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.

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. 

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.

FIRMWARE LINK

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.

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.

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.

3 Broadcast Quality Lavs You Can Buy Used for Under $100

High quality mics are one of the best investments.  Handled with care, a professional mic will last 15 years—far longer than your camera, audio recorder, and some of your lenses.  But that, of course, means that they often don’t depreciate in value, making it hard for small companies and beginners to get in the pro audio game.  Over the past five years, however, the explosion of low-cost cameras has been matched with a whole lot of new microphone makers entering the market.  Rode and Aperture are probably the biggest newcomers to sound, but then there’s a bevy of cheap Chinese equipment.  This has meant some industry standard microphones have slipped off the radar… and thus down the price list.  Here are three lav mics that produce broadcast quality sound, and professional level durability.  And you can find them for under $100 bucks used.

The great thing about used mics is that most often you can immediately tell if it’s functioning at 100%:  wiggle the wires and listen for low volume distortion.  If there’s nothing, it’s good to go.  The downside of our current video production zeitgeist is that nowadays people often expect the equipment to do all the lifting.  We expect our cameras to have so wide a dynamic range that we never have to think about exposure issues; we want our mics to sound perfect without us doing a thing.  Professionals who work with thousand dollar mics know this isn’t true.  All mics require post processing to bring out the best qualities of the individual voices and environment.  If you want to dig deeper into that skill set, check out our video on making a $20 mic sound like a $100 mic here… and you’ll figure out how to get these $200-$300 mics to sound like $600 mics.



One thing I should note is that lavaliere mics in particular encompass a wide range of audio quality—not just good and bad, but bassy, bright, warm, clinical, etc.  You’ll have personal preferences of what sounds good, and certain mics will sound better with certain voices… and finally some tonal qualities will fit better with a film’s audio palette.  It’s impossible to have one lav that does everything, and most pros carry a variety on set.

Sony ECM-55b

You don’t see the ECM-55b a lot of places anymore, but it was a standard TV mic for a long time.  It’s a solid performer in almost every test, it performs well with all sorts of voices.  It has a bright sound, which bucks the trend of current lavs and boom mics, but I think is much more natural.  It also uses a AA battery capsule, giving you more options for what you wire it to. The ECM-44 is also a good choice, but for roughly $20 more, the 55b outshines it.  It comes with a variety of mounting options, too.  I own this one and it's a solid performer.

Audio-Technica AT899

My second mic isn’t typically used in broadcast TV or film.  The Audio Technica AT899 isn’t well known, but it’s a solid value and to be well constructed.  It’s one of those mics that professional tend to discover after they’ve already graduated to Sankens and DPAs, and while impressive it just can’t compete in that sort of kit.  The 899 has a built-in bass roll off on the power supply which is, well, something. The sound is smooth and mellow without being dull and it cuts very well with many shotgun/cardioid mics.  In fact, it sounds a bit like a boom mic. The AT899 also uses an AA battery capsule, the AT8537.

Tram TR-50

My final option pushes the $100 used limit, but you can find them from time to time.  The Tram TR-50B is a modern classic that’s been around for decades. You’ll find TR50s in use in many different venues and types of production.  The sound is quite bright with a lot of clarity. That said, it’s fallen a bit out of favor, which has brought the used price down, and you can occasionally find models for about $100.  It sounds very good, it's reliable, and it’s a workhorse and will last you a long time. A superb value.

The Tram TR50 is what is known as a "workhorse". I think that the Tram is thought of in this way because so many have been sold and used by so many video/film crews for so long, that its just known as a commodity. The TR50 is a part of my collection, too.

Sennheiser ME2 and MKE-2.… 

It’s hard to ignore these two from Sennheiser, but I’m going to do it anyway.  If you’re considering the ME2, I’d recommend the slight bump up to the MKE-2.  It’s the better microphone in the line-up (and the one that's actually considered to be broadcast quality), and I believe it’s worth the money. But it also raises the Sennheiser above my $100 Used Mic criteria (most MKE-2s run between $150 and $200), and I frankly have some reservations about the cable durability, and I’ve never been thrilled with the audio samples that I’ve heard.  But that’s a personal preference.

The Best Light Stand Bag isn't from Manfrotto or Neewer

You’ve got gear. How do you lug it around? As a one-man operation who often brings five folding light stands, two backdrops, a heavy-duty C-Stand, a crossbar, boom, large reflectors, extension rods, and a tripod… along with two camera bodies, four lenses, and four lights, this question has plagued me. The real solution would be to stop bringing so much stuff and learn to work my surroundings better. But sometimes you have to bring a full studio with you to get the look you want, and the tall stuff—light stands, booms, and sticks—are the most difficult.

I’ve already shared a review of the fantastic F.64 large format bag. This is great for all of my camera and sound equipment. That left my light stands, tripod, and umbrella in a mismatch of bags.

So I started thinking outside the box. Vidography equipment is expensive, and that goes for good quality cases as well. I wanted something big enough to house my 50" C-stand bar, have wheels for rolling, handles for carrying, sturdy enough to hold 70 pounds of odd shaped equipment without ripping, and yet be somewhat compact for storage. The answer came, strangely enough, in the form of a golf bag cover. I chose the CaddyDaddy Constrictor 2 Golf Bag Travel Cover.

Despite its name, it's not so much a cover as a full bag. I can fit my smaller light stand bag (with 4 light stands), plus two additional light stands, my big tripod, two collapsible light boxes, two 6-9 backdrops with cross bar, three umbrellas, a travel bag of equipment doodads is the side pockets, and still have room for a extension cords. Filled, it's huge and heavy, but it has rollers. I only wish it had a shoulder strap... but then again maybe not. It's really heavy. For $85 it does more and costs less than traditional photography bags from Manfrotto, Neewer, and others. I call it George, my dead body. 

RVLVR Clutch Handle for Z Cam Review

The Z Cam is an impressive new camera on the market, and it has the added flexibility of being able to be controlled via Sony LANC cable. But, it’s new, so there aren’t many controllers on the market, and this is where the RVLVR Labs comes in.

The RVLVR Clutch handle is a beautiful looking grip, and it comes in two wood tones and they seem to be experimenting with others.  It’s also not cheap, with the least expensive model clocking in at a unnerving $350.  That's a handle that costs 17.5% of the camera it attaches to (in this case, the E2, though other Z Cam models are both more and less expensive).  The handle attaches via a rosette, so you’ll need to get a rosette adapter for your rig.  RVLVR Labs offers a slim line version for 40 bucks, though it appears to be designed to attach directly to the camera, and less elegantly to a rig.

The RVLVR has two flywheels.  Click either of the wheels and you can switch to another parameter, making it possible to control four parameters from the handle... Shutter, Aperture, ISO, and Focus for example.  They recently created an app to let you customize these options, and this includes the ability to have the click itself be a function.  If you choose this, then the flywheel only adjust one function because the click acts as the second.  I've got my front flywheel to control the Shutter speed, and if I click it will magnify the image. This new app satisfies one of my biggest complaints with the grip, which was not enough flexibility, so I'm really pleased that the folks a RVLVR released this upgrade.

What do I think of the RVLVR Clutch handle?  It’s beautiful, as I mentioned.  The functionality of the record button and flywheels are great.  It’s also very light, which is a mixed blessing.  I honestly thought it was made of plastic when I first picked it up.  That lightness goes away when attached to the camera, of course, because now they’re a combined weight.  And there’s an argument to be made for keeping the handle, and thus the rig, as light as possible.  With the Z Cam E2 fully rigged out, it gets heavy.  So after my initial dismay, I found I felt just fine about the weight.  But the lightness primed me to be more critical of the flywheels.  These feel a bit loose and flimsy, and it makes me a little concerned about durability.  Only time will tell, really, so keep an eye on those user reviews.

So do I recommend the RVLVR Clutch handle?  Well, if you come from the DSLR or Mirrorless world, you’re going to find this type of control almost essential for the Z Cam.  It can be frustrating to have to use the on-camera controls, and it's a considerably slower process.  Without a control handle, you have to re-grip the camera to change perameters, press once to enter into the right mode, then multiple times to find your setting, and then hit "OK" to return to the preview screen.  That's an awkward 5 seconds, and if you're rushed it's easy to make mistakes with the physical buttons on the E2, which are a little springy.  Currently the RVLVR handle is the only one on the market that offers control of the camera from where you hold it, so if want that level of control, it's the way to go.  With four parameters under your fingertips, you've actually got a little more control than the Mirrorless shooter standing next to you.   So, yes, I'm going to say yes, I’d recommend it for the functionality and the visual craftsmanship.

With the advent of Z Cam’s flagship line of 6k and 8k cameras, there are going to be other companies making handle controls in the near future.  I’d expect RVLVR to have some competition within the year.  To stay competitive, I really hope RVLR Labs tightens up the controller wheels and stress tests the unit to make sure it can survive being banged around a bag, set, and field.  If they can improve feel of the handle, I think they can keep their price tag… at least for the time being.

Want one?  You buy directly from RVLVR.

Info about the app bit scarce at the moment (they shared it on Z Cam's Facebook page) but you can download it here.

After posting the YouTube version of this review, Nick over at RVLVR (pronounced  Revolver, I'm told) reached out to talk about the dial issue.  It's great to see they have this on their radar and are taking steps!  Not many companies are that responsive.  He also shared that the wiggle in wheel is actual a manufacturing design that allows it to click, and not simply loose components.  That's a little reassuring.

F.64 Backpack Review - The Best in Big

I'm not hatin' on you, but here's the truth:  my bag be better than your bag.

If you love big bags (and who doesn’t) then my absolute favorite is the F.64 Large Format camera backpack. It is the best big bag at any price, and it costs less than any other bag in it’s size range.  

As a one-man production band, I like to keep my gear compact, and as easy to carry as possible.  This means one backpack for all my camera and audio gear, a rolling bag for lights, and a separate golf bag for stands and sticks.  I can get my full camera setup, complete with back up camera, three lenses, gimbal, audio gear, and drone into the F.64.  Or three cameras and four lenses.  Or... you get the idea: it's big and it's flexible.

I kept my eye on the F.64 for almost 3 years before I sprang for one.  It’s designed for large format film cameras.  This not only means more space, but it somehow avoided the rat-race of bag pricing.  This well-made backpack comes in at the phenomenal price of roughly $140 bucks.  I honestly can’t tell you how much more room you get for the dollar.  The Mindshift Gear 26L, for example, give you 20% packing space and costs $100 more.  Don't even talk to me about Manfrotto packs.  The base unit comes with two side bags, and you can purchase more for about $20 each. 

The zippers are pretty strong, the shoulder straps are probably not comfy enough for long hikes, but they’re great for getting your gear short distances. Much of the bag is double-stitched for sturdiness, and I expect it to last a least a decade. I'm told that the backpack minus-the-side-bags qualifies as a carry on, but it pushes the limit so you might want to check with your airline just to be sure.  Not all airlines (or all airplanes) have the same size limit.  How big is it?

The Specs:  

• Exterior: 23"x14"x7"
• Interior Lower compartment:  13"x13"x6"
• Interior Upper compartment:  8"x13"x6
• Maximum volume: 8.5lbs
• Bag weight:  6.3lbs

What’s it missing?  Well, there’s one aspect of the bag that may give some of you pause:  It doesn’t have a slot for a laptop.  Depending on how you shoot and what other bags you carry, this may be a deal-breaker.  For day-to-day work, I find that I never take my laptop.  Unless I'm re-creating a studio setup for a client (extremely rare), it's just too cumbersome.  For longer trips, though, the lack of laptop space could be an issue.  It also doesn’t have a tripod holder, if you like that sort of thing.  I don’t, because they’re usually not very good for larger sticks, and smaller ones are easy enough to strap onto the side of the bag.

 You can’t find them very many places, but B&H and Amazon both carry them.  And like any product that starts to get noticed on YouTube, supplies may not last that long.  Honestly, I almost want to buy a second bag just for the future.  I’m not an affiliate, so I don’t get anything by it, just tell you what works for me.

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.