Tilta Focus Handle Power Grip Review

The Tilta Side Focus Handle gives you battery power with USB and DC output, control over your Nucleus Nano follow focus, and a holder for a Samsung external SSD. That’s a big upgrade for $229.  And it’s compatible with every camera cage out there.   But is it made to last, and is it the right tool for the job?

I’d been waiting a long time for a handle that was also a secret power solution.  First, it was for my Sony a7s2.  Those batteries were cheap, but an hour is hardly sufficient.  My Sony a73 was a nice step up in terms of internal battery power, but you also have accessories like the Tilta Nucleus Nano and external monitors to consider.  You have to get power to them somehow.  When I started looking for convenient power options-- specifically a rig handle with it's own secret battery, there was nothing on the market. Two years later, the first power bank handles started to appear, but I’ll admit I was put off by the clunkiness and size of them.

My Z Cam E2 opened up a new possibility.  I was aware of NP-F batteries that also had USB output, but of course you need a bracket to hold it… and size-wise this started to feel like a lot for just powering a Nano. But now now the NPF battery could power the camera and the Nano simultaneously, and it’s a decent solution for that camera in a pinch.  But only a pinch because unfortunately the USB output on these batteries turns off when the Nano stops drawing power for 60 secon which is... let's say, awkward. The Batteries also  underscored a bigger problem.  With the Nucleus Nano on a heavier setup, you really don’t want to have one hand dedicated to pulling focus.  It’s too easy to introduce camera shake.  Once I had the Nano attached, I really wanted a larger monitor for focus pulling, and the combination ended up being fairly fairly beefy.

So the Tilta handle system hit the market, I was excited.  The NPF 970 model of the handle offers control of the Nano, and a DC output for powering my monitor as well.  The improved placement of the focus wheel and the weight-bearing strap makes it possible to pull focus without putting a tremor into the system.

Tilta offers several versions of the handle, with models that accept both NP-F and LP batteries at a couple of sizes.  They have versions with and without the Nano flywheel, and three options for attaching it to your camera cage.  And while that seems like a lot of choice, the absence of other options was the first thing that stood out for me.  My handle is designed specifically with the Z Cam in mind, but Z Cam’s don’t play well with the Samsung SSDs.  So I would have preferred a more generic SSD holder or none at all.

All versions of the handle are for the left hand only.

Overall, the handle is well-made.  The sides, including the SSD bracket, are metal, and the darker material a lightweight plastic.  The strap is a nice leather deal. The bigger model is… well, big.  Your fingers barely reach the opposite side of the grip. The outputs are on the bottom, which is an… okay choice.  I originally thought it would keep the cords out of the way, but they have to rise up to reach their destination, so I’m not sure it helps much.  It does mean that you’ll want to buy cords with right angle plugs to keep them from sticking out so far.  Which brings me to another sticky point.
The USB is 8 volts, which is much more powerful than your typical USB (awesome).  This is especially true for the Nucleus Nano, which performs better at higher voltage.  The DC is 12 volts, which I think may be the max the NPF batteries can output. So the voltage is great.  But 12 volt plugs are much less common than other voltages, and this means you’ll probably need an adapter to make it compatible with whatever you’re powering.  The USB out is a micro USB, so most likely you’ll need a micro to micro cable, too.  One actually comes with your Nano, if you haven’t lost it already.  These cables aren’t expensive, but it would have been nice if Tilta had included them with the handle. 
Speaking of missing things, the handle doesn't come with a battery... which is somewhat understandable and yet still somewhat cheap.  NPF batteries in this size cost about $30 (less in bulk) and for a handle that's all about power, you'd think Tilta could have thrown one in.

The flywheel on the handle, however, is pretty awesome.  With the strap to hold the weight of the camera, the location is perfect for manipulating the wheel.  And it has a little resistance to it, so it’s smooth and easy to control with no bounce back when you reach your mark.  The NPF 970 version of the handle, mine, has an auto calibrate button that works just like the original Nano controller.  One press, and it automatically finds the endpoints of your focus ring if your lens has a hard stop.  Unlike the original controller, you can’t manually calibrate the wheel, or set your endpoints by hand.  And there’s no A-B function either, at least not that I’ve found.  There’s no manual for any of these handles, and that’s a glaring problem, especially since the smaller model only calibrates by hand.  One thing to note: the handle isn’t wireless.  But that’s not really an issue, because you need a wire to power the motor anyway.

The 8 volt output is an improvement over the 2 volts of many small USB batteries.  You can control larger, stiffer lenses with it.

I love that I can power my Atamos Ninja 7 from the handle.  When the batteries are on the back of the monitor, it makes everything top heavy and more difficult to shoot handheld.  The NPF 970 battery will power the Atamos for about 50 minutes.  So, you’ll burn through a few batteries on a full-day shoot, but that would have been the case without the handle.  I decided on the larger, 970 model for just this reason.  While the 570 version of the handle is half the price and smaller, I knew that it would only power my monitor for about 20 minutes.  And it's missing the hand strap, which is extremely helpful.

Another note:  NP-F batteries from different manufacturers can be slightly different sizes.  The slightly larger ones are a bit of a pain to get in and out of the handle. While this is generally true for every piece of equipment they’re connected to, the lack of places to grip the battery make it especially difficult on the Tilta handle.  This isn’t Tilta’s fault, but you do need to be careful that you don’t damage the electrical connections.

Perhaps my biggest gripe—and it’s not a huge deal—is the gap between the handle and the camera.  This space here, while a relief for beefier fingers, is really bigger than it needs to be. Without an SSD, it feels ridiculously big.  Most of the time, you want to keep your rig as compact as possible, so these feels like a misstep.  I bought the smallest, flattest Rosette attachment I could find to help minimize the awkwardness, but it's still almost twice the width I'd like.

Unlike the Nucleus Nano and the Mini Matte Box, the Tilta handle doesn’t come in a neat kit with all the attachments.  That makes it feel like a bit of an off-hand effort.  You still need to supply the cables with right angle plugs, the battery, and possibly the Rosette attachment for your rig, and these little things add up to another sixty or seventy bucks.  So your handle is now closer $300.

So, what does that mean in the final analysis?  If you have a Tilta Nucleus system, I’d say it's a worthwhile investment. The flywheel handle is awesome.  While it doesn't offer all of the capabilities of the original Nano flywheel, it's far easier to use on a handheld rig.  Keep your wheel for a tripod or a dedicated puller. I wish Tilta would make the smaller, NPF 570 version with the hand strap, because that makes a big difference in terms of ease and convenience. I also wish they offered the 970 model without the SSD holder.  It would make the whole unit smaller.  If you just want the power capabilities, I might wait a few months and see what other products enter the market.  The USB and DC options are great, but the little inconveniences of the handle make it an imperfect solution.  And let’s face it:  if all the handle does is outputs for a battery you provide, 120 bucks for the smaller version and $200 for the bigger is way overpriced.  The Tilta handle only makes financial sense if you need the Nucleus control, too.

I hope everyone is staying safe out there in these trying times.  Be well.

Z Cam E2 Audio - Half Review

A few weeks ago I produced my “in depth” review on the Z Cam E2 (you can check it out in the link below), and a viewer rightly dinged me for saying absolutely nothing about the audio capabilities. I’m a professional sound designer for theater and a musician, so definitely my bad.

And props to flymovies for calling me out.  In the process, he left a rather cryptic comment about the audio capabilities of the camera:  "Unfortunately another review that completely ignores the... audio of the camera-- once you have heard it, you know why, though."

Not so encouraging, and it really made me wonder.  See, up until now I'd just being shooting test footage, so I hadn't tried connecting a mic to the Z Cam.  The built in one provided scratch sound for us.



So what’s up with the audio on the Z Cam?  Can you use it the audio inputs for professional work, and how does it compare to other cameras and external recorders.  Today we’re going to take a look.

So first the caveats. Audio gear reviews aren’t something I normally do, so I’m not well set up for it.  This will be a semi technical review.

Second, the Z Cam comes with both a 3.5 millimeter audio input and a mini XLR input.
XLR is typically a less noisy, better sounding connection.  The XLR also has phantom power for your mics. But I only tested the 3.5 millimeter input.  Why?

First, the mini XLR requires a 50 dollar adapter.  Now, I thought about buying the adapter for this review but I didn’t because of Reason Number Two.

If I'm going directly into camera, I know I’ll sometimes want to use my wireless system (a 3.5mm connection), and sometimes I'll use wired XLR. That means another 50 dollar cable, or carrying a adapter that might degrade the sound further.  Which brings me to Reason Number Three.

I don’t want to buy pricey adapters unless the 3.5 connection is totally crap.  If you’re looking for top-notch quality audio—you’ve got your thousand dollar mic and you’re ready for the creamy vocals of George Clooney at a romantic dinner table—you’re going to use an external recorder.  This is true for a number of reasons, including better control of audio levels on the fly, dual recording, and better preamps.

Outside of my own YouTube creations, I never connect directly from mic to camera.  Sometimes I connect from mic to an external recorder to camera…    and if I’m lazy I’ll use the camera’s audio instead of the external recording.  But it’s just not professional to connect directly to your camera, so why ask your camera to provide professional level preamps and encoders?

That said, the camera DOES need to provide solid audio performance that can be used for small projects and emergencies.  So how did the Z Cam do with its 3.5 millimeter input?

For this test I used the Rode Wireless Go; it’s a consumer mid-grade transmitter with mid-level audio.  I paired it with a Electro-Voice RE98 lav.  The RE98 is a lovely sounding, professional level lav that I never use because it’s butt-ugly and cumbersome.  But I wanted to up the quality of the Rode system slightly so that it was in the middle of the playing field when it comes to audio.

By itself, the Rode system is a little too bassy, and a little unnatural, and the RE98 smooths that out and brings in more mid range clarity.  I recorded directly from the Wireless Go Reciver to the Z Cam input, and for comparison directly into the Sony A7sii.  In my opinion, the Sony a7sii has better than average preamps for a mirrorless camera, so I chose it over the a7iii and my Nikon D600.  For the final test, I connected my hybrid Rode Go system into a little Tascam DR-2d external recorder.  The Tascam has very good sound but is still below the level of a professional system.

You can hear the results in the YouTube video.

You can judge the differences for yourself, but here’s my take.  The Tascam audio is the bench mark for good sound here.  It’s well-rounded from bass to the upper vocal registers, but you’re still missing some depth and clarity and that’s the product of a wireless signal from a mid-tier system.  To my ears, the Z Cam handles the bass response in a well rounded way that’s similar to the Tascam, but a slightly more compressed tone in the mids.

The Sony is clearly bassier than both the Tascam and Z Cam, But it has more clarity in the mid and upper tones.  I actually like the Sony’s mid range better than the Tascam in this setup.

Which brings me to my conclusion.  As with all audio, excellence depends on the total set up, the way that the different components work together. The Sony preamps aren’t better than the Tascam’s for mid range, they just compensate the shortcomings of the Rode-Go setup better. I think the Sony sounds slightly better, but both systems have problems that need to be cleaned up in post.  And the Z Cam cleans up nicely.

In short, the Z Cam’s 3.5 millimeter input provides solid audio in comparison with other mirrorless and DSLR systems. And, I really don't know what flymovies was referring to in his cryptic comment.  I'm going to assume he's either using a poor combination of equipment that doesn't go well together, or he's expecting pro-level audio from a mid-level audio process.  Don't.

The Z Cam audio is perfectly fine for vlogs and YouTube reviews, acceptable for interviews in the field when you can’t setup an external recorder, and I’d also say it’s passable for a sit-down interview in a pinch.

But if you really need pro-grade audio, I wouldn’t use either of these inputs, nor would I use any camera input on any camera.  A $200 external recorder will give you better sound than any camera.

Now, what I’d love to see from Z Cam, and perhaps it’s doable via a firmware upgrade, is dual recording.  In my opinion, dual recording is essential for any project, whether it's big or small.  It's even more important on small ones.  Yet camera makers have consistently ignored this really easy upgrade.  Even as a dedicated sound operator, I like having dual recordings.  As a one-man band it’s crucial.

Z Cam E2 In-Depth Review Part 3

Welcome back to the Z Cam E2 in-depth review.  This is Part III.  If you missed the first two parts, you should check out find Part 1 and Part 2.

In today's post, we're looking at dependability (briefly), and our Conclusion.

Dependability

This is one topic I can’t answer yet, as I’ve only had the Z Cam for a few weeks now.  It’s comforting that the E2 feels like it’s built like a tank, and there have been very few reports of failure among users.  Hopefully, I won’t remember to report back on this topic.

Conclusion

I get the sense that Z Cam is positioning this camera uniquely in the market.  The hardware and software is excellent, but there’s not nearly enough documentation on the camera.  It’s a complicated camera, and the manual covers just the basics.  It took me 3 days to figure out how to get the full ISO range.   There are a lot more features and options than what I’ve covered here… things like a time lapse feature, dual ISO, file splitting, software, audio options, etc.  As I said in the beginning, it's a complex and very capable camera.

So who is it for?  Let's start with who I don't think it's well suited: bloggers and hobbyists.  I don't see the E2 as a great camera for blogger's because of the form factor.  Mirrorless, DSLR, and compact cameras are much easier to manipulate for self-filming.  And it's a too complex and beefy for a hobbyist.  Coming from a Sony a73 and a7s2, I miss the full-frame sensor and I'm overly conscious about how much attention it attracts... and how much slower it is to operate.  It's not a camera that I'd take on vacation, or to hazardous regions (i.e. places with high rates of theft and violence).  When you pick up the E2, you need to be a dedicated cinematographer in that moment-- not a tourist, someone's partner, or a "street videographer."  It takes time and attention to operate.  With the right attachments, the Z Cam can function as a "jog and gun" unit just fine.  It all depends on how you shoot professionally.  The E2 is an excellent camera if you want to upgrade your visual tools from a mirrorless, or enter into the professional filmmaking realm.  I see no shortcomings in the quality when used as a professional tool; I don't believe anyone could distinguish the E2's footage from that of a Red or Alexa.  It may not be on Netflix's "approved" camera list yet, but the specs and the performance are all there.  

Should you buy the E2 instead of the Sony a73? Yes, if you're planning on being a dedicated filmmaker; No, if you're a hybrid user or YouTube creator.  Should you buy it instead of the Blackmagic 4K? That really depends on the workflow experience you prefer and your need for a wider variety of recording options.  They're very similar in terms of image quality; they both have quirks in terms of handling.  Should you buy the Z Cam E2 instead of the Red Komodo? Yes, unless you have buckets of money....

Improvements I’d like to see:  I imagine this list will grow as I become more acquainted with the Z Cam, but there are some things I’d love Z Cam to address.  

• Port covers!  Please, make port covers!  The back is too exposed for working in deserts, mist, high wind, etc. etc.
• Custom file names.  I’ve yet to find a way to change the file naming system, and the current version (which lists the date and time) is ridiculously long and unhelpful.  I also want to see the file name on the preview screen.  Some professionals slate and take notes during their shoot and it helps to have the file name onscreen to confirm.  
• I’d love for proxy files to be available for all of the file types. 
• More documentation on the E2 and a dedicated employee for the Z Cam forum... or a forum created by Z Cam.  Don't rely on Facebook as a primary interface for customers.  Unanswered questions get buried in Facebook's algorithm, and that's no good.  I've created a Resource Page for the E2, with specs, links, mini reviews, and... um, resources, but I don't answer questions and I'm not an expert. 
• Custom cords.  I need a 6 inch LANC cable—not a 9-18inch springy cable.  Same for HDMI.
• Custom Menu page.  I know there's no space for it currently, but there are so many options-- and so many I know I'll never use-- that it would be nice to have a page with just the menu items I access regularly
• This last is really a next gen issue:  the LANC input is on the wrong side of the camera; if controlled by a handle, the cord has to reach across the back to reach the port.  The USB-C port can live on either side, so the two could be switched.  
  

Finally,I think Z Cam should look long and hard at their ZRAW format and decide what they want it to be.  Currently, it feels like an obligatory nod towards Raw file zealots who don’t understand that their obsession rarely produces a better looking image at final print. RAW is often considered the Holy Grail of file types when really it is simply one step up from ProRes HQ. In video, Raw files are never completely raw and almost always compressed. ZRAW subdivides that “one step” image possibility by being focused on detail rather than dynamic range.  

Z Cam has been aggressively improving their cameras, including updated features via firmware for their existing line like the E2.  This is an exciting company to watch, and I think their upcoming 6K and full frame cameras will shake up the landscape as much as the Sony a7 series, Blackmagic, and Panasonic cameras have done.  For me, I’m excited to explore the possibilities of this camera.

Z Cam E2 In-Depth Review Part 2

Welcome to Part 2 of our in-depth review of the Z Cam E2.  You can read the first part here!

In our second installment we're looking at Flexibility and Ease of Use.  I define these terms a little differently than most cinematographers.  Flexibility is the ability of the camera to take on different tasks-- it's technical adaptability; ease of use is how easy it is to work with in the field (i.e., does it set up quickly, screen functionality, app, etc.). Flexibility is physics, Ease of Use is workflow.

Flexibility

One of the great things about the E2 is how well it can work with your existing gear.  Being a modular camera, you’ll need a monitor, but an Android or Apple phone does just fine; you can connect via USB C or Wifi.  The batteries are super cheap Sony NPs, and there’s a good chance you already own some.  I had ten lying around.  If you have other NATO rail attachments, those will work for handles and monitor holders. 

But you’ll still need to buy some stuff you if come from the mirrorless world. CFAST cards are darn expensive.  A 128GB card starts around $120, and you use up space quickly with those high Mbps.  You can attach an SSD via the USB-C port. I discovered that the SSD’s I use for my Atamos recorder work well with a $15 case.  Between a 128GB card and 500GB SSD, my memory needs are set for both wireless hand held work and longer tripod setups.  I may buy an external hard drive with automatic backup that can transfer my CFAST cards on the road.  That way I can keep clearing out a single card, rather than have multiple cards.

With all of the quarter inch holes, you don’t need a cage, but you’re going to want one.   The Smallrig cage starts at $90, but it comes with a few quirks.  I love that it hugs the E2 so closely that it barely increases its size.  There are two NATO rails built into either side, keeping the unit small, but they also bring problems.  With the cage attached, it’s almost impossible to open the CFAST slot without a key or thin object.  And tightening NATO rail attachments is a fiddly process because there’s not enough room between the camera and the cage.  But these shortcomings are well worth the reduced size in my opinion.  

The other accessory you don’t need but you’ll want is a speed booster.  I originally bought a Viltrox for my Nikon lenses.  At $85 it was a fifth of the cost of the Metabones, and I’d heard good things about them.  After I bought it, I read a couple of reviews that claimed the Viltrox isn’t quite as sharp.  When mine arrived, I found that it was sharp but not snug; it wiggled on the camera.  So I found a used Metabones adapter for Nikon on Ebay for $150.  But while superior in fit, the Metabones speedbooster is actually inferior in other ways.   You can find a more detailed review/comparison of the Viltrox and Metabones here.

Having shot full frame exclusively for the last few years, the one thing I didn’t realize is that Speed Boosters don’t allow your Micro Four Thirds sensor to capture a full frame image from your lens.  It captures a Super 35 sized image.  While I’ve seen and heard numerous explanations as to why a Micro Four Thirds sensor with a speed booster is just as good as a full-sized sensor, it’s more complicated in real life.  My favorite focal length is 28mm.  It just looks right to me.  With the speed booster I need to use a 20mm lens to get the same angle of view, and these wider lenses often don’t have the same speed, compact form, image quality, and lack of barrel distortion.  And a fast wide lens is often pricier. As a Nikon user, I’ve got a solid option with the 20mm f/2.8, but I miss the “character” that comes with narrower lenses.  A lens shouldn’t just be wide or narrow, it should have a character that supports your visual aesthetics, and wide angle lenses tend to be pretty flat.

Another claim of speed boosters that doesn't hold true in my set-up, is that you get increased speed.  In other words, that your f/2.8 lens will act like an f/1.4.  When I compare the E2 setup to my Sony a7iii with a "dumb" adapter I get more than a stop less light.

Both images were captured using the same lens (the Sony is cropped in post) and settings.  I used the widest and narrowest apertures in order to make sure the adapter settings were consistent.  The only difference is the speed booster and sensor.  What's more, if you use a light meter, the Z Cam under-exposes the image.  Though to my surprise this image is less than 1 stop under.

Z Cam (top) Sony (bottom) exposure set by light meter

The loss of light is a bit of a mixed bag.  The Z Cam's lowest ISO is 500 (currently), and that's pretty high for daylight use; it actually helps that there's less light hitting the sensor.  But if you're shooting in low light, you want every stop you can get.

The E2 has HDMI out for a monitor, USB-C out for SSD or phone monitor, Wifi for phone/tablet monitoring, a mini XLR in, an Ethernet for live broadcast, and a LEMO port for tethering multiple cameras together.  The HDMI 2.0 Type A port outputs up to C4K @60fps 10 bit 4:2:2.  You can build up you camera into a full cinema rig with monitors, support, matte boxes, follow focus, etc.,  or strip it down to just a small battery and wireless phone-monitor to balance on a lightweight gimbal.

I give the camera a flexibility rating of 9/10.

Ease of Use

There are some clear differences from a use standpoint when compared to a mirrorless camera or DSLR.  While this modular camera can be quickly set up, it’s not a run-and-gun unit.  The menu is well laid out, but for gunning purposes, the buttons are too difficult to access, making things like changing your ISO a lengthier process.  You have to re-grip the camera and then slowly click up or down.  This works fine when you’re on set (and with a bigger crew), but as a one-man band with a client waiting, or on the street, or in harsh weather, these adjustments have to be quicker and easier.  And you probably won’t just pull it out of your bag fully assembled and ready to shoot.  Anytime you have to assemble your camera in public, attaching handles and monitor, you attract attention.  This is doubly true with such an unusual looking camera like the E2.  There’s nothing stealth about the Z Cam.  

If you want to speed up your ability to adjust your exposure parameters, the only option I’ve found is a beautiful but very expensive handle from RVLVR.   I bought it because I realized that I really needed a DSLR functionality to be fluid.  With it, the ease of use becomes a lot closer to that of a DSLR (which in my opinion is the high water mark).  I’ll have a separate review on the RVLR soon.

So while the E2 isn’t intrinsically easy to use from a physical standpoint, it’s really designed for “build up” ease of use.  Adding a handle, control grip, and monitor makes the Z Cam much easier to use.

The tiny screen is surprisingly clear, even for someone with my mediocre eyesight.  People say you can’t use it for focusing, and that’s mostly true.  At least, you wouldn’t want to.  But in a pinch, it can work.  My first trip out with the camera I forgot to charge the phone I was using as a monitor, and it died after 20 minutes.  I switched the Z Cam screen to black and white and turned on peaking because a Black and White image with red focus peaking makes it easy to quickly check and adjust your focus.  In this setup, I couldn’t evaluate the aesthetics of the image on the tiny screen, but I could see the framing and what’s in focus easily.  I’ve left it in this setup since then, even when using a real monitor.

So far, I’m very pleased with how the Wifi system works.  There’s generally low latency, though, it is variable.   I was surprised that I saw the biggest lag when in the woods, away from other signals. You can’t connect multiple phones or tablets to wifi, which is a bit of a bummer, but you can use both Wifi and HDMI out so your client can watch on their own screen.  I use a 13 dollar magnetic phone holder for my monitor that’s super convenient.  I can pull the screen off and walk on set to make an adjustment while seeing the change on screen.  It snaps back on in less than a second, and I’m ready to go.  And while it seems like unscrewing a monitor is no big deal, I’m surprised by how often that little act prevents me from doing something. Honestly, I live by these little time savers.

The newest version of the app is great.  You can not only monitor over wifi, but control the camera.  Monitoring includes all of the essential tools like Zebra, false color, wave forms, peaking, and de-squeeze display for anamorphic lens users.

There are some odd quirks that I hope get ironed out in future firmware updates, things like unwieldy file names that can’t be re-named, and the inability to see the file name while recording.

On the whole, I give the E2’s Ease of Use an 8/10.  The loss of two points is really due to the form factor, and this would be true of any brick-brain camera.  I’d rate the Blackmagic 4k about the same, even though it comes with a built-in grip.

Tomorrow: Reliability and Conclusion.

Z Cam E2 In-Depth Review

Z Cam has leapt deep into the cinema camera field with the E2.  In many respects, it’s remarkable that this Micro Four Thirds camera is as polished and ready for prime time as it is… after all, the E1 is its only predecessor.  In this review, I’ll be giving my general impressions of the camera, as well as a comparison with mirrorless and DSLR cameras, since many prospective buyers will be coming from this world.  I’m going to look at some of the questions I couldn’t find answers to before I bought the E2, how it might change your workflow, and some of the quirks you should keep in mind before you buy it.  It’s a camera with a ton of features, so we’re going to divide this review into three posts that will appear daily.

There are four basic areas that I believe a video camera should be evaluated:  image quality, flexibility, ease of use, and dependability.  Let’s dive right in.

Overview

The Z Cam E2 is a budget priced camera that packs a surprising amount of features and capabilities.  It has a MFT sensor with an ASIC chip that’s designed to run cool—an important characteristic in the tiny body of the E2.  The body is indeed very compact, coming in 3.59″ x 3.90″ x 3.50″, and the chip doesn’t need a fan to keep things cool.  It’s a “brick brain” form factor, which means no monitor, no internal battery, and no real place to grip the camera.  All of these need to be built on.  It does come with a 1”x1” preview screen that’s surprisingly useful.  (More on that in a bit.)  The price point is $1999 as of this post.

Form Factor

The camera brain – brick form is something you have to be ready to embrace.  It’s a much different workflow than a mirrorless system or a ENG camera like the FS5.  Unless you’ve got a weird shaped bag to pack it in fully kitted, it’ll take a couple of minutes of setup time.  It’s a pretty quick process, maybe 2 minutes, but that’s a big difference from a mirrorless that is up and running in 5 seconds.  The camera is more challenging to hold while making adjustments; it’s even more difficult to fish it out of your pack without a handle.  And I expect this awkwardness will translate into more scratches on the body.  It has an impressive plethora of ports, though please, Z Cam, make port covers for this thing.  You couldn’t possibly take it out into the desert like this.

The E2 has 4 programmable buttons, and that’s really enough.  You can quickly access the settings you change most frequently.  The menu organization is about average for a camera like this.  In some respects it’s organized more clearly than a DSLR or mirrorless, but there are so many options—some of which are dependent on specific settings— that it’s really a different kind of “lost in the menu” that happens.  For example, proxy files are possible in some resolutions and not others, so if want to have a proxy file you need to adjust the other parameters first.    

People say it, but it bears repeating that the E2 is a dense little brick, weighing in at 1.67 lbs.  It’s surprisingly heavy, and this can affect your gimbal use.  And because it’s not as wide as DSLR, mirrorless, or Blackmagic camera, it makes balancing the tilt angle a challenge.  With the Zhiyune Crane V2, I added a counter weight to make it possible.  A little Velcro makes it easy to take the weight on and off, but it also ads to the overall weight that the gimbal can support.   While I can do most of the basic moves without straining the gimbal motors, I hesitate to push the motors to far.  For smaller gimbal users, this is a definite consideration. 

The E2 can auto-focus native lenses, but, well… all reports so far have been that it’s not useable for continuous focus.  I don’t have any native lenses, so I can’t test for myself.  The short answer is don’t expect to take any selfies.

Image Quality

If you read the user reviews for the E2, people are almost unanimously happy with the build, functionality, and image quality.  There’s always someone who prefers the features or look of another camera, but that’s just people.  And truthfully there are some issues with ZRAW, their proprietary raw format, that I’ll get into, as well as some limitations with the image quality at 240 frames per second.  But if you want an overall assessment, I have to agree the other users. 

Without getting into the specs, I’ll say that it’s both impressive and comforting that the E2 can produce video files that are both higher and lower in bit rate and quality than most cameras, including the Blackmagic 4k. There’s huge amount of flexibility in file types.  You’ve got H.264, H.265, ProRes 422, and ZRAW which Z Cam claims is 12 bit, 4:4:4.  You can drop down to 10 megabytes per second in h.624 if you really want to save space, or push out 300Mbps in ProRes.  It also shoots 160 fps in 4K, and 240 fps in full HD, 10 bit, h.265 format.  There are over 100 fps/codec variations (check them out here) And unlike most cameras, it records audio at every frame rate. 

Out of the box, the 709 colors are quite beautiful.  They’re similar to Nikon DSLRs, which are slightly muted in comparison to Canon, but still true to their original hues and very easy to tweak in post.  Green is a slight exception here—those hues tend to be more saturated. 

Skin tones are exceptional.  By comparison, the colors on the Sony a7 series are a total pain.  I’ve begun to understand that image quality has two major characteristics: color rendition and roll-off.  A beautifully rendered scene can still appear harsh and 2-dimensional if the roll-off in the highlights and shadows is abrupt.  The E2 handles both color and roll-off exceptionally well. The images are sharp, too. You can see the image profiles and dynamic range chart for more info on the E2 setup.

Z Cam also has a 4K Low Noise Resolution option that I’ve yet to explore.  More on that, possibly, later.

ZLOG2 is a solid flat profile that’s easy to grade.   ZRAW is their proprietary raw format.  It’s 10 bit, 4-4-4, with a constant bitrate of 1.2Gps-- which in theory is great.  But Z Cam says it’s tweaked for maximum detail rather than dynamic range, so it’s not great for wide dynamic range scenes with a lot of shadows that need to be pulled up.  You’ll get noise.  This is a bit problematic, because one of the main uses of raw footage is heavy grading.  And being a new file format, none of the software editors can work with the footage. You have to convert it with Z Cam’s software.  This isn’t surprising, and I’m sure it will soon be possible to edit directly in your software as Z Cam develops relationships with Adobe, Davinci Resolve, and Final Cut.  Blackmagic went through the same process with BRAW, after all.  But in general it feels like ZRAW isn’t quite ready for general consumption.  It’s more for a niche use when you’ve got a well balanced scene and you want to get the best quality image.

Frame rates up to 160fps are consistently beautiful.  At 240fps, however, the image quality becomes inconsistent.  The camera is capable of gorgeous footage, but becomes noisy if under exposed, and it can have difficulty with high-detailed scenes.  Some users blame pixel-binning, but I’m not sure what’s going on.  I plan to do more testing.

Being a heavier camera, you experience less micro jitters when going handheld.  Rolling shutter exists, but its better controlled than my Sony a7 cameras and most DSLRs.

I give the image quality of the Z Cam E2 a 9/10, with the loss of a point being for those challenges at 240fps and ZRAW.  This is a bit unfair, because many similar cameras don’t offer either, so 240 is really a perk.

Tomorrow: Flexibility and Ease of Use.

Ikan Beholder 3-Axis Gimbal - 180 Review

There are few products I use regularly, and the Ikan Beholder 3-axis motorized gimbal is one of them.  Hurricane Images Inc. recently shot a Fremo EVO commercial with it, and it was put to extensive use in Jaz Danz’s music video for “Justify My Love.”  

EVO 2 for Amazon Echo Dot

I purchased the larger EC1 model, even though my camera is well below the specs of the cheaper DS1.  Essentially I wanted both the ability to attach heavier lenses and upgrade to a larger camera and the EC1 can balance a 4.5 pound rig.  I wanted my gimbal to be able to grow with my kit.  However, I’m not sure if it was worth the extra $350, so weigh your options carefully.

The wide handle base helps with balancing the Sony A7sii.  You can set it on a table and quickly adjust.  The knobs are easy to find and turn.  Most importantly it does an excellent job of keeping my footage steady.  The Beholder rarely jitters under stress.   I’ve yet to run out of battery, even on the EVO commercial in which used the Ikan exclusively for 4 hour shoots.  I don’t have an estimate on battery life because I’ve yet to run them down.

There are some limitations. It doesn’t work so well with larger lenses because you can’t slide the camera back far enough to find the center of gravity.  Also, you can’t charge the batteries and use the unit at the same time, even if you have a spare set of batteries.  You need to buy a separate battery charger.  The design of many of these motorized gimbals make it difficult to see the screen, but that’s not unique to the Ikan.

Having used it on roughly a dozen shoots, I've become aware of how the "feel" of gimbal/steady-cam footage differs from sliders.  Sliders have a precision that is mechanical in their otherworldly texture.  Gimbals feel more organic, like an otherworldly creature is behind the camera.  Handheld-- done properly, feels human.  $900 is a lot to spend on a piece of equipment, but this is one product I use constantly and it can drastically increase your game.  I've tried cheap, non-motorized equivalents, and they just aren't consistent enough to use on a professional set.  The Ikan Behold gimbal review... worth the money. 

Aputure VS-5 Monitor - 180 Review

These days I feel that most of my video errors in the field are due to the small screen on the A7sii. Under intense working conditions it’s impossible to see everything you need to in the viewfinder (my preferred method) or LCD.  Back home scrubbing the footage on the computer I suddenly discover tangles of wires, a passerby in the distance-- or worst of all, a piece of my own equipment in the background....

The Aputure VS-5 is a 7” monitor that’s designed to solve that problem.  How well does it do?

First off, any many have noted it’s packed with professional tools like Zebras, Vectorscope,  Peaking, Histogram, Monochrome, Waveform, and False Colors.  The 1920 x1200 HD display is beautifully sharp for a 7-inch screen.  And it’s plenty bright to my eye.  It has both HDMI and SDI inputs, making it functional for professional cameras.  Aputure is known for being customer centric, and they don’t disappoint here.  They provide everything you need to maximize your experience: sun hood, carry bag, and a variety of cords.  Everything except batteries, which I find a bit odd.  But! it uses the omnipresent Sony NP-F/FM/QM Series type batteries, so they’re cheap and you may have a few of them lying around anyway.  I did.

The unit is surrounded by vents around the side, and I was surprised to find it gets a little warm.  Not hot, mind you, so it’s not a problem-- but warm.  The menus are easy to use and navigate.  The unit feels reasonably sturdy.

For all those pluses, there are some drawbacks and considerations.  While some of the tools-- Zebras, Peaking, and Histogram-- I find to be incredibly useful in the field; others like Vectorscope and Waveform are tools I traditionally use in post.  The way I shoot, I don’t expect to use those two in the field.  It takes a very controlled environment to adjust for waveforms.  Because I shoot with a Sony A7sii which has zebras, peaking, and histogram functions built in, my monitor is most useful for seeing the big picture and sharing with the producer. In other words, the "non-professional" tools.

The Aputure doesn’t have built-in LUTs for SLOG, so if that’s something you rely on you’ll be frustrated.  Even worse, SLOG footage becomes unsuitable for the producer’s eyes.  The unit also suffers from a slight lag.  It’s more of an occasional distraction than debilitation, so some folks may not be bothered by it. 

Should You Get One?

As always, the answer to that question has a lot to do with how you shoot.  For $500, the Aputure has a lot of professional features and is well-built and well-designed.   If you want those features it's a great unit and a bargain.  I like that it provides a well-designed sunscreen... one of those equipment bits that are frustratingly expensive when bought separately. 

If you shoot in less controlled environments however-- weddings, events, or just in situations where there isn’t a lot of time (which is typically the case for me)-- you probably won’t use those features.  And your camera may already have them built in.  It’s definitely an investment, and to me it feels like the VS5 falls uncomfortably between a $200 budget monitor and a $1200 monitor/recorder that also give you better footage (rather than better viewing).  I’m not sold on it, but that doesn’t mean it’s not right for some people.

Color Grading Slog Video - Without the Headache

For me, Slog profiles are both a siren and a curse.  I'm drawn to the promise of greater dynamic range and the protection from blow-outs; I'm demoralized by the difficulty of transforming Slog 2 and Slog 3 footage into vibrant, rich video.  Admittedly, I'm not the greatest of color graders; most of us aren't.  In fact, I suspect that much of the "stylized" color grading I see is simply an effort to cover up the fact they couldn't create a natural looking image.  I'm sick of green-hued images.  But I can't throw stones because I have the same difficulty-- even after 20 minutes of futzing with levels, color wheels, and contrast, I'm dissatisfied. So what the heck is wrong with Slog footage and how can I grade better and faster?

I don't have an answer to the first question.  The problem is probably me.  To give myself a break, photos are rarely as pug-ugly as Slog 3 images, and the tools in Lightroom and Photoshop are much much better.  But I have figured out a great way to quickly grade my footage to an even more satisfactory level than before. 

Personally, I think the Sony a7Sii color is a bit wonky.  Not all the time-- but sometimes there's a muted hue, and it's on full display when you color grade from Slog. So here's a technique I've discovered:

1. Before shooting your footage, take a photo of the scene.  Make sure it's properly exposed, since your camera settings for Slog may be too far to the "right," i.e. slightly blown out for still photography.
2. Now film in your Slog profile of choice.  Whenever you move to a different scene, take another photo.
3. Import both the photo and the video into your video editor; I use Sony Vegas Pro.
4. I believe all the major editors have a color-match function.  In Sony Vegas, open the Color Match FX to apply the photo color to the video. Be sure to tick the "match brightness" box.  It should look like this:

 

If you're unfamiliar with this tool, I'd suggest Google for a more complete explanation.  But quickly, the Source Image will be your photo (the color you want); I make sure the still image is on the Preview screen and then click "Preview" to capture it.  The Target is your video; I bring up the video on the monitor and hit Preview in the Target box.  The color adjusted image will appear in the Result section. 

This will get you 80% of the way there.  Typically, I use the Levels FX to bring the image into perfect exposure.  If you don't know how to use a Waveform scope, learn, because it's amazing.  And for a little extra punch I'll boost the overall saturation using the Color Corrector, and individual colors using AAV Color Lab.

Here's a before image of the footage:

It's the typical washed out footage of Slog 3.  Now here's the color matched and tweaked image:

The great thing is that this only took an extra 15 seconds during filming, and about two minutes of grading in post. After tweaking the levels and saturation, the resulting image is better than the original photo.

While I've known about the Color Match feature for a while, I only now just thought to apply it to my Slog footage utilizing a reference image.  It's really the same technique film photographers used to employ, taking a Polaroid to check exposure. 

Sony a7Sii Joshua Tree Review

Continuing my extended review of the Sony a7Sii (you can read the general overview and the wedding reviews on my blog), I took it to Sequoia National Park and Joshua Tree to see how it would perform (and to deepen my knowledge of the camera).  Being mirrorless-- and a Sony-- its operation is significantly different than my other two cameras.  And in all fairness it has an incredibly high bar to pass in order to make it into my camera bag.  The Nikon D600 (my workhorse) was rated with the 3rd best DSLR sensor when it was released; my Pentax 645D was similarly at the top of its class, only within the even more demanding medium-sensor competition.  So how did the a7Sii fare?

To start let me say that I never intended the Sony to be a primary camera, only a solid backup.  I don't like having identical systems for 1st and 2nd cameras. Since cameras so rarely fail, I like my 2nd to offer something different in terms of tonal quality or features.  I want it to be something I'll use during a session even when my primary kit is functioning just fine.  To that end, the Sony doesn't disappoint.  But let me start with the specifics.

The Good
I wanted to play with the a7Sii with some landscape opportunities; I'd already found that the ever-so-slight shutter lag made it less than ideal for events and sports; I wanted to see how it performed with a still subject.  Normally, I'd chose the Pentax 645D for this job.  And let's be honest-- it's unfair to pit a 12MB full-sized sensor against at 40MB medium format sensor.  The Pentax surpasses in detail and texture.  Still, the Sony does quite well on its own terms.  While the image quality is not quite on par with even my Nikon, it's clearly ahead of smaller sensor cameras, and many full-framed ones too.  Also, the Pentax is freakin' huge; it's not suited for hardcore traveling.  The Sony is the smallest of the trio, and in some respects (silent shutter, low-profile, and tilting LCD) the most versatile.  So even though it doesn't have the same detail and textural depth, I'd still list image quality in the "good" section.

With landscape (and portraiture and architecture), you don't notice the ever-so-slight shutter lag.  The issue doesn't distract in the slightest.

The dynamic range is pretty impressive; it may even surpass my Nikon-- I'll have to test that further.  What makes it so good is that the camera resists blowing out.  You can see it in the blue skies-- I did very little to pull them out in these images.  The darker zones are sometimes a bit mushy, but the camera works hard to keep everything within range.

I'll repeat myself now: the Sony a7Sii is incredibly fun to shoot.  It just feels good.  And the versatility I mentioned before gives it a flexibility that's hard to match.  So even if my other cameras produce better images, there will still be times when I'll chose it above the rest.

A simple $20 adapter allows me to use some incredible Nikon glass. This is the 50mm f/1.2.

Because you can quickly zoom in (I've assigned the Zoom to the button nearest the shutter), focusing with a manual lens is quite quick and beautifully accurate.

The Not-So-Good
When it comes to landscape photography, the Sony really doesn't have any major flaws.  If you're a professional landscape photographer the low resolution (12MB) sensor is an obvious and insurmountable problem. But for the rest of us it does quite well.  And if you use a better lens, you'll get some of that detail and sharpness back.  12MP with excellent glass is sharper than 16MP with mediocre glass.

In scenes with a wide dynamic range, the viewfinder and LCD often make the brightest portions appear blown out.  But just on the screen-- not the image itself.  To compensate,  I took to always having the histogram up in shooting mode so I could tell what was really happening.  It's not blown out, the viewfinder/LCD just doesn't have the same dynamic range as the image.

Color.  Color? Color....  I'm pretty mixed on this one.  Shooting in RAW and converting with Adobe DNG converter, the colors are oddly muted.  Not just muted, oddly so.  You can pull a lot of richness back (in fact the raw files are quite flexible), but it takes more tweaking than with either of my other cameras.  I also, I find it needs a little more sharpening.  I think those qualities qualify as a negative.

But really, there's not much else in the negative.

The wife... tree hugging.

The Verdict
The Sony does a very good job of challenging my Nikon for travel photography.  The smaller size and versatility make it a difficult camera to leave at home.  Let's see what I do the next time I take a major trip (okay, let's be honest, I'll probably take both since the Sony can use the Nikon lenses).  The a7Sii is quite capable for landscape photography, just so long as you don't need a huge amount of detail.  Again, it wouldn't be the choice of a professional in that field, but rather a professional photographer looking for either a solid second camera or dabbling in a field that's not his/her/they specialty.

At times I felt there was some very safely "middle-ground" about the camera.  With the kit lens, it's easy for the images to be good yet unexceptional.  However, I think that with better lenses and a deeper understanding of the camera's qualities it will be possible to create some truly exceptional images.  These images, by the way, were tweaked for color and sharpness, but I didn't take the time to try and find their full potential.

The a7Sii is, of course, really designed for video.  Still images are secondary.  If you judge it as a video camera first and a still camera second, the Sony a7Sii is better than its aspirations:  I'll never grab my Nikon above the Sony for video, but there are times I'd grab the Sony first when shooting still images, which speaks volumes.  And if I had to give up one of my three cameras today, I'd let go of the Pentax.  The image quality is superb, but it can't compete on versatility.  In comparison, it's a boutique camera, a tool for a specific purpose.

Nuts!  I left my tripod at home.  This image was shot with the camera propped on my bag to reduce shake....  Also, in  the dark I couldn't find the shutter delay option, so two strikes against. me.  That functionality is a bit buried in the menu.