The original Zoom H1 portable audio recorder was a simple tool and that's what made it so great. Through the years I can say it has always been an instrumental part of my audio kit. It's nice to see that they have taken something great and found ways to make it even better (while still being affordable). The original Zoom H1 has been discontinued, and so if you're looking for a solid portable digital audio recorder, check out the brand new Zoom H1n features (found here).
Now I don't think there will be a significant difference from the original Zoom H1 when listening to the final audio recording itself, so with this announcement you could benefit swooping up the original Zoom H1 for a discounted price.
I'm not at the point where I think I want to produce full 360 VR video content, but I am sold on the idea of 360 cameras being able to reframe a shot in post and choose what you want the viewer to see. To make this post workflow simpler, GoPro is showing off their Mobile App which allows you to edit your GoPro Fusion 360 Camera footage directly from a smartphone.
I bought the Sony A7R3 for still photos. It's awesome. And as a video camera, I made comments about how I thought if you needed a 'dedicated' video camera, your money might be better invested elsewhere. I attribute it to the downscale quality of the massive Sony A7R3 40+ Megapixel sensor when recording HD resolutions.
And just to prove a point, the recently announced Panasonic GH5s is designed with a lot less megapixels than the GH5. The 10 megapixel sensor is optimized for 'video' and for better low light shooting, and even includes a bump to 240fps in HD. Many of the specs for video as far as resolution and framerate are the same between the GH5 and the new GH5s (minus sensor stabilization + 6K photo mode), but it's main stand out feature is low light shooting. Combine the new GH5s with a Speedbooster, you've got a monster MFT camera that can handle difficult low light situations.
Just to start things off, while i'm showing video with the new Sony A7R3 I'm not here to say it's the best video camera on the market. It's nice, but for the price I still think there's better video cameras you can invest in. The A7R3 is not really meant to be a 'dedicated' video camera anyhow. It's got a massive 42 MegaPixel sensor that serves best as a stills camera.
From what I can tell, the downscale of the huge megapixels to 1080 HD video is when things start to get soft(er) on the A7R3. Cameras like the popular Sony A7SII for instance only have a 12MP sensor (almost 4x less). A camera like the Panasonic GH5 which can do 4K/60fps has about 20MP. I think you get the point.
Ok, so back to the video sample that was shot with the Sony A7R3 and Sony G-Series 12-24mm lens UWA. It's quite extreme for video and probably not something for high end clients that want things to look 'cinematic', but it's darn fun to watch on a stabilizer.
If you plan to use this lens (say with a Sony A7SII), then you'll need a decent sized gimbal. I'm showing it on the CAME-TV Prophet which is their largest single hand gimbal, but even something like the new Zhiyun Crane 2 (not v2) should work just as well. You just want to make sure you have enough space in a gimbal frame so that it doesn't collide against the roll motor when tilting. The 12-24mm is a nice lens as you can zoom to 24mm to have a normal perspective yet the physical dimensions don't change unlike other zoom lenses.
Here's a quick overview on the DigiSlider Motorized Wing Arm, that offers linear camera movement to be used for Timelapse or real time Video Recording.
DigiSlider offers two different sized 'Wing Arms', and what i've shown in my video is the smaller unit. The Wing Arm folds down fairly small which makes it easy to travel with, and the motorized controls will give you consistent speed throughout it's travel. This is a great little setup for adding just enough slide to make Timelapse interesting. The controller is capable of firing the shutter on most camera models, so you can do a true shoot-move-shoot timelapse which is needed for long exposure or HDR.
When used for real time video capture, it can be setup to Auto Loop during interviews. It's almost completely silent. Note that the smaller DigiSlider Wing Arm is only 1 Axis (no panning). If you want that parallax effect, you'll have to look at the larger Wing Arm that has an auto panning feature (seen here).
Because the belt is fixed into the system, you won't be able to get smooth movements if used manually (without the powered controller). You would have to take apart the case and remove the belt if you wanted to use it manually. Overall it's a pretty straight forward piece of equipment. For those smaller camera setups, the DigiSlider Wing Arm is a simple and affordable way to get into a true Shoot-Move-Shoot (SMS) video slider for timelapse or real time video. A piece of gear that's compact enough to fit in a small backpack. Let me know what you think using the comment section below.
With smaller and more capable high quality video cameras, there's good reason to lighten up the rest of your equipment. If you're looking for one of the smallest 3-Axis motion control sliders to compliment your shrinking gear, then you may be interested in the new iFootage Shark Slider 'Mini'.
The modular tool-less design allows the Shark Slider Mini to pack small, but you have the option to quickly add sections to the slider for longer movements. When not used manually, a drive motor snaps quickly into the carrier (with no external wires or tedious connectors). The unique belt-less motion control system works by traveling over geared teeth that have been designed directly along the center of it's tracks.
A separate 2-Axis Moco (motion control) head offers Pan and Tilt, and can be used independently for simple yet effective dynamic timelapse setups, or to create extremely high resolution images through a sequence of stitched photos (think GigaPan-ish).
Once you program the movements through the smartphone App via Bluetooth, you can disconnect and it will continue to carry out it's program, so there's no worry about keeping your phone tied down. The system is powered using Sony NP-FW50 batteries (generic batteries are included), so there's no worries about proprietary power and is easily accessible for consumers to purchase more.
Target Control is probably my favorite features with the iFootage Shark Slider Mini as it allows you to maintain framing on a subject as the camera slides left to right. This is often desirable for small crews looking to add dynamic camera movements to a b-cam during interviews, or to simply create more interesting visuals with products or cooking related videos for example.
Overall it's one of the cleanest, smallest, and easiest 3-axis sliders i've had the opportunity to work with. No belts, no external motors, and no dangling remotes. But from my brief experience, I would recommend it be used with the smaller camera setups, especially when using the 2-Axis MOCO Head.
It definitely won't handle a camera setup such as my Ursa Mini Pro. The system is also not 'completely silent', but should not be a problem if you've programmed slow movements and have the slider set a short distance away from any microphones. Obviously sound is never an issue when it comes to Timelapse photos.
I also recently had the opportunity to test the Sound Shark Parabolic Microphone in a typical classroom setting. I found that it really helped to get that louder volume from the distant speaker when compared to other microphones that I would have traditionally used.
Now while a Parabolic microphone will definitely pick up distant sounds better than any other type of microphone, it should not be considered a replacement for other microphone types. It really should be considered a different type of microphone and possibly one you may want to add to your audio kit. If you're interested in listening to other examples, you can find videos on their website at http://KloverProducts.com/SoundShark.
The unique shape of the parabolic collector is used to collect incoming sound (pressure) waves and focus them onto a single point where the microphone converts the collected sound energy into an electrical signal. Because the sound energy from a large area is focused onto a single point, the sound is in effect, amplified. This is the same technology that is used to capture the sounds of the game during professional football games every weekend.
People have been using CFAST to SSD Adapters for the Ursa Mini cameras ever since the beginning, and i've used the ATOCH adapter myself. It sure comes in handy, but what I didn't like was all of the loose cabling and the extra bulk. So whenever possible I just stuck to CFASt cards. It kept my rig light and tight.
Now BlackMagic Design has introduced their own SSD Recorder (only for Ursa Mini Pro), that connects between the camera and the battery plate. It's much cleaner with only two wires that record from the SDI input and output, but it does have it's caveats. For one, the BM SSD Recorder only works with the 'Pro' version as it records from the SDI. When using the SSD Recorder, you can't connect the camera to an ATEM for live production. With only one SSD drive, it also can't record 4.6K Lossless RAW at 60p (only supported to 30p).
That's what makes this new aftermarket 'DUAL SSD Recorder' very interesting. It works very much the same as other CFAST to SSD adapters, but it's been designed to fit clean behind the battery plate (exactly like Blackmagic's design). The advantage is that because they are still using the CFAST adapters, you can record full RAW, full resolution, and all at the fastest framerates. In fact because this adapter uses (2) SSD Drives, you can even turn on 'Dual Card Mode'! And there's no bias for Ursa Mini Pro cameras, it is backwards compatible to any Ursa Mini camera - and you'll still be able to use the SDI out if you're hooking up to an ATEM.
There's not much to complain about this aftermarket Ursa Mini SSD Recorder except for the fact that you won't be able to close the LCD screen completely with the CFAST cabling running through. But that's about the only con I can think of...
In this video, i'm running through some of the features you'll find with the new Cinevate HoriZen video slider. Out of the box the slider can be used directly on any flat surface, and includes non-marring small adjustable feet for minor leveling adjustments. If your'e looking to use it on more aggressive terrain, you can opt-in for the All Terrain Legs that add a lot more height and stability.
You can find several threaded points under the HoriZen for mounting it to tripods or stands. The slider is trapped between the Aluminum frame, so you can use the slider completely inverted. The Variable Magnetic Braking feature is by far a true game changer when it comes to video sliders. Through opposing magnetic forces similar to brakes on an Electric Super Train it's an ingenious feature with zero friction and zero wear.
I've never worked with a smoother video slider, and the ability to fine tune a 'drag feel' according to the weight of your rig or to your preference is pretty amazing. Perfect for heavier camera setups, but can be tuned to the same feel for smaller lightweight camera systems. Along the sides of the slider are sliding threaded mounts for you to add cine-arms or other accessories.
Integrated 100mm bowl center mount with 75mm option
Tripod center mount and integrated c-stand mounts
Carriage locks anywhere on the rails via the precision disc brake system
Fully integrated caged flywheel
Fully anodized solid CNC machined 60-61 aluminum
Stainless steel fasteners eliminates corrosion conerns
Positive lock washer/tiedown (includes both Imperial and Metric tiedowns)
Quick-Stow All Terrain Legs
Fluidic Drag Control
Kevlar reinforced belt
Versatile accessory track mounting system
Enhanced camera sled stability profile
Integrated bubble level
3FT Weights 16LBS