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.

How to Evaluate A Video Proposal

You’ve committed to making a video, estimated the cost of your production, and posted a request for proposals.  Within the hour a handful appear in your Inbox… the question is... how to choose?  You may like the videos that the company produces, but you still need to know the cost.  The numbers seem... squishy.

Unfortunately, there’s no standard format for production proposals; quotes can come in different forms and formats.  All of them have strengths and weaknesses, but some are riskier than others.  A good video proposal should give you either a precise cost or a specific range of costs based on preferences you control, as well as information that describes the video in a way that's consistent with your vision. 

There are three main types of production proposals:

The first is  a Rate Card.  Rate cards provide the hourly rate for an activity, sometimes with an estimate of how long the activity will take.  Unfortunately, they’re often a poor estimate of the final cost, and they present the greatest financial risk to the client.  Worse, they can signal that the production company doesn’t stand by the quality of their work.  Not only are time overruns frequent on every project, but edits and changes based on your feedback will come at a price.  However, there are times when a rate proposal is the best choice. If both you and the vendor agree that there will be a lot of back and forth on the project, than an hourly rate may be the most reasonable approach.

In most cases, though, I recommend one of the two other proposal types.  For the skinny on these, jump on over to our main blog at Hurricane Images Inc. and read our guide to evaluating proposals. 

How to prepare for being on camera-- beyond the outfit

Sitting down with a client last week I was asked a question I hadn't heard in a while.... It surprised me because it seemed based on an antiquated notion of technology.  And at the same time it made me realize that it was one of the most common questions I get-- even if it was only every couple of months.

What should I wear?

Well, concerns about "fine patterns and checkers" have disappeared with the advent of HD and 4K, but our expectations about what makes for a strong interview, presentation, or pitch has increased immensely.  Seeing people on camera is so common place, that we instantly recognize shortcomings... white shirts, haggard eyes, rambling sentences.  How to prepare for being on camera has evolved beyond what to wear. I've compiled a list of my best advice over at Hurricane Images Inc Blog.  Head over and check it out....

Going Pro: Case studies in Super Niche

For many, the idea of “Super niching” feels like a pair of handcuffs.  Like you will be limiting potential clients.  If you want to build a company quickly, the natural instinct is to cast a wide net.  The benefits of targeting your audience, however, is central to every book on marketing you’ll ever read (and I recommend you read a couple if you’re just starting out).  Seeing it work in action is impressive, and far more convincing than anything you’ll read in a book, though. 

Illy Cafe Shoot - Illy is a super niche within the coffee world

Case study, Shmuley Hoffman 

Shmuley Hoffman at Hoffman Productions is an excellent example of “super niching.” In fact, that’s who I borrowed the term from.  His company’s primary focus is not simply promotional videos for summer camps, he’s honed it to Jewish summer camps.  As of this publication, he keeps a wonderful-if-brief blog with great business tips for starting out.  In his videoblog interview with Thomas Roberts he doubles down on the super niche idea.  Thomas took his non-video career in medical instruments and turned his contacts into lucrative video clients. It’s a great example of using your existing relationships to identify your niche, and he gives a first-hand account of his experience here: http://entrefilmmaker.com/get-high-paying-projects-with-super-niching/.  I always look forward to Hoffman’s amusing and helpful posts.  And Shmuley’s video production is first rate—worthy of study.

Spark Shop Creatives (http://www.sparkshopcreative.com/)  is another company that started as a super niche.  I worked on a project with them a few years back and got to share more than a few Indian beers with Chuck Fryberger and his team.  His company grew out of a love for rock climbing.  Chuck started by filming their climbs.  Their self-produced videos attracted the interest of companies like Cliff Bar and climbing equipment companies.  It expanded to Red Bull and detoured into other areas.  But they’ve kept their identity around climbing, sports, and the outdoors.  When you think about it, that’s a huge market.

It’s worthwhile to note that “super niching” (and yes, I’ll stop using that word soon), also positions you as an expert in creating videos for that audience… even if your skill level isn’t above average in general.  If you “specialize” in creating videos for non-profits, you present yourself as an expert in the field just by not catering to everyone.

So how do you pick your niche?  There’s no science to this process, but here’s a tool that might help:

1.       Divide a sheet of paper into three columns

2.       In the first column, make a list of the types of businesses you already interact with professionally; include personal relationships with business owners.

3.       In the second column, list the areas in which you’d say your knowledge borders on expert or near expert; include hobbies.

4.       In the third column, make a list of the clients you’d like to work with.  This might include businesses from your first column, but also dream clients.

Now look for common elements across these three columns. Any item that appears in two or more columns is a potential niche.  Give the first column preferential treatment, because these are potential clients you already know.  Circle the businesses, knowledge areas, and clients that overlap in some way.

Now comes the time for a heart check.  Make another list of the kind of video you’d like to create.  This list can be genre’s (testimonials, documentaries, short film), and also how they will be experienced (uplifting, grand in scope, gritty).  Do the descriptions from the heart check list fit with the clients?  Where’s the most overlap?

Just joining us?  You can read about the beginning of the Going Pro series here.

Two Types of B-Roll

Up until this past week I really only thought of B-roll (the non-subject matter footage in a video) one way.  It was a filler meant to add depth-- through contrasting visuals or supportive ones-- to the main footage.  It was a moving snapshot: the fidgeting hands of a speaker, the cut-away to what they're describing.  All of these are shot one way... as snapshots.

But in working on my current project, a promotional video for a local company, I realized that my footage needed to be much more.  It needed to tell a story, too.  To do so, I needed the footage to follow basic shot format: a wide establishing shot followed by close-ups and points of view. The sequence of shots needed to have the same continuity; I couldn't jump from an establishing shot to a close-up of an entirely different moment.  It needed to cut on the action.  The narration was in support of the b-roll, not vice-versa.

Not all B-roll requires this level of structure; often times, the simple "snapshot" does exactly what it's supposed to.  But now I'm on the lookout for times when the b-roll is the narrative, rather than the support.

Editor in Chief - Hilton Worldwid Anniversary Video

Tim from Hilton Worldwide approached me with an unusual project.  Okay, it was unusual in several respects-- first, that an international company based outside of Los Angeles, the film and video capital of the world, would reach out to a small videocompany in Oakland; second was the nature of the video itself.  They wanted to create a 50^th anniversary tribute for Greg, one of their vice presidents, utilizing cell phone video greetings from employees all across the U.S.  From the outside it wasn’t so unusual... but lift the hood and you immediately see the problems.  Multiple “videographers,” using a variety of poor equipment, in a wide range of environments, producing a breathtaking spectrum of quality. What videographer could say no?

My first goal was to try and create some consistency in the video itself.  So I created a “best practice” guide for my crew of amateur camera people.  It looked like this:

It’s impossible, of course, to turn novices into experts with just a set of guidelines.  And there were dozens of “rules” I omitted (some to my downfall... such as “no vertical videos”).  To boot, some folks roundly ignored my guide, shooting from the hip, so to speak.

Step two was a framework for the responses.  Tim and I talked about the tone of the piece, who Greg was, his outstanding achievements, and work habits.  Tim wanted something filled with humor and appreciation.  Originally, there were to be eight pairs of people on camera.  I created sets of questions (no more than 4 per person), and we divided them across geographic regions.  The number of people quickly multiplied, as did the length of the piece.  Soon, I had over an hour of footage from 25+ individuals.  Audio levels ranged from barely audible to loudspeaker, and background noise from air conditioner hum to convention floor.  

The trick, then, was to construct as much “story” as possible among the different speakers.  I divided the video into topic sections, and focused my edits along common themes, letting multiple people tell the same story whenever possible.  No one was ever under the illusion that this was going to be a polished “showroom” piece.  But Hilton was thrilled with the final result; the rough edges were authentic and heartfelt rather than glossy.  The sentiment was exactly what they wanted to convey to Greg, and the “tone” said “Hilton.”

Creating Facebook Videos that Work

Tips for Making Facebook Videos the Sell


Today we posted an article on our other blog at Hurricane Images Inc.  Like it or not, Facebook is almost a ubiquitous presence in our lives.  And increasingly it’s become important for small businesses-- for branding, customer relations, and marketing.  Creating video for Facebook isn’t like creating video for other platforms, though. It’s a unique interaction, and if you’re going to be successful, your video should be custom built for the platform.  I'm posting the first five tips here.  If you like them, mosey on over to Hurricane Images Inc to read the next five.  And a little lagniappe.

1. Create for Facebook.  This means design your video for how people will watch it on Facebook, and upload it directly to Facebook.  Attention spans are short, 85% of videos are watched with the sound off. Facebook gives priority to their “own” content, versus Youtube links.  So design your content for the medium.  Marketing is only an expense when it doesn’t work; otherwise it’s a profitable investment.

2. Start hard.  The first three 2 seconds have to stop them in their tracks because viewers are scrolling downwards through their feed.

3. Make your visuals lively.  Seems like this goes without saying, but the visuals have to be striking.  This isn’t a medium that does well with elegance, slow moving frames, or talking heads.

4. Be unbelievable brief:  2-30 seconds is perfect.  Anything over 60 seconds is lost. What’s worse, if you bore them they’ll walk away with a negative impression.  So what if you have more to say? Create a second, longer video and link to it.  Or your website.  “Want to learn more, visit:  www.hurricaneimagesinc.com”

5. Call to action.  Tell them what they should do.  It doesn’t have to be “buy my product;” it can be as simple as “learn more.” Go to the “Edit Video” section of your video and under the “Call to Action” section, you will find various options (Learn More, Watch More, Shop Now, Book Now, Sign Up and Download).

Want more?  Read on.