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Monday, August 31, 2020

Zeapon Micro 2 Motorized Slider Review

Zeapon Micro 2 Motorized Slider Review


There’s something about motorized sliders that make them nearly impossible to make right.  If you think about it, manufacturers can make an extremely complex tool like the Zhiyun Weebill S, able to move on three axis, be packed with features like Bluetooth, tracking and vortex mode, camera control, and be considered one of the best in its class for about $350 bucks.  That would get you a bargain basement motorized slider that moves back and forth in a straight line.  High end models will run you a grand. 
 
Which made me very curious about the Zeapon Micro 2, which appeared to solve many of the difficulties sliders… apparently… inherently have.
As I was making this video I learned that Zeapon has just two new models that are larger, the 600 which spans 29 inches and costs 500 hundred dollars.  And the 800 which travels 37 inches—making it a full sized slider—and costs roughly $600.  They’re identical to the Micro 2 in construction, with the exception of the Easy Stand, which is designed for the larger span. Given the construction of the Micro 2, I think these are a safe bet, quality-wise.  I can easily see how this construction would hold up over a longer distance.
And I’m guessing that the shortcomings of the original Zeapon Micro 2, few that they be, are  going to be the same in the larger models, too.  So let’s get down to it.


I personally love the double slide design of the Zeapon.  At 16 inches in length, it creates a travel path of 21 inches, which is enough for most uses.  The challenge of this design, which has tripped up other manufacturers, is that even the smallest play in the system is amplified into a full on shake or tremor.  Since you CAN’T mount this design on two tripods, the single point of contact creates a lever for movement. The Zeapon, however, is built like a tank.  And the motorized version is a hefty club.  Without battery it's 4 pounds. That’s primarily a strength, but it does mean that despite its tiny footprint, it doesn’t travel so light.  It’s small but chunky, making it a bit awkward to pack. The mounting area is rock solid, and the innovative design includes a rail cleaner, which is pretty neat… but also reminds you of the problem of dirt and scratches.

Zeapon Micro 2 Motorized Slider Rail Cleaner


Every slider has two major hurdles to overcome.  Is it easy to set up, and is it smooth?  On both of these counts, the Zeapon does an excellent job.  But there are a couple of caveats.  The hefty weight slider means that it’s only as stable and tremor-free as the system you put it on.  I chose to not buy the pricey Easy Stand because I rarely set my slider on a table.  It always goes on sticks.  But here, your sticks matter. 
Despite being travel friendly, you can’t put it on travel tripods.  They’re not stable enough.  And you need one beefy tripod.  Extra beefy, if you’re going to take advantage of its 17 pound max payload.
Eleven pounds, however, is the max recommended.  It can move this weight vertically as well, which is impressive. 
If you buy the motorized version—rather than the motor and slider separately—you won’t get the cable you need to operate it manually.  If you want to push it by hand, that’s another purchase.  And, they don't seem to readily offer it at Zeapon (maybe if you email them).   But it’s probably not worth the effort, because it takes some doing to swap out the cable.   This is an “ease of use” issue that is pretty minor, but I’m still sorry it’s so difficult to do.  Sometimes it’s just faster to use your hands.
On the question of smoothness, I’ll say the Zeapon does an admirable job here as well.  The slider glides effortlessly.  The Zeapon has a great feature, which is the ability to set your beginning and end points on the slider by double pressing the Power button to set the first point, then moving to your end point and double pressing the Power button again.  After that, each time you double press the Power button it will wait a second and then move between points.  You can clear your points by pressing the forward and back buttons simultaneously.  The double tap system is quick and responsive, and it helps make up for the fact that you can’t move the slider by hand.  You’ve got three speed options, which will cover all but slowest and fastest of movement.  It’s medium slow, medium, medium fast.

The other thing to keep in mind is that slider is only as jiggle-free as the head system you have on it.  Larger heads will be more stable, and keeping your system “short” helps.  In other words, don’t put a monitor on top of your camera.  It’ll be top heavy.
Motorized sliders have two more issues they have to solve, and that is noise and versatility.  The Zeapon has been touted as extremely quiet, and this was my only real disappointment.  It’s wonderfully quiet at the slowest speed, but pretty noisy at the fastest.  On high, you can easily hear the motor whine from seven feet away, which is within most mic setups.  

If you were shooting an interview with the slider moving at full speed, I’d say this is unacceptably noisy.  But in reality, with just 20 inches to travel, you’d never set it to zip back and forth for an interview.  You’ll most likely be under half speed, and the noise level is perfectly acceptable at that speed.  The fast modes will be something you’ll use for B-roll where sound doesn’t matter. 

Zeapon Micro 2 Motorized Slider App


The second challenge for motorized sliders is versatility, and nowadays that challenge is always answered with an app.  The Zeapon app is a simple affair, but really there’s only so much a left-to-right movement can do.  You’ve got point A and point B on a straight line.   In the Zeapon app you can make this move with your thumb.  In reality, it’s hard to control the speed that way, or be consistent, so it’s not very useful.  The grayed-out options for tilt and pan have raised the hope that Zeapon is planning a motorized head—fingers crossed.  We’ll see.  The app does allow you to program the slider to loop continuously from A to B, which is good for interviews.  And you can set three “Way” points in the middle where it will change speed.  This allows you to ramp up and down, and program more artistic movements.  I imagine this feature will be especially useful on the longer models.  On the Micro 2, there’s not a lot of distance to play around with.
The app also allows you to set up time lapses.  The feature is generally workable, but I would have liked to have the option to unlink the speed and number of shots.  As is, when you set the image interval, it spread that out across the distance.  Longer intervals mean a longer capture period, which may not be what you want.  Time lapses aren't necessary supposed to be smooth.  
Zeapon just released a firmware update for the slider that let’s you setup the loop mode using the buttons as well. After setting your end points, you press the arrow and power button once to start looping.  A second press of the arrow and power buttons stops the loop. I’ve included a link to the new firmware below.  It’s bit tricky to install. You need to:
1. Download the Updater. 
2. Unzip the Rar folder—or would that be “unRAR the RAR folder?” The folder contains both the updater software and the firmware file, which is a UFWB file
3. Open up the installer
4. Boot your Slider into Update Mode by holding down both Arrows and then pressing the Power button.  The light will be red.
5. Plug your slider into your computer with the USB C cable
6. Select the firmware in the app
7. Click “START FLASH”
8. The app will say it’s done before the slider is ready—so you HAVE TO WAIT UNTIL THE LIGHT TURNS GREEN before unplugging the cable.
9. And you’re ready to go.


The motorized Zeapon Micro 2 costs roughly $400 dollars, and for the quality it’s worth it.  Unlike cheaper sliders it feels like a professional bit of gear.  The shortcomings of the unit is noise at faster speeds, and the difficulty in switching it to manual operation.  On the plus, the 21 inch distance is enough to be versatile, and the impressive weight capacity means you can get most any camera on it.  It’s smooth, easy to set up, and EASIER to carry…. which makes it a slider you’ll likely use.

Thursday, August 27, 2020

What We Do to Keep Clients Safe During Covid 19



Let's be honest.  Work has gotten a lot harder, and part of the reason is that being in a room with others, no matter how exciting the project, makes people uneasy.  The Coronavirus epidemic means we have to take extra precautions to stay safe.

Many of our clients are in the health field.  In face, producer/director Ian Walker spent 18 years as an educator and communications specialist at The Environmental Health Investigations Branch of the state health department.  They're still one of our clients.  And we've worked with numerous others in the health field.  Based on experience in the health world, there are six health precautions to apply to our productions, including use of the space, crew size and personal protection.  You can read about what we do at Hurricane Images blog:    http://hurricaneimagesinc.com/what-we-do-to-keep-clients-safe/



Monday, August 24, 2020

HYPER-CHARGE YOUR WORKFLOW ON SET


The light is fading; the client is waiting... efficiency on set is always at a premium.  Speed and ease of setup is especially important to me because most of the time I’m working alone, without a sound engineer, grip, or production assistant.  My clients don’t want me to spend two hours setting up, but they do want me to pay attention to them.  So tools that help me maintain the highest quality while focusing on them are game-changers.  Here are five of them.

 


Number 5:

A boom pole holder.  I know this sounds really slight, but I love how easy this is to use.  I used to just put my boom directly into my grip head, but then I was always worried that the grip would damage the pole if over-tightened.  Which it did on occasion. It became a balancing act between tightening it enough to hold the pole, but not enough to damage it.  And if you’re not using grip heads, they’re awesome in terms of simplicity, strength, and reliability.  When you add the simplicity of the boom pole holder, you’ve got a professional, streamlined process that lets you focus on other things.

 

Number 4:  Tripod.  I’m not going to spend a lot of time on this one, because when it come to a speed tool, it doesn’t matter what kind of tripod.  You should buy the tripod that best fits your needs and the style you shoot. But what I have found is HAVING the tripod there gives me a portable table to place my camera, freeing up my hands to do other work without worrying about my baby getting dirty or trampled.  This means I try to bring a tripod even when I know there won’t be any tripod shots.  I’ll just bring a small portable one.  Even a mini, table-top tripod is helpful if you have to travel light.

 

Number 3:  Arca Plates.  Now it doesn’t have to be Arca, they are high quality quick release plates that are a little less expensive.  The key here is to buy an abundance of them and use one system across all of your equipment.  I have Arca plates permanently attached to my tripods, gimbal, and cage, allowing me to move the camera around with a minimum of fuss.  The permanent plates mean I can move my camera from tripod to a fully balanced gimbal in about 30 seconds, and to a cage in about 10. $40 bucks in Arca plates will save you hours in the field.

 

Number 2:  Xume filter holders.  Now these are kind of pricey.  I’m honestly surprised that there aren’t inexpensive Chinese knock-offs of the Xume, because they can’t cost much to make, they’re simple, and very useful.  The annoyance of filters is that they take time to put on, especially if the threads on your lens or filter get damaged.  If you’re in a hurry, it’s sometimes easier to crank up the shutter speed to keep your aperture setting, but that’s just not optimum. If you’ve watched my Tilta Mini Matte Box review, you know that I also use these for my matte box, too—though with the caveat that you have to be gentle with it attached, and not all of the magnets are equally strong.  

In the Xume system, you need one attachment for your camera lens, and another for your filter.  I’ve got holders on the three lenses I use the most, and on two filters.  The lens attachment is about $35, and the filter attachment is another $15.  This means I’ve dropped roughly $135 into this system, but I have to say it’s been worth it for me.  The one bummer is that it can be difficult to get your lens cap back on, depending on the style and the individual cap. They sell lens magnetic caps, but that’s another 15.


Number 1:  The number one thing that speeds up my workflow on set isn’t sexy, it’s not going to impress my client or getting anyone excited.  But this one tool speeds up my workflow more than any other, and saves me from headaches in the field:  it’s how I pack my bag.  It’s not about a specific technique, it’s about always packing it the same way, or as close to the same as possible.  This means I always know exactly where my tools are.  I can grab them quickly, I can pack them quickly because I’m not trying figure out their best placement, and I can also see that they’re packed at the end of the shoot.  


This is really about good prep, and that principle applies to a number of things that can speed up your workflow and raise the quality of your work.  “Prep”… is scouting your location before the shoot date so you can strategize the setup and what to bring.  Prep is getting your client prepared before they show up.  Prep is knowing the sequence of events so you can have the right tools ready.  It’s a shot list for a narrative piece, or a storyboard if that helps you understand the set-up better.  It’s coordinating your crew if you’re lucky enough to have one.  And all it costs is the time it takes to do your prep.

Now there are a number of other things that help speed up my workflow:  wireless mics, like the Rode Go are great, though wireless systems always come with a slightly degraded sound quality compared to a wired system.  Dual recording is a must for solo operators like me.  Battery powered lights or a large battery pack like this one can save time and make for a more flexible system.  A small hip bag means I can carry an extra lens, my filters, and have a place to put my camera if I DIDN’T bring a tripod.  Even your choice of camera make a difference when it comes to working quickly in the field.

So those are a few of my favorites. If you have a tool or tip for speeding up your workflow in the field, leave a comment below.

Friday, August 21, 2020

Top End Field Audio Recording Gear

The professional field recordist is a rare beast... a near-mythical creature that can only be spotted in the wild... or the urban... or the underground.  So it's not often that you can sneak up on one and see into their high end audio bag.  It's a specialized field with only a handful of top level practitioners, and their tools range from the common gear may video production companies use to esoteric mics only used in their line of work.  Luckily, Marcel and Libby from Free To Use Sounds are willing to share their knowledge.  

One of the first things that stands out is that a versatile kit doesn't rely on just one recorder and a couple of mics.  But it goes beyond more gear.  You have to understand the strengths of each mic, recorder, cable, attachment.  



 
Field recordists are always on the go, which means that some their gear overlaps with what you'd find in a videographers bag:  The Zoom F6 and Zoom F8, Diety V-Mic S2 and (to my surprise) the Rode VideoMic Pro are all part of Marcel's regular gear.  But then there are truly unique pieces like the DPA D:screet CORE 4060 and the AKG Pro Audio C411 PP mics.  Whether you choose to upgrade your kit or not, Free To Use Sounds provides helpful info on how to better capture room tone, foley, and ambience, so check out their channel.  And here's a list of their complete setup:

Zoom F6 Field Recorder/Mixer : https://geni.us/FTUSZOOMF6  
Zoom H6 6-Track Portable Recorder: https://geni.us/FTUSZOOMH6  
Zoom H3-VR 360° Audio Recorder: https://geni.us/FTUSZOOMH3VR  
Zoom F1-LP Lavalier: https://geni.us/FTUSZOOMF1  
Zoom F8n Professional Field Recorder: https://geni.us/FTUSZOOMF8N  

DPA d:screet CORE 4060:
https://geni.us/FTUSDPA4060  
Deity V-Mic D3 Pro:
https://geni.us/FTUSDEITYVMICD3
Deity S-Mic 2S Shotgun Microphone:
https://geni.us/FTUSDEITYSMIC2S  
AKG Pro Audio C411 PP: https://geni.us/FTUSAKGC411pp  
Rode VideoMic Pro
: https://geni.us/FTUSRODEVMICPRO  
Mogami Gold STUDIO-10 XLR:
https://geni.us/FTUSMOGAMIGOLD 
Sony MDR7506 Headphones:
https://geni.us/FTUSMDR7506SONY 

K-Tek KSF6 Stingray Bag for Zoom F6:
https://geni.us/FTUSKTEKF6BAG  
Rode Wind Protection:
https://geni.us/FTUSRODEWOMBAT