inside of your shirt/jacket, not like I did in the test video below). The audio quality, as you can see in the video, is wonderful, especially considering this was recorded on a noisy exhibition floor.

Even works with a case

But there’s more. In addition to the ‘normal’ receiver, they also have plug-in versions for Lightning and USB-C-ports. Surprisingly, the Lightning version worked really well on my iPhone. It felt secure, even when using a case. So if use this plug-in transmitter, you can really go cable-free and that’s a huge advantage.

Chinese brand Comica is also working on a dual-channel compact wireless system, the WD02. They only showed a prototype, so it’s difficult to say much about the product. But at the very least it’s good that there’s competition. Because especially in areas like this, competition leads to innovation.

Prototype of the Comica WD02

Talking about compact wireless systems: Sennheiser earlier this year released the XSW-D wireless system. That’s not as small as the other systems mentioned, but targets at the same audience. Apart from that, Sennheiser had nothing new to show that’s interesting for the readers of this blog. The same goes for Shure.

Handheld mics

Saramonic’s new handheld microphone

Saramonic and Boya (both part of the same parent company) díd have something else to show. New wired handheld microphones to be precise.

The Saramonic SR-HM7 DI and UC models actually were released a couple of months ago, but I totally missed that. It’s the digital version of Saramonic’s SR-HM7 directional XLR handheld microphone. The microphone is not cheap (around €200), but the build quality is good. It’s quite long, which is ideal for interviews, but might not be ideal to carry.

Pretty smart solution to prevent the cable from disconnecting or breaking

There are versions with USB-C, USB-A and Lightning cables, but those cables are interchangeable. There is a 3.5 mm jack for real time (!) audio monitoring. The smartest thing about this microphone, compared to competitors like the iRig Mic HD2, is the rubber piece you can attach at the bottom. That covers the cable connector. It prevents the cable from disconnecting and from bending. Very cool.

My sample of the Boya BY-HM2

Boya just released a similar microphone, the BY-HM2. It was announced at NAB, but will be for sale soon. I already got a sample unit and I have to say I’m impressed. It looks a bit similar to the iRig Mic HD2. The build quality is pretty good. It comes with Lightning, USB-C and USB-A cables, so the same microphone will work with iPhones and Android devices without a dongle (as long as they support USB OTG). And because the microphone itself has a USB-C connector, other USB-C cables will probably work as well (depending on the wiring). So getting a replacement cable (or for instance a longer cable) should be easy.

The only downside is that the BY-HM2 has an off switch (and I really don’t know why you’d want to have an off switch on a microphone like this, but it can be tricky if it’s triggered by accident). I expect the retail price of this microphone to be somewhere around € 120, which makes it a very interesting competitor to the iRig Mic HD2.

I did some test recordings with both microphones and you can definitely hear that the sound characteristics are totally different. Even though both microphones have a cardioid (directional) recording pattern, the Saramonic microphone does pick up much less ambient noise than the Boya one (which almost sounds like it’s an omnidirectional microphone). So that’s something to keep in mind.

Both audio clips are recorded after each other at the same location, using Ferrite on an iPhone. No windshields or other accessories are used.

Boya BY-HM2 audio test
Saramonic SR-HM7 DI audio test

And there’s more

There were too many new microphones at IBC to cover them all. So this is a short summary of some other interesting microphones I found:

This Comica microphone looks a bit familiar…
  • Deity’s V-Lav has been around for some months. It’s a wired lavalier microphone with a ‘smart’ TRS/TRRS connector. It automatically recognizes if you plug it into a smartphone or camera and work on both.
  • Saramonic released all kinds of wired lavalier microphones with USB-C and Lightning connectors.
  • The same goes for Boya (as said, they’re part of the same company, so they can share technology). They also released a model that’s similar to RØDE’s SC6-L dual lavalier microphone system.
  • Just like Boya/Sevenoak, Comica also recently has been MFi-certified, which means they can produce Lightning microphones as well. And they do. They introduced all kinds of lavalier and shotgun microphones with Lightning an USB-C connectors.
  • Taiwanese company Great Hon showed some MFi-certified wired microphones as well. Not sure about pricing and availability, but it’s good to see that more companies are working on microphones that are designed especially for mobile phones.
Lavalier microphone with lightning connector from Taiwan

Other stuff

Two other products that might be interesting.

  • BOLING (a Chinese LED manufacturer) showed a RGB video LED light that’s marketed at vloggers. It has an interesting mounting arm (not sure what to think about that) and it can produce all sorts of colors. Cool, but a bit expensive. It’s for sale at (amongst others) Amazon in Europe and costs around €160.
  • Yelangu, also a Chinese company, showed some phone grips (Beastgrip-style) and a small rotating dolly. They have some microphones as well, but I’m not sure about the quality.
A bit of Beastgrip, a bit of Ulanzi

How we made a mojo documentary in the Peruvian desert

Reporting on the toughest rally in the world and making a documentary about it—is that possible when using only a phone and a few accessories? Yes, of course, it is. This is our story.

My colleague Ronald (right) and I (left) in the Peruvian dunes.

My colleague Ronald (right) and I (left) in the Peruvian dunes.

What did we do?

The Dakar Rally takes place in South America. This year’s edition started in Peru (with plenty of dunes), crossed Bolivia (at a very high altitude, 4000+ meters), and finished in Argentina (with very high temperatures). My colleague Ronald and I followed one competitor in particular: Ebert Dollevoet, who was competing in Dakar for the 10th time but had never reached the finish. We made a daily report (video diary, vlog, you name it) of his experiences for our website and social media. The footage that we shot for those reports has been compiled into a documentary. Unfortunately, Ebert Dollevoet had to withdraw from the rally after a couple of days (so even in this last attempt again, he didn’t reach the finish). Apart from Dollevoet, we also covered the performance of the other competitors from our region.

Why did we choose to shoot with our phones?

In this project, two of the primary advantages of shooting with a smartphone came together beautifully.

Trying to get the best shot.

Speed. When something happened in the rally, we wanted to report it immediately. Speed was very important to that end, because of the time difference and competition. When the competitors finished the day’s stage, it was late in the evening in the Netherlands already. So, the faster we published our content, the more chance we had for people actually watching it. Our main competitor was a national broadcaster, which has the rights to air all the footage from the rally itself. They had to transfer everything via satellite (and that was only possible in certain time slots). Just because we shot with our phones (and edited on our phones, and uploaded from our phones), we were faster than them at all times.

Getting close. For the reports and the documentary on Ebert Dollevoet, we wanted to get as close to his team as possible. In certain situations, we wanted to act as a fly-on-the-wall. The mechanics didn’t have any camera experience, so it was a huge advantage for us that we didn’t have to intimidate them with a large camera.

Workflow and gear

Ebert Dollevoet in action (photo: Daniel Curiel)

We used an iPhone 7 Plus (with a local sim card) as the main camera and an iPhone 6 (with a local sim) as a second camera. We also carried another iPhone 6 (with a Dutch sim card).

On most occasions, we worked together, so one of us acted as the cameraman, while the other functioned as the reporter. We used an iRig Mic HD2 as our main microphone (and when that became defective, we used an original iRig Mic HD). Also, we made use of iRig Mic Lav lavalier microphones and a Sennheiser EW100 wireless lavalier microphone.

As a phone grip, we used the Sevenoak PSC-1 with an extension grip. We also used a Beastgrip with Kenko 0.75x wide-angle lens. Our main light was a Manfrotto Spectra 2. But, as it didn’t function well, we switched to a Menik STL-9.

We recorded everything in Filmic Pro and edited the daily reports in LumaFusion. We had created a couple of templates in LumaFusion before, so we could make use of some design elements without spending too much time on editing the videos. To transfer the footage to our broadcaster’s FTP server, we used FTPManager Pro and an FTP app that I’m developing myself (which will be available soon; beta testers are welcome!).

Thousands of people at the start in Lima.

We tried to backup the footage that we shot every day via a MacBook on two external hard disks. Regular backup was necessary to ensure that we had enough free space on our phones. We chose to use two hard disks, so that we wouldn’t have a problem if one of them would fail.

The only non-mojo part was editing the documentary. We did that on an old-school computer in our broadcaster’s office, in an old-school desktop video editor (Avid). This made sense, as our broadcaster has a few nice edit suites that run on Avid, and for a long-form edit such as this project, it’s nice to work on a couple of big screens instead of an iPhone/iPad. But, of course, this could have been done in LumaFusion as well, there’s no doubt about that.


For the tenth time, Ebert Dollevoet didn’t reach the finish line.

Our biggest challenge was finding a reliable connection every day. Luckily, in most bivouacs, 4G coverage was available for some carriers. The first thing that we did after crossing a border was buying a local sim card with an activated 4G connection. Theoretically, this should be easy, but we faced quite a bit of trouble in every country (sim cards sold out, activation only possible with a local passport, etc.). After arriving in a bivouac, the first thing we did was checking the 4G connection. When that connection turned out to be rubbish, we had to use the Wi-Fi connection of a hotel or people living nearby. On some days, no cell coverage was available at all, so we had to drive out to a nearby city that had coverage.

Filming in very bright light (in the desert, in the middle of the day) is also a challenge. When you can see almost nothing on your phone’s screen, due to the sun’s glare, it’s hard to determine whether your interviewee is in focus or not.

Lessons learned

We made one big mistake. We brought a VJ camera with us as a backup camera, or for possible scenarios when we would require a ‘real’ camera for whatever reason. We didn’t take it out of its bag even once. It took up a lot of room and weight for nothing.

When filming in challenging circumstances like this, your gear will fail sometimes. We tried to make sure that we had a fallback option available for as many gear as possible. So, the day our handheld microphone stopped working (and our second handheld mic was in the hotel room), we could use a lavalier mic instead. It’s the same story when our LED light started malfunctioning. So, ensure that you have fallback options available for all your gear at all times!


This is the documentary we made about Ebert Dollevoet’s 10th attempt to reach the finish line of the Dakar Rally:

You can find all the daily reports that we made about Ebert Dollevoet in this Storify.

Some other video’s that we made:

All members of this team are firemen.

The town of Boekel is very small (1000 inhabitants), but six of those people from Boekel are in the Dakar Rally.

Father and son, together in one team. 

You can find all the videos we made and the articles we wrote at

Review: Samson Go Mic Mobile, first wireless microphone made for smartphone

Finally, there is a wireless microphone system that is designed to use with a smartphone. The Samson Go Mic Mobile is a 2 channel digital wireless system, that means you can connect two microphones at the same time. You can connect the receiver to your phone (or other device) via Lightning, USB (micro or C), or 3.5 mm audio jack. It uses 2.4 GHz wifi as a connection between microphone(s) and receiver. It’s easy to mount to your phone.

All this sounds so great, doesn’t it? So I tried the Go Mic Mobile for about a week. Watch the video to see what I found out.

For some audio examples of the lavalier mic in action, watch this report by Wytse Vellinga. To see (and listen to) the handheld microphone in action: the interviews in this report are done with it, and this interview is also recorded with the wireless handheld microphone.


  • It’s the first wireless system that’s made to use with a phone. Whoohoo!
  • The handheld microphone is not the best in the world, but it perfectly fine for most situations. But please, use a windshield. 
  • If you use it with a gimbal that doesn’t block the Lightning port (like the Steadicam Volt or Snoppa M1) you finally can have handsfree audio, even when using a phone without a headphone jack. So in many cases, you don’t need a tripod anymore. And it’s ideally for live streams.
  • It’s a two channel receiver, so you can connect two microphones simultaneously. And you can choose to mix the signal or pan it left and right (so you can use it as dual channel audio on your phone, yay!).
  • It works with iPhone (via Lightning cable) Android devices (via included Micro USB or USB-C cable, when using an app that supports USB audio), and also via any device via 3.5 mm headphone jack.
  • Pairing is very easy. Just hold the buttons and you’re good to go.
  • Various mounting options are included.


  • You can monitor the audio output via the 3.5 mm headphone jack on the receiver. But this only works for the microphone audio, not for audio that comes out of the iPhone. So if you recorded something and want to playback on your headphones, you have to plugin the headphones into your phone (when using a phone without a headphone jack that means unplugging the receiver’s Lightning cable). Also if you want to use the Go Mic Mobile at a live broadcast, you can’t use the 3.5 mm jack on the receiver to communicate with the studio.
  • To change the receiver mount, you have to unscrew two tiny screws with a small screwdriver. Those screws are not that durable, so it’s wise to buy some spare ones at a hardware store or online.
  • To get the Lightning port on the receiver at the same side as the phone, you have to mount the receiver upside down.
  • The handheld microphone has a lot of handling noise. So you really shouldn’t move your hand during recording. Also, there is some rumbling sound when you quickly move the microphone, for example between question and answer during an interview.
  • The standard gain level of the handheld microphone is too high. I had to lower the gain inside the microphone (there’s a knob near the battery compartment, including a screwdriver) to avoid distortion.
  • The range is not great, especially when there are concrete walls in between the microphone and receiver. Inside, I wouldn’t risk going more than 5 meters away.


  • Receiver + handheld microphone transmitter: 249,99 euro/USD
  • Receiver + lavalier microphone transmitter: 249,99 euro/USD
  • Extra handheld or lavalier microphone transmitter: 99,99 euro/USD

The receiver + transmitter sets start getting in stock in some places. The separate microphones are still hard to find.

If you have any questions or comments about the Samson Go Mic Mobile or this review, please leave them in the comment section below or send a tweet to @mobilejourna.

Microphones, lights and other smartphone stuff at IBC

IBC in Amsterdam is mainly focused on the old-school broadcast world. But in between all those large cameras, studio equipment and satellite trucks I’ve found quite a few new mojo products. These are my pics from IBC 2017.

Note: I didn’t have the ability to test these products thoroughly. So buy at your own risk.

Expensive smartphone microphone.

Until now, microphones made for smartphones were mainly produced at that lower end of the market. But that has changed. German company Microtech Gefell presented their SRM 100 digital microphone. It’s an omnidirectional dynamic microphone. It comes with a Lightning cable and USB cable (+ converter for Micro USB or USB-C, depending on the phone you have). The sound quality is pretty good, it doesn’t have much handling noise. But the price is pretty high: about 600 euros (and it’s not widely available yet). Downside: there’s no headphone jack on the microphone or cable, so if you have a phone without a headphone jack, you’ll need Bluetooth to monitor your audio.

It sounds like this:

Sennheiser: Handmic and Focusmic

Talking about digital microphones. The Sennheiser Handmic Digital – that has been showcased at Mojocon for two years – should be available anytime now. It’s gonna cost around 300 euro, so that’s also pretty high end for an iPhone microphone. Sennheiser also chose to not include a headphone jack for audio monitoring. There is a version with Lightning connector for iPhone and a version with USB connector for Android.

Sennheiser also showed the upcoming Focusmic Digital. That’s a small shotgun microphone with Lightning connector. It’s -kind of- a competitor for the Shure MV88. I was able to do some test recordings with mojo guru Glen Mulcahy and we were both pretty impressed with the sound quality, especially the lack of background noise. It’s still a prototype, so things can change, but I expect that this small microphone will be good enough for vloggers and interviews in quiet environments. The Focusmic Digital will cost about 250 euro and should be available in spring next year.

Listen to this very interesting (ahum) story about my first mojo experience, recorded with the Sennheiser Focusmic Digital:

Another Lightning audio interface

Microphone manufacturer Saramonic will be releasing two Lightning audio interfaces. They are upgraded versions of existing analog audio interfaces.

The Smartrig DI (right one on the picture) has 1 XLR input, phantom power, a Lightning output and a headphone jack for monitoring. It’s a direct competitor for the Rode iXLR and the iRig Pro I/O. It should be available in a month and will cost about 108 euros. It has one disadvantage to the Rode iXLR: you can’t plug in a microphone directly, you’ll need an extension cable in between (just as with the iRig Pro).

The Smartrig+ DI has two XLR inputs, that can be mixed or separated onto the left and right channel. It’s a competitor of the iRig Pro Duo. Also available in a month. Price: about 180 euros.

Wireless microphones

Mobile journalists are still waiting for a truly good wireless microphone solution, ideally without a receiver, using Bluetooth or wifi. The good news is that the people at Shure told me they are working on something like that.

In the meantime, of course, you can use a wireless transmitter/receiver that is designed to work with a DSLR or broadcast camera. Another option is the all-new Samson Go Mic Mobile. Samson was not at IBC, but I’ll post a review of the Go Mic Mobile wireless kit soon.

What I did see at IBC was a wireless kit for smartphones from Chinese brand Comica. It’s a UHF system with a 40 meter range and a 3.5 mm output. It’s still a prototype, it should be available in a couple of months.


I’d like to travel light, so I prefer a LED light that’s light, but powerful. I’ve seen two interesting ones, both from Chinese brands. I’ve been testing a sample of the Menik STL-9 (left picture, just one unit) for a couple of days now and so far I’m very satisfied. It’s light, has a white diffuser, a yellow filter, a good internal battery (charging via USB), solid buttons and the intensity is adjustable with a small wheel. Price: around 20 euros. It’s not available anywhere online yet.

The Commlite Comiray L50 (right picture) looks almost the same. This one is available at various web shops for about 30 euros. On the same picture: a modular grip system by ViewFlex (not available yet).

Death warrant

Apart from all these innovations, what surprised me the most at this edition of IBC was the total lack of attention for the whole mojo movement. Of course, IBC is focused at these multi-million dollar companies, it’s not organized for indie filmmakers or individual journalists. But still, it’s so strange that a lot of these big companies try to ignore that there is a huge shift going on in content creation. In Glen Mulcahy’s speech, he talked about broadcasters signing their death warrant if they ignore the possibilities of mobile. That’s also true for most of these big companies that exhibit at IBC. I’m curious what’s the difference gonna be when I return to IBC next year.


Where is the innovation?

This article was written before the announcement of the iPhone 8, 8 Plus and X.

For a long time, when someone asked me What phone should I buy for mojo? I’d answer Buy the Plus version of the newest iPhone without thinking.

While that’s still my answer for now, I don’t know for how long that’s gonna be the case.

Android for sure has come a long way. And while the operating system undoubtedly still has some disadvantages comparing to iOS, it’s getting better with every new version.

But in this article, I want to focus on hardware and cameras. Of course, there are many many more new Android phones than new iPhones. So naturally, there will be more hardware innovation on that side. Manufacturers start to realize that outstanding camera performance for many people is the most important thing on a new phone. In the last months only, multiple Android phone manufacturers announced new phones with innovative camera specifications.

  • The camera with the largest aperture? It’s in the LG V30, with an f1.6 lens.
  • Recording (and streaming) with both the front and rear camera simultaneously? You’ll need the Nokia 8.
  • A superb DSLR quality camera and a holographic display? I’d bet on the RED Hydrogen with a separate camera module. That could really revolutionize the way we shoot with a smartphone because it’s the first smartphone that’s made especially for professional videographers. (Okay really, I know it will take at least another 6 months, there is no guarantee that it will be as good as they promise, it’s freakin’ expensive, so it’s kinda risky that I spent 1200 USD on it, but I’m sooooo curious!)

Of course, writing all this is not really fair when the announcement of the new iPhone(s) is just a month away. But apart from it’s augmented reality options, most rumors on the new iPhone are about wireless charging and the OLED screen. Maybe Apple will surprise us all. But if not, for the next year, we have to rely on other manufacturers to push the limits of mobile journalism.

So fast

One of the great things about mobile journalism is that everything is evolving so freakin’ fast.

  • A year ago you could choose between a couple of professional iPhone grips. Today there are so many I can’t count.
  • A year ago, there was no professional multitrack iPhone video editor available. Today there are two: LumaFusion and Kinemaster (also for Android) and they are great.
  • A year ago it was a hassle to distribute 360º video via your phone. Today you can do livestreaming in 360º in seconds.
  • A year ago it was very difficult to get wireless audio in combination with a gimbal. Today that’s a piece of cake, with new gimbals that don’t block the Lightning/USB port and a dedicated wireless microphone system for smartphones*.
  • A year ago zooming with your smartphone camera was a no go. Today Apple, Huwawei, LG and many other brands sell phones with two camera’s to create (some) optical zoom.
  • A year ago you needed a DSLR to make images like this. Today you get the bookeh effect with many new dual lens smartphones, like the iPhone 7 Plus.

Some reporters, broadcasters and publishers still doubt the possibilities of smartphone usage for news reports, Those discussions are interesting. Of course, in many situations using a broadcast camera still has advantages. Better image quality, better zooming, I totally get it. But I always try to ask the question: If this is what happened in the last year, what will mobile journalism look like in another twelve months?

*The Samon Go Mic Mobile wireless microphone system for smartphones will be available in a couple of weeks. So that’s not literally today. But you get the point…

“The best camera in the whole world, is the one you have with you.” 

It’s a cliché, but it’s true.

Something new

Hi there! On this blog, I’ll try to keep you updates on developments in the mojo world. Think of new apps, new gear, new workflows, new phones, new ideas. There is more than enough to talk about. But basically this is just some placeholder text, because this blog is still work in progress. In the meantime, follow @MobileJourna on Twitter.

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