In our profession, it can be jarring to hear, “Who cares? Just throw some stock music in there.” It’s like nails on a chalkboard.

But, sometimes it makes sense they’d feel that way. The value of music in a film isn’t always talked about, or expressed explicitly, so why would they dedicate more resources for better music if to them it just serves as a filler or background to the imagery?

We know it’s so much more than that, so we thought we’d take a shot at explaining why quality music matters for your films.

This isn’t some altruistic statement about supporting art, either. We’re here to put our money where our mouth is and show you how quality music can make your creative work and processes better in any field of filmmaking — from YouTube to features, advertising to wedding films.

So, if you’ve ever felt like a soundtrack was low on your priority list or you could just throw something on in post, this is for you.

1. Use it as a starting point

We’ve heard dozens of great filmmakers talk about how music is first in their process and also perhaps the most important step in their process. During our time at Tribeca 2019, Martin Scorsese shared this story about how music has always played a role when he begins to dream up his next film:

“And that’s always been the way I start designing a picture, somehow music, I play certain kinds of music, and so you just let it go, you just let it go, you have to be alone for that, you’ve got to be in like, some room somewhere for a few days, that sort of thing. But the music is what scored our lives, and it was more than nostalgia.”

For us, it helps to think of your film music this way: Would you actually want to listen to this music? As Scorsese pointed out, the music he loved was actually the beginning of the work; he used it to get inspired and envision abstract imagery that would eventually inform his film.

It’s safe to say no one daydreams to generic music. They need a sound that’s personal to them, that makes them think, relax, and drift off. By using music as your starting point, especially music that you’re in love with, you’re bringing your personal taste to the forefront. Not only that, but you’re giving your audience a glimpse into the art that inspires you as well.

2. Connect with an audience

There’s a massive opportunity in your soundtrack to familiarize yourself with an audience. When we spoke with Music Supervisor Alec Stern (DDB Chicago, We Are Unlimited, and Leo Burnett), he pointed out that people know when something lacks authenticity. But, even more importantly, they truly connect with something that is authentic:

“We want music that sounds like what our demographic would actually listen to. Or is what they actually listen to. Not even just sounds like, but is. There has been a huge push toward that, and so I think that authenticity is just something that I think that people, consumers, everybody has a very low bullshit tolerance for. And know when they’re being sold something that isn’t real.

So I’m thrilled by this shift toward authenticity. If you want a real, genuine feeling, then you’ve got to go with what’s real. There’s such a difference between low-quality production music that was made for the sole purpose of being used in an ad, versus something that just has real heart and soul in it. I think that people just respond across the board more favorably and more emotionally to stuff where the intention is more authentic.”

People naturally bring their own emotions and experiences to music. It’s a way to tether memories and recall them for future reference. So, when you use music that people actually like, you’re giving them one more reason to like your film and connect with it.

3. Show off your style

This is what YETI’s Head of Content Scott Ballew thinks about music in his films:

“I think music is the most important to me; it’s what I’m most excited about. It’s what separates a film, and it’s how you create a unique film. Music is how you underscore emotions; I think it’s how you really put a signature on a film. Because with lenses, and cameras, and drones, it’s a level playing field these days. There are a lot of incredible DPs, but I think having music, compositions, or people that are scoring your films that aren’t part of the process, is really how you create your own identity.”

There are a few things to unpack here. First, music is an incredible opportunity for a film and to stand out and show off its style. Story and image have a trajectory, a planned path that will lead to some sort of conclusion. However, the music can be on its own path. Films like First Man, Manchester by the Sea, and classics like The Third Man each use the soundtrack to amplify the story. They bring an entirely different, unexpected personality.

By using artists and composers in your film, you’re bringing a different creative vision or input outside of your own. And that vision can be invaluable in so many creative instances. By including new collaborators, you’re opening the film up to new viewpoints that may see things you never even noticed.

4. Make your film physical

Films represent the art of manipulation. We’re using sight and sound to trick an audience into feeling something that’s real, which is a beautiful thing. It’s the entire reason we go to the movies. Composer Neil Brand speaks to the soundtrack for a film and how it can manipulate as no other medium can:

“The darkness, the strangers, the anticipation, the warm comfortable embrace of the cinema seat. We’re ready to experience some big emotions and the minute the music booms out, we are on board for the ride. Human beings are very good at interpreting sound. Right back to when our prehistoric selves will have heard a twig snap in a forest and thought ‘that’s it, I’m dead.’

We have a very deep understanding of what music is doing, and it’s very physical. We can feel it going into our ears via sound waves and it can produce all sorts of physical responses, including in the right circumstances an actual thud to the stomach.”

Given the right care and attention, the soundtrack for a film brings a physical element that the image simply cannot. Our eyes are receiving information via an image, but we’re physically experiencing soundwaves. We’re feeling vibration and rhythm, which creates an entirely different experience.

As Brand pointed out, that twig snap creates a physical response for danger within us. But, music can create so many other things as well — anxiety, desire, anger, hunger, and dozens more. By giving music the attention it deserves, we can create an immersive effect with our films. This effect can force an audience to participate in every single moment. Music makes our films four-dimensional.

It’s Time to Hear the difference

All of this may seem obvious coming from a brand that provides music. But, for many of the reasons it’s so effective, it can also be difficult to describe why quality music is so valuable. We deal in words like feeling, inspiration, style, and influence, which can be very difficult to put a value on.

What we can put a value on, however, is your films. That’s why we’re all here, right? We all want to create better, more effective films. That may mean selling more products, moving people, making them laugh, or just getting an audience to drift away for a few moments.

The unseen half of a film, it’s sound, is perhaps the most underutilized way to get to that success. Over and over again, we hear that music is the fastest way to improve the overall film. By investing in your film’s music, you’re making an investment that will immediately provide a return.

Ready to take the first step towards a better soundtrack? Create a free account on Musicbed to explore music from hundreds of incredible artists and composers. With options for every budget, like single-song purchases and monthly subscriptions, better films are just a click away.

The post 4 Reasons to Pay More Attention to Your Soundtrack appeared first on Zacuto USA.

I’ve been using Zacuto’s gear for quite a few years now. Full disclosure, I am a brand ambassador for them, but not to worry, I am still going to be totally open about my opinions on this rig. It’s like how you’re even more honest with your family!

The type of rigs I’ve been using up until now from Zacuto have been designed for larger cameras. You could use them with smaller cameras, but they tended to be a little bigger and heavier than one would prefer for the smaller camera and so negate the reason for using a smaller camera.

Since this is designed for DSLRs and mirrorless cameras, it would be a really good for photographers looking to get into video. One of the main reasons you would use this DSLR camera rig would be to easily get the camera on your shoulder. This is really helpful because it allows you to hold the camera much steadier when not on a tripod.

Let’s see how the new ACT Recoil rigs adapt the things that Zacuto does really well with their larger rigs into a smaller, more compact design.

ACT Recoil DSLR Camera Rig

I loved playing with LEGO as a kid and so this rig already appeals to me as it’s got some great bits that allow you to mix and match depending on the needs of your shoot or even just one shot on set.

To begin with, the rig is designed to work with Arca-Swiss mounts, which is what you find on most stills camera and lighter video camera tripods.

The mirrorless and DSLR camera rig configuration comes with six items: the ACT baseplate, a camera-specific cage, the Tactical Handle, Right Trigger Grip, Axis Micro, and the ACT EVF Pro.

I won’t get into the Zacuto cages here except to say they have one for just about every current popular camera and a universal cage as well that will fit just about any camera in this class. Let’s focus now on the five new products released for the ACT line.

ACT Baseplate

I really like the ACT Baseplate. It looks and feels like a more modern version of its bigger brother, the VCT Pro Baseplate. It allows you to add rods at the back, for things like counterweights or batteries, and rods at the front to attach just about everything else from grips, arms, follow focuses, matte boxes… you get the idea.

Just as with the VCT version, you can adjust the height of the rods at the front depending on what you need for your lens configuration.

Some things are missing from the ACT that the VCT version has, such as the rosette attachment on the side and the three 1/4 20” holes on the right side, but you’re not really going to need either of those with this smaller setup.

The ACT Baseplate has the same super comfy gel pack in the shoulder pad as the VCT model. Trust me, once you use that gel pack, you’ll never want to put another shoulder rig on your shoulder again. They will all feel hard and pointy in comparison.

The red camera plate that you use to slot your camera in is smaller than the VCT version, but that’s a good thing as it’s exactly what you want for a smaller camera. You still have the ability to adjust its position very easily. The plate itself is an Arca-Swiss plate. This is cool for if you needed to mount your camera on your tripod without the baseplate, you can just slide the camera out of the baseplate and mount it to your tripod with the baseplate. A very well thought out solution.

The last thing I want to talk about with the Baseplate is the overall look. I know this is subjective, but I think it’s as cool as anything. It’s like they’ve taken the VCT plate, then added wings and fluro lights but, you know, *not literally*. The edges are a bit more rounded and, overall, I think it makes it look pretty darn sexy.

Right Trigger Grip

The Right Trigger Grip has got the same, easy-to-use, quick-release button that other Zacuto models have. The main difference I can see is that this one is slightly angled to the right. This angle makes a lot of sense. Since you’re going to be using this with smaller setups, you’re going to want to get your hand a bit further out from your body when shoulder-mounting to make things more comfortable. I would have actually preferred a bit more of an angle or some way to adjust the angle, but this is a good start.

Of course, as with their other quick-release handles, the quick release allows you to quickly adjust the vertical angle of the handle, so if you want to put your rig down flat on the ground, it’s super quick and easy to do.

Tactical Handle

The Tactical Handle has got some really cool features that I either hope Zacuto brings to their Recoil Handle or I might just not send this one back!

You can adjust the angle of the handle, so you can use it as a top handle or as a side handle, which is cool. The thing that I am really excited about though is all the mounting points that are on the handle.

You’ve got a rod connection and cold shoe at the back to attach monitors or other things and there are five ¼ 20 and two 3/8 16 connections on the top. I really, really hope they bring those to their larger top handles. I often need to hook my camera up to my EasyRig and this would make it a lot easier. EDITORS NOTE: The Tactical Handle will likely be replacing the bigger grips!

Axis Micro (and Axis Curve)

The Axis Micro is a rod-based section that allows you to easily mount your EVF to your rig. You simply slot it into the Tactical Handle and attach the EVF to it. It’s easy and gives you a lot of movement in terms of where you can position your EVF.

The Axis Curve (not included in the rig) is an interesting solution for mounting an EVF to your rig when you’re not using a cage and the Tactical Handle. It’s part of the Basic and Cageless rigs and mounts to the front rods coming from the ACT Baseplate.

It’s angled so that you can get your handle sort of around it to get to your lens. This mostly works, but, of course, you need to have your camera a bit further forward on baseplate than I usually have it. If I had my camera where it normally sits, then the Curve still gets in my way. I think it’s a very clever design to try and get around this challenge but I think it’s not quite there yet. I would have like to have seen an even bigger “bend” but I appreciate that, from an engineering point of view, it may not be possible because of needing to adjust for the strength of the unit.

When it comes to being able to adjust where your EVF sits, the Axis is fantastic. It’s super easy to move your EVF back, forward, up, down and change the angle to your eye.

ACT EVF Pro

The ACT EVF Pro is definitely one of the stars of this DSLR camera rig. The full specs are available here but let’s get into how it performs. I have been a bit spoilt as I’ve been using Zacuto’s fantastic Gratical EVF for a few years, but considering that the ACT EVF Pro is about a quarter of the price of the Gratical I use, the performance and features you get are pretty amazing.

Particularly if you’re shooting from your shoulder, you’re going to need an EVF, and this one gives you some great features to boot. It’s got guides, easy-to-use controls and focus peaking. I particularly like that three of the four buttons can be used as “quick keys” when shooting. So the menu button is the menu button, but the +, – and back buttons can be configured to give you quick access to features. For example, I’ve got mine set to safe markers, focus-assist and flip image.

The way that the rigs have been priced, you basically get the EVF thrown in for free – if you where buying all the bits separately it would cost much more. So it’s totally worth looking at getting the rig as an entire package.

Final Thoughts

I think Zacuto has done a great job of creating a really good solution for people looking to rig up their smaller cameras. It’s got that amazing Zacuto build quality and also is well thought out to make it easy to use and very customizable depending on the needs of any particular shoot. Definitely worth adding to your next shoot.

Check out all the new ACT Recoil mirrorless and DSLR camera rigs here.

The post I Tried the New ACT Recoil DSLR Camera Rig from Zacuto appeared first on Zacuto USA.

There’s a sound in your head, but you’re not really sure how to translate it into a song.

This entire scenario is the reason Musicbed exists. Since we started, it’s been our job to eliminate as many of the unknowns as possible. We’ve brought hundreds of artists, bands, and composers together under one roof—each of them handpicked as a great choice as music for your films. But that’s only half of the equation.

As we said before, you already know the perfect song is in there. You just need the tools to find it. There are more than 20,000 songs on our roster and you can’t listen to all of them. Even if you narrowed it down to a specific genre, it still leaves you with far too many options.

In this post, we’re going to run through a few clever tools to help you track down the perfect music for your next project, to help you find the song you’ve been hearing in your head.

1. Get Outside Advice

Music is inherently personal, but when it comes to filmmaking sometimes it helps to get out of your head. We all know tunnel vision is a real thing, and by including someone else in your process, you’ll be opening your film to new perspectives. Plus, your ultimate goal is to make a great film not show off your music taste, right?

There are plenty of great services and music supervisors out there, and we even offer free song pitches from our Music Specialists. This is maybe the most underutilized service we offer, maybe because it just seems too good to be true. Our Music Specialists know the roster better than anyone and they’ll offer free song pitches to you at no charge. Yep, completely free.

So, why does this matter to you? Well, you can tell our specialists what you’re looking for and they’ll spend the time finding it. Simple as that. They can tell you what’s trending right now, offer some hidden gems other people may not be noticing, and give you a well-rounded list of songs that fit the vibe you’re looking for. It’s like having an extra member of your team who you don’t have to pay.

2. Articulate Your Sound

Beyond being personal, music is also inherently indescribable—or at least difficult to describe. But, it’s important for you to make an attempt so you can begin to hone in on a sound for your film.

And your film is a great place to start. Instead of starting with the music, begin the process by describing your film in ways that could translate to music. Words like ‘dark’ or ‘angry’ or ‘uplifting’ will help you begin to build a mood for your project, which you can then translate into specific genres and songs as well.

Once you’ve articulated your sound, you can use our search tools to track it down. We’ve built the industry’s most robust search engine, designed to help you navigate our extensive roster in just a matter of seconds. So, to start narrowing down to the perfect song, use filters like Genre, Mood, Artist, Attribute, Instrument, and more.

With our set of filters and search tools, you can begin to narrow down more than 20,000 songs to exactly what you want in just a matter of seconds. The combinations are limitless and so are the opportunities.

3. Work Smarter, Not Harder

No need to be a martyr for your film. No one’s going to fault you for taking a shortcut so you can spend more time in the editing bay or working to find distribution. And playlists are a great starting point.

This may seem obvious, but platforms like Spotify, Apple Music, and Musicbed are built to help curate a taste for you, so chances are they’re going to be pretty good at curating a sound for your film as well. Start your song search by listening intentionally for your film and Spotify will begin to recommend music that matches up.

Even one step further, our A&R team has its hands on every aspect of our roster—and our Playlists are an example of it. They’re curation within curation, the perfect place for any filmmaker that needs a faster option or just wants a shortcut to where they’re going.

There are 100+ playlists for you to explore right now, with more being added all the time. Our specialists curate each of them with new music so you’re always seeing the latest and greatest. You can explore our Genre playlists if you want a broader view of a certain type of music, or you can really hone in with our Vibe playlists, curated with a certain feeling or mood in mind.

All in all, our playlists are the perfect place for straight-up inspiration. There’s no better way to start a project than by picking your favorite playlist and discovering something new.

The post 3 Ways to Simplify Your Soundtrack Song Search appeared first on Zacuto USA.

This is the camera I was hoping the FS7 II was going to be.

Whilst it isn’t perfect, as no camera ever can be, the image out of the full-frame sensor is beautiful. The autofocus, colours and low light performance are also really impressive. It’s still missing a lot of features that are due to come with firmware updates over the next 12 months but even without them I feel this is the camera that every FS7 owner will be salivating over.”
– Philip Bloom

We sat down with Philip Bloom and Sony Engineer Tom Cubby to talk about this impressive new camera. And, we took your questions LIVE as part of our #ZacutoLive show! Watch and check out the video comments to get all the info you need about dual base ISO, fast hybrid autofocus, new color science, autofocus, and much more.

Philip is working on a longform Sony FX9 review. We’ll embedd it here as soon as it’s ready!

The Sony FX9 and Zacuto

Philip had a chance to work with some of our new gear for this camera. You can get 15% off everything in our Sony FX9 category here with coupon code BLOOMFX9.

Here’s what he had to say…

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Sony fixed a lot of the physical body issues the FS7 had when they released the FS7II. The FX9 has inherited these improvements but not actually improved them even more.

Thankfully, Zacuto have solutions which make using the FX9 much less fiddly and better ergonomically. What I like is that you don’t have to buy them all. So, if you have no issues with some of the things Zacuto have replaced then you just get the ones you need. The other really good thing is that if you already have an FS7 and have some of these, many of them will work just fine with the FX9. Not all of them but most of them.

Starting with the 15mm rod system that the LCD screen and microphone are attached to, there is still no quick release for it. So Zacuto’s FX7 & FX9 Top Plate solves that very easily. Staying on that part of the camera, the LCD screen itself has had a big resolution jump over the FS7/ FS7II and so works way better as a viewfinder in conjunction with the loupe.

The problem for me is that I have disliked that loupe ever since they first used it 8 years ago on the FS100. It has improved since then but it’s still too long for on the shoulder operation as it forces you neck back. It is also not robust enough, it isn’t something you ever want to drop.

Trust me on this.

The good old Z-Finder (for FS7, FS7 II and FX9) is a big step up from it, much shorter, very robust and nicer optics. It is also a flip down design like the Sony one. If you are going this route I would also recommend the Axis Mini EVF arm and the adaptor to attach the camera’s LCD screen to the ARRI rosette of the arm. This gives you way more flexibility and music easier adjustments to adjust to where you need it for comfortable operation. You don’t have to get it and can use the Z-Finder just fine on Sony’s rods, it’s just not as good.

Adding an EVF?

You can of course replace the LCD loupe with a proper EVF but the camera has no power out which all the Zacuto EVF’s need other than the Gratical HD/X as they use a Canon L series battery. If you have 3rd party batteries with a D-Tap on them or the extension back then you will have no problem using the Gratical Eye or the Kameleon Pro. When I use a proper EVF with the FS7 and now the FX9 I reposition the LCD screen to the rear of the camera so you can still access menus easily without looking into the EVF.

The grip extension on the FX9 is OK, you don’t need to use a screwdriver to extend it like the original FS7 but it’s still fiddly and doesn’t have enough adjustments. Zacuto’s Sony FX9 Trigger Grip not only makes it easy to adjust with a press down on the top trigger but it is longer and can also be rotated so you can get it into the perfect position to reduce wrist strain.

The last key part is the Shoulder rig. The camera can be used on the shoulder much like the FS7 can without any add ons but it will always be front heavy and uncomfortable to use with prolonged periods of time. To really make the camera a pleasure to use handheld, alongside a Z-Finder or EVF, then you need the VCT Pro Baseplate which gives you a comfortable shoulder pad, a VCT tripod plate connections, rods and an ARRI rosette connection to get your grip even further away from the camera if needed.

(Zacuto Note: Our Recoil Pro shoulder rig for the Sony FX9 is available in single grip or double grip configurations and can be use with a Z-Finder on the Sony LCD or an EVF of your choice.)

Zacuto’s accessories make a great camera a much more ergonomic camera. If I was going to prioritise what you should get first if you are on a budget then that would be the Top Plate and Z-Finder. Absolute essentials that Sony really should bundle with the FX9!

The post Sony FX9 First Look with Philip Bloom appeared first on Zacuto USA.

What is a “Quick Kit?” It’s a simple, semi-universal concept… a box o’ stuff to grab at a moment’s notice, yet contain most of the elements needed to satisfy the technical and aesthetic needs of most jobs. It’s suited to air travel, low profile, or low budget work. It will inevitably vary by shooter, budget, and available technology.

Like many, much of my work centers around small-scale mobile documentary, corporate, and commercial production with a minimum of time, budget, or crew. Requests for video + photo are increasingly common, making a solid DSLM essential. The last decade of shooting video with DSLR/DSLM cameras has often been an exercise in compromise, necessitating a variety of add-on gear for any serious work. This, gradually, is becoming less the case.

WHY THE A7RIV?

On paper, Sony’s new Megapickle-Monster A7RIV seems like complete overkill for shooters like me. Why would I choose the photographer-focused A7RIV over other cameras that might deliver better codecs, frame rates, cheaper price, or other vital paper specs for video shooters? Glad you asked…

THE IMAGE

While some have griped about the lack of this or that video feature when it was announced, the A7RIV simply looks good. Since the A7III/A7RIII, Sony has refined its stock out-of-camera color to negate any need to ‘un-Sonyfy’ things in post. Moreover, there’s the usual wide selection of Picture Profiles to dial in a variety of looks or match almost any camera family. In my usual work, ‘only 8-bit’ isn’t a hindrance… so long as focus and exposure are nailed, post-tweakage need is minimal (if there’s even time or budget for that). If necessary, dynamic range of up to 15 stops (depending on picture profile) gives more than enough latitude.

Outlandish resolution traditionally means mucho noise at high ISO. Sony has somehow controlled it with a 61MP sensor. Within the range of ISO values I’d ever realistically shoot within – about 12800 or below – it’s solid. Should I get a gig in a coal mine, I’ll consider temporary rentals with higher sensitivity… but for the majority of everything else, this’ll do.

And of course, for jobs requiring photo work… 61 freaking megapixels. Nuff said.

IT KEEPS ON ROLLING

Interviews. I shoot a lot of them. Nothing kills a long interview like breaking to restart a clip or change a battery every half hour. The R4 finally pairs a 3+ hour battery and unlimited record times with their full-frame sensor, making it perfect for interviews, presentations, feature-length one-shot pretentious art films, or anything else where you just need to keep on rolling.

TWO SLOTS OF INEXPENSIVE MEDIA

Despite complaints about the R4’s lack of higher-speed media, two UHS-II slots is just about perfect for the gig shooter. Compatible media is your nearest box store away. Done with a shoot and have to catch a plane? “Here’s a copy of the entire day’s media on this duplicate SD card… it’s cheap, I include it in my day rate.”

STABILITY WITH ANY LENS

I know gimbals. Gimbals are a friend of mine. IBIS is no gimbal… but in Sony’s implementation, it’s close. Gone are the telltale micro-jitters of hand-held DSLM work. Even a monopod can be more hindrance than help. However, despite the larger A7RIV grip, full-frame lenses make it a front-heavy challenge for stable b-roll. A decent, compact, form-fitting cage with a few extra grip options is one of the few things this camera really needs (and, hey, Zacuto has you covered there… more on that below).

TRUSTWORTHY IN-CAMERA MONITORING

Monitoring aids, especially shooting full-frame 4K, have become a fact of professional life – doubly so as I push into my mid-forties. While the R4’s LCD display is fairly standard in its class, the new 5.76M dot UXGA OLED EVF is flat out the best camera EVF I’ve ever pressed to my glasses. Combined with an array of in-camera focus aids such as peaking, focus magnification, and touch-tracking autofocus, I can leave one more bit of weight and wires out of the quick kit… without sacrificing results. Speaking of the last focus aid mentioned…

ABSURDLY GOOD AUTOFOCUS

Autofocus on a pro video camera, on a pro job. I used to scoff at the very thought… I still scoff, depending on the camera or situation… but the video AF on this, with a good native lens, is flat out better than me at nailing focus on a properly framed subject. It’s pure sorcery. I compose shots and the part that I want to see in focus… IS. f8, f4, f2.8, doesn’t matter. It’s stupidly freeing. Lock on to an eye, and I don’t need to babysit the monitor to make sure the camera doesn’t go full-squirrel on something in the background while conducting an interview (even at f1.8 with a cheap 50mm).

So long as I have a notion of my frame, I can jib the camera up on a monopod, sling it ground-level, or orbit around subjects of interest and TRUST that the AF probably didn’t ruin it. On a recent event shoot for a NASCAR sponsor, with over 269 clips, there was NOT A SINGLE MUFFED TAKE due to blown focus. Bad framing, timing, etc… sure, but not focus. That’s just… eesh. If this is the future, I welcome our robot overlords and will whistle as I toil in their silicon mines.

Now, standard disclaimer and truthiness: It can and does get confused once you start introducing foreground elements, so you have to help it along with touch-tracking or simply going manual from time to time. That said, with the right lenses, a follow focus becomes one less “essential” item to weigh down the Quick Kit.

The A7RIV needs comparatively little accoutrement to yield strong results in an interview, run & gun, b-roll, and similar common shooting situations. What it does need is decent lenses, accessory fitting points, handles, lights, audio, and a tripod.

To get the most of the R4’s capabilities, good native lenses are essential. I primarily use Sony’s 24-70/2.8 GM lens, a zoom that doesn’t lack in IQ vs. available primes within its range. Multiple Sony, Sigma, and Tamron zoom and prime lenses can fill needs in the ultra-wide to telephoto ranges as jobs dictate.

On the rigging front, Zacuto’s A7RIV cage is a solid, form-fitting solution peppered with 1/4-20 threads and flush-fitting Z-rails. It’s compact enough to live on the camera forever. A top and side handle make the package delightfully easy to sling about while remaining light on the spine. Should the occasional job demand, it fits easily into whatever configuration enables ideal handling.

Stabilization systems can likewise be kept compact. One tripod bag holds a small tripod, slider, a pair of light stands, and a few handy grip components.

Lighting duties can be fulfilled by a combination of small LED lights (for battery operability) and the unbeatable punch-per-pound of some venerable tungsten fixtures, like Lowel’s antediluvian 650W V-light. It can be bounced, diffused through a compact umbrella, or just blasted through a CTB gel. Sure, it gets hot as Hades, but the quantity and quality of light in a package of its size is, as of this writing, still unbeatable.

Lastly, some jobs require plugging in the old Rode VMP and Sennheiser wireless and running audio solo. The A7RIV features fairly decent pre-amps compared to some other DSLMs, and can be substantially upgraded with the upcoming K3M XLR module or URX-P03D/SMAD-P3D systems.

EMBRACING OUR ROBOT OVERLORDS

Sony is proud of its autofocus technology refinements, and in a corporate oddity, is mostly on-point. The A7RIV won’t press record for you, order you a beer, or keep you warm at night… but it will let you concentrate on moments, composition, and story, and slightly less on buttons, switches, dials, and the ongoing challenge of lugging around tons of “essential” gear. It’s a convincing and worthwhile upgrade to my mobile loadout.

The post Building a Quick Kit with the Sony A7RIV appeared first on Zacuto USA.

Take a look at his setup and final thoughts as well as the inspiring video he made featuring Cyndia Robinson and her new trade skills program for nail technicians in Detroit.

Cy Abdelnour is a Peruvian-American cinematographer in Detroit, MI. He works for Academic Innovation at the University of Michigan as a Media lead on various online courses that go onto EdX (MIT) and Coursera (Stanford). Cy has a wide background of experience from Documentary, Music Video, Experimental, Fine Arts, and Commercial work. His work has been featured in Rolling Stone, Billboard, USA Today, The Daily Show, and much more.

Fuji XT3 Cage from Zacuto

Cy worked with our fully built Cage and shoulder rig system along with our new Kameleon EVF. Here’s what he had to say…

Fuji XT3 Cage
PROS

Kameleon EVF
After owning the Gratical Eye I can safely say this is a great option for anybody who wants to get into using EVFs. I didn’t realize how much of a need it really was until I started using it more frequently.

The Kameleon is different with its form factor being small like the Gratical but also having the ability to switch between SDI and HDMI. It’s a huge perk considering sometimes you may need to move to a different camera system that doesn’t have SDI. The monitor is bright and the tools inside the unit are straight forward and easy to navigate. I didn’t even read the manual and I figured it out in less than 10 minutes. I highly recommend this unit.

Polaris Baseplate
The baseplate is easy to use, quick to change, and sturdy. I used it with the XT3 and switching the unit from shoulder-mounted mode to tripod was a breeze. It’s an ideal choice when sticking to DSLRs because honestly the 501 Manfrottos weren’t designed for DSLRs. The Polaris obviously is.

Creating a Cure

Founded by entrepreneur Cyndia Robinson, “Cure” is a nail technician trade skills program rooted in her local community. While nail salons are often big local business, Cyndia found none that truly represented and gave back to her community. Cyndia and Cure are here to change that.

“I chose the name Cure because it derives from manicure, but beyond that, it’s the solution to the problem. And, for me, choosing a name that is as powerful as that and as strong as that means that people feel confident that where they’re going, they’re going to get a service that they know they want.” – Cyndia Robinson

Cyndia has established a viable business plan and received a start-up grant; she is now working on establishing a headquarters to grow and build the Cure vision. This video is a first look glimpse at the early stages of Cyndia passion project and how she plans to bring it to life.

With Cyndia’s local focus in mind, projects like this video bring together local Detroit-based artists from multiple disciplines – models, photographers, make-up artists, nail technicians, and of course, filmmakers.

Cure Nail House is in development but when social is complete with a website it will be at the following.

curenailhouse.com
Social @curenailhouse

The post Working with the Fuji XT3 on “Creating a Cure” appeared first on Zacuto USA.

1. Do not make script changes the night before filming.

Changing the script affects everyone on the team. It requires a heck ton of unnecessary printing and creates an infuriated script-supervisor. LOCK THE SCRIPT and SAVE TREES. Or you run the risk of your motto on set being: “Or… maybe…?” Lock it in at least one month in advance. If that means you need to start your acting prep earlier in order to lock it, do it.

If you want to improvise, go for it! But you don’t need to rewrite a scene the night before filming… rather, bring in your ideas and PLAY ON SET and communicate with your director.

Camera rolling. Now play.

2. Forget your lines. And your co-star’s.

Being the writer, you have to let go of A LOT of ideas. It’s wiping the slate clean before every take and saying – I don’t know this person I am acting with, let me respond naturally, without ideas. Let me discover with them. This is always one of the biggest challenges as an actor but having written the script, you have to work twice as hard to let it all go. Cue: Frozen anthem.

3. Trust your director.

If you’re choosing to work with this person, there needs to be mutual trust. You are trusting them to direct the film and they are trusting you to write it and act it.

It’s helpful to have a conversation early on that clearly states what your roles are. Heck, write it out on paper so it’s extra clear – who has final say on what points? If you’re not the director… FIRE YOURSELF (as the director you’ve made yourself out to be in your mind), then…

GIVE. UP. CONTROL. If you don’t trust your director, that’s a clear sign that a) you don’t actually want them to direct the film or b) you need to have a conversation with them regarding your concerns. Sort it out. Then trust them. And trust yourself.

4. Put DOWN your producer hat, before it’s too late.

We often have to produce in order to get our projects made, but producing is A LOT of work. It can be overwhelming (especially dealing with all the finances) so delegating these roles to other people is critical. If you don’t have time to do your prep as an actor because you’re in-over-your-head producing… Your. Acting. Will. Suffer. Do not sacrifice your project by taking on too many roles, allow others to do it for you! They want to.

5. Admit it, to be in it.

You know that moment when insecurity gets triggered and now you are second-guessing every thought and line? You feel stuck and start to shut down. Instead of shoving it (in hopes it will go away), ADMIT IT.

Share your insecurity with someone. Step away. Make a call. Tell your co-star “I’m intimidated by you. I’m attracted to you. I weirdly get nervous around you.” Make a pact with your partner. This is especially important for any script that involves scenes with sex or violence. “I am comfortable with you touching me here and here, not here. You can tousle me around, don’t punch me in the face.” Then allow space for them to set their boundaries. Even if they have none, this will create safety on set.

Admit intimidation instead of trying to ‘be good’ because us actors know ‘being good’ equals the death of impulsivity.

6. Love your crew!

Appreciation on set is so important to keep everyone motivated and encouraged. Together, you form a family of people working toward the same goal. It’s extraordinary – All these people coming together to bring your vision to life. Do not take this for granted. It helps keep it light (even when the content is dark) which contributes to people having fun.

It takes courage to show appreciation and put the focus on someone else for a moment. When you feel an impulse to express gratitude, take it. You might not get another chance. Number one Love Language for set-life: WORDS OF AFFIRMATION.

7. Make art, and fuck it up.

You can’t get everything right, especially if it’s your first go at it. Sometimes mistakes make the most unscripted, extraordinary and uncanny experiences. It’s those moments that can make or break a project or allow a scene to be impactful on a greater level than you ever intended. So make decisions promptly, trust your gut and allow room to fuck it up. And then call me and let’s fuck it up together!

8. Get S.P.E.C.I.F.I.C.

If you really want something with a BURNING DESIRE, get specific around what you need to get it: How much money do you need, when do you plan to get this money by, what steps do you need to take to get it and what will you give back. There is no such thing as getting something for nothing.

So decide what you will give in return. Write this out, read it every morning and night as a contract to yourself. Read it. Visualize it. And feel it… to manifest it.

9. And NEVER GIVE UP.

…Especially around raising money to make your art! Do number 8, until you know inside and out you’re committed to it. When you commit 100%, the universe will do everything to support you. Forget HOW you will get there and focus on WHY. If that doesn’t invigorate you, dig deeper.

Identify what your distractions are, then commit to not being seduced by them. Or you will confuse the fuck out of the universe.
“You said you wanted [ ____ ] but you keep doing this [ _____ ]. So what do you want?”

Decide what you want, get crystal clear, map out a plan, give yourself a deadline and go for it with everything you got! You got this.

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About the Author

See more from Dani at danibarker.com.
Instagram danibarker7
Get updates for her film Follow Her at facebook.com/FollowHerFilm

Dani Barker is an actress, writer, and producer originally from British Columbia, Canada. She came to New York after selling an original episodic series to TBS that she starred in. Dani worked directly with the showrunner as a writer and consulting producer under NorthSouth Productions. This series was originally acquired from VH1 who created a pilot starring Dani and four Canadian friends based off her popular web series Starvival. Starvival earned a lot of attention and became popular on Youtube in 2014 after garnering over a million views, 650,000 views on the first episode alone, landing Dani on the front page of Entertainment in the Toronto Star and featuring her on websites like BlogTO, Seriesandtv.com and Tubefilter. Simultaneously, Dani developed and sold a second series called Squirm to Canada’s largest LGBTQ+ network, OUTtv. Dani’s project Follow Her, a psychological feature thriller directed by Sylvia Caminer, is the first of many upcoming films.

The post 9 Things I Learned Acting My Own Script appeared first on Zacuto USA.

Jump to Part 1 – Ergonomics
Jump to Part 2 – The Panasonic Look: Color Science + Sensor
Jump to Part 3 – Camera Features from 6K to Native Codex (with DP David C Smith)
Jump to Part 4 – Anamorphic, Greenscreen & Slo-Mo
Jump to Part 5 – Accessories: SD Cards, Batteries, Drones & more
Jump to Part 6 – 5.9K ProRes RAW

Part 6 – 5.9K ProRes RAW

In Part 6 we introduce a new feature- 5.9K ProRes Raw & Panasonic’s collaboration with Atomos. We talk about our final thoughts and everyone talks about their favorite S1H feature!

Part 5 – Accessories: SD Cards, Batteries, Drones & more

Director of Photography David C Smith shares more of his experience testing and working with the S1H – in particular, we discuss accessories. We answer questions like the best kind of SD cards to use, how long does the S1H battery last, and more.

Part 4 – Anamorphic, Greenscreen & Slo-Mo

In part 4 we continue speaking with Director of Photography David C Smith about his experience testing and working with the S1H – in particular, we discuss some unique and exciting features: anamorphic, greenscreen use, and slo-mo.

Part 3 – Camera Features from 6K to Native Codex (with DP David C Smith)

Everything you need to know about 6k, codec, recording, waveform, 10-bit, and so much more. Plus, watch some stunning S1H footage from Los Angeles based Director of Photography David C Smith and bring David into the interview to discuss his experiences.

Part 2 – The Panasonic Look: Color Science + Sensor

In Part 2 we discuss color science, the sensor, and the S1H relationship to VariCam and Panasonic EVA1. Plus, working in LOG, LUTs, price, and whether this is really an A or a B camera.

Panasonic S1H First Look – Part 1

Part 1 does a deep dive into the camera Ergonomics – dials, LCDs, card slots, and more. We also cover what specific differences S1 and S1R users will see in the new S1H.

Zacuto and the Panasonic S1H

The Panasonic S1 Series Cage is the perfect lightweight cage to transform your Panasonic S1H, S1R, or S1 camera to accommodate any shooting style. Our Cage is secure with a snug fit, HDMI strain relief and right angle, and a comfy hand strap on the left side. Along the top is a Z-Rail and multiple ¼ 20 and ⅜ 16 screw holes for easy accessory mounting.

Customize to fit your needs with a side handgrip with coldshoe, our unique wooden ball Zarn handgrip, Top Grip, and more.

In the First Look video, Matt is holding the camera with our cage and you can see it in use throughout the video. We also have some great shots of the Cage converted into a full shoulder rig. The Cage is Arca-Swiss compatible and mounts directly to our Polaris DSLR/Mirrorless system. Add rods, quick release plates, a shoulder pad, grips, batteries, and more to create the right rig for you. Start building your Polaris rig here or contact us at sales@zacuto.com for help.

Panasonic S1H Full Specs

The post Panasonic S1H – EXCLUSIVE FIRST LOOK appeared first on Zacuto USA.

A key piece of gear through the years for me has been an EVF. In my opinion, an EVF is the best way to judge focus – period. I’ve used pretty much every EVF offering out on the market. Some are quite good – typically the more expensive ones, while others – the cheaper ones – not nearly as feature-packed nor do they have the screen and build quality. You know that famous saying – you get what you pay for. Well, that holds true with most things, especially with production tools.

Zacuto Kameleon – The Best All Around EVF?

I’ve used Zacuto’s EVFs for quite some time, and their latest offering – the Kameleon, packs a punch. While it’s not the cheapest offering on the market, it’s not the most expensive either, but it’s definitely worth the price point. Here are 10 reasons why I think this EVF is the best of the bunch!

1. High-Quality Screen

The color accuracy, sharpness, and field of view are top-notch. Honestly, I think it’s the most color-accurate EVF Zacuto has ever developed.

2. 3D LUTs

It’s Zacuto’s first 3D LUT enabled EVF. THANK YOU!! So if you need to add 3D monitoring LUTS, this EVF is for you. The Gratical series supports 1D LUT import, export, and creation, while the Kameleon supports 3D LUTS. It’s your choice what’s most important for you.

3. Size

This thing is very small and lightweight. There’s no unnecessary bits and pieces, just a powerful EVF that has less power draw overall. Keep in mind this is powered off a Lemo D-Tap cable…there is no way to power it with a LP-E6 battery like previous iterations of their EVF’s.

4. Feature Packed

This EVF has all the necessary functionality that you’d expect from an EVF made by Zacuto. 4K HDMI support, 3D LUT support, camera overlays, anamorphic, image zoom, etc. The list goes on and on. Plus, the quick access buttons at the top allow you to customize hot-keys to your liking, putting even more functionality at your fingertips.

5. SDI and HDMI

It has both!! Woot! Now you can use the same EVF across multiple camera platforms. Whether you’re using a high-end cinema camera with SDI, or your small mirrorless which only supports HDMI, this EVF integrates with either.

6. Anti-Fogging Lens

This is one of Zacuto’s claims-to-fame, so to speak. It’s literally the BEST anti-fogging method out on the market. I’ve never once had a Zacuto EVF fog up. Just recently I was in an ice-cold room and walked outside in the Texas humidity and rain, and all my gear immediately got condensation on it, except the Kameleon screen! Zacuto has always been great at this, and the Kameleon doesn’t disappoint here either.

7. Auto-Closing Eye Cup

As with any EVF, they can suffer screen burn-in if you’re not careful. Zacuto takes this very seriously, and has done everything they can to help keep your gear protected. The eye-cup is a genius design that automatically closes when you pull your eye away. I no longer have to worry about the sun destroying my EVF. Now, if they could think of a way to make it automatically open. Hehe!

8. Accessories

Like all of Zacuto’s products, they really try to make gear that’s practical. They have numerous other accessories to help any of their EVF’s get integrated into your current setup. Whether you need a shoulder rig or a proper way to rig the EVF to what you currently own, they’ve got you covered with lots of options and customizability.

9. Extra Stability

Having another point of contact with the camera helps with stability. So for those of you who love handheld cinematography, use an EVF to get even more stable shots.

10. Customer Support

Zacuto stands behind their products. Of all the Zacuto products I’ve used through the years, not one has ever failed me. But, if one was to fail, they have your back! Being based in the USA, you actually get to talk to support. (Zacuto Note: BPM are our support center in the EU!) They are quick to resolve any issues that may arise. Aftersales support is so important, especially when investing in a higher cost piece of gear.

The post 10 Reasons Why I Chose the Zacuto Kameleon EVF appeared first on Zacuto USA.

8-week run of a musical theatre production starring Elaine Stritch? Check.
Ubiquitous milestone Law and Order: SVU appearance? Check.
ADR voiceover sessions in the booth with the Coen Brothers? Check.

Now I find myself behind the camera, doing it all as we sometimes have to do. My main paycheck these days? I take your production from pre-pro to post. I’ve gained a knack for numbers, having now line produced two features.

Over the past decade and a half, I’ve learned a few important things while working in our industry. Maybe call them instincts and insights? Your mileage may vary, but here are 10 tips that I’ve found invaluable for film producers time and time again. I hope these can help us all as we navigate our way through life in the world of film production.

1. Be easy to work with, heck, be fun to work with. Everyone will notice.

Get the job done well, on time, and under budget, and try to make friends along the way. You will become the all-star by the end. Being a good mood, a positive vibe, a charming or funny individual to be around only enhances the environment you’re in. Sure, it’s easy to wear a frown but no one likes to rehire a frown! People will want to work with you if you are exhilarating to be around.

2. Anyone can make a mistake: that’s why they put erasers on pencils.

On a film set, anything can go wrong at any minute. The camera PA can drop a lens, the above the line producers can make critical failures in preparations. That’s why as producers, we must be known for our resourcefulness and fast-acting capabilities.

In this climate, stakes are always high and even careers are on the line. These high-stress scenarios lead to mistakes, but it’s important to recognize that we are all human: these kinds of things happen and that we must work together to overcome the hurdles that each production throws at us.

Inevitably, someone is always to blame and producers are often thrown into the crosshairs. If something is even slightly due to your own fault, take ownership of your mistakes and fix them. Be the rag doll.

3. At all times, filmmaking is athleticism in trickery.

Whether it’s tricking your audience into believing the blood wound was real or to tricking your investors, haha! Or even tricking yourself to believe that a day’s worth of shooting the same thing over and over can eventually cut together into something genuine and authentic. As filmmakers, we are always exercising our ability to trick people. Believe in this trickery with all your might, despite discouragement.

Constantly watch to learn and understand how others do this, and you may just find your own style of trickery. In a more genuine sense, producers must be able to convey a sense of trust and confidence that allows productions to do things they might not have been able to do. Confidence in speech is vital.

4.Honor your commitments, look into everything, be diligent.

If it’s a 12 pm lunch, be there early. If it’s a 6 am call, be on time. Don’t miss the courtesy van. Be scrupulous about everything. Be the best there is while being kind and sensitive. Confidence leads with authority, and if you are on top of the ball, you will have no trouble finding future endeavors.

5. Run out of ideas? Audit culture.

The monotony of production sometimes discourages producers. Yes, we sit inside on our computers for too long. Go outside. Listen to your environment without headphones. Watch people pass by. Engage in interaction. Pick up a magazine, a book, or even a hobby.

I guarantee you will discover something about yourself you may have never thought about before. Or something you never wanted to address. And if you have still run out of ideas, produce something you don’t want to do. Because while you’re doing that, I’m sure you’ll discover something you’d rather produce instead.

6. Failure is the condiment in which success gets its flavor.

This one is over-said, but it’s said for a reason. If you love this crazy thing we do for 12-16 hours a day, 5, 6, or even 7 days a week, you understand that our trials and tribulations are preparing us for a work of sheer genius. You just have to want it that bad.

7. It’s okay to say “No.” Don’t commit to something you can’t deliver.

It’s important to decompress. We cannot always be superheroes, and sometimes it pays more dividends to not take the job than to take the job. Know your limits, and make clear boundaries for the work you do.

8. Remember to have fun in the moments.

Productions require a serious amount of determination and planning to be pulled off successfully and as producers, we are entirely responsible for how our day goes. We get carried away so easily when there’s so much work to do, but if you find yourself on set and have two minutes to spare, look around.

Are you making worthwhile contributions despite the chaos?
Are you having fun?

Take the time as a producer to create a positive working environment so that you and those around you can have fun in the moments.

9. Most everything in life is mental. If something is broken, perhaps it may be your outlook.

We can always work harder. Push yourself to do more and outdo yourself.

10. Have a strong why.

Stanley Kubrick once said, “the very meaninglessness of life forces man to create his own meaning…” Believe in what you do, have a reason for what you do. Don’t just say, “because.” If you believe you are owed extra overtime, speak up. If you are making a movie for a purpose, define that purpose. Take faith in the work you do. If you can motivate yourself to believe in the trickery, perhaps you are motivating others to believe in it as well.

****************************************************
Follow Luke on Instagram or Vimeo.

The post 10 Tips for an Indie Film Producer (and anyone who makes film their life) appeared first on Zacuto USA.