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Category: FocusPulling Original

08 January 2022

Rigging the Sony a7 IV: Tilta cage, Rode VideoMic NTG, A-Cup, Zacuto Zarn & top handle

Written by Paul Moon

The Sony a7 IV has finally arrived, after its announcement mid-October.  It could have taken longer, given the vague (excu$e of?) manufacturing and shipping delays these days — and it could have felt revolutionary like last time, when Sony priced their a7 III for the masses.  But Sony hasn’t felt the heat these days, and they want all your money.  It’s still a damn great camera (I’m all-in for 10-bit 4:2:2 30p at 140Mbps).  In my kit, it still can’t hold a candle to formal shooting in BRAW on my Pocket 4K and 6K Pro, but when I want to fly on a gimbal with auto-focus, there’s nothing better.  And I was happy to spend one grand less than the overall inferior a7S III (always a hard pass for me).

CAGED UP

Time to rig up!  That usually starts with a cage, and oddly enough, the world has boiled down to two close competitors:  SmallRig and Tilta.  SmallRig used to be the affordable option until they got greedy, and then Tilta came along, categorically besting SmallRig.  Even if Tilta’s “Tactical” packaging has got that sexually insecure Oakley bro vibe, at least its logos are less obvio vis-à-vis SmallRig’s Sanrio.

What’s more, as seen in the above package contents, Tilta is simply more generous.  Their new Sony a7 IV Full Cage at $69 includes a Manfrotto plate if you don’t prefer the cage’s integrated Arca-Swiss plate, along with a lens support bracket, additional adapters for anti-twist connections to a7S III and a9 bodies, and several extra screws and hex wrenches.

I love how the Manfrotto quick-release plate can stay permanently attached to the bottom of the cage, providing access through a middle opening to the screw that lets you remove the camera body from the cage at any time.  Well, not so fast…

In the first of the above pictures, you can see Sony’s slightly improved neck strap lug.  Lord knows, I’ve got tons of steadicam footage with the a7 III’s lugs audibly clanking around, but these stay stiff.  However, don’t get used to it!  The Tilta cage (SmallRig too) demands that you remove the left-side lug, to prevent the body from twisting inside the cage along its single bottom screw axis (this is something that CAME-TV always got wrong).  In fact, you can’t install into the cage without this removal.  It’s easy to do, as seen in the middle picture (just like a keyring), and then you need to screw Tilta’s included miniature hex bolt through the a7 IV’s bracket, locking the whole thing onto the cage through an upper bolt.  As mentioned, Tilta also includes a bracket spaced for the a7S III, and for the a9 — so despite what the packaging says, this cage works for more than just the a7 IV.

But the good news ends there; if you ever need to take the camera body out of the cage (e.g., to fly on a gimbal without the weight of the cage), this is a huge hassle  — and again, it’s not optional.  If you don’t have that ultra-tiny hex wrench with you, you’re “screwed.”  Tilta didn’t even create a molded magnetic seat at the bottom for the hex wrenches to always be handy, compared to other cages.  And upon finally removing the camera from the cage, you also need to reattach lugs if you want to sling the camera from a shoulder strap.

I’m not a fan of the Multi Interface Shoe because its proprietary Sony accessories are overpriced and they underperform, so my preference would have been to further secure the camera through that camera body hotshoe — after all, you still get two more hotshoes on the cage itself, as seen above.

But there’s still a lot to love about Tilta’s design, including side NATO rails as seen in this side view, along with clear access to the camera’s ports, and an ARRI-style rosette.  In lieu of the shoulder strap lugs now removed, Tilta gives you slots on the cage for a shoulder strap (or, for most of us these days, Peak Design Anchor Links).

TOP HANDLE & EYECUP

Some minor gripes include the fact that there are no 3/8″ screw holes, and that the dead-center hotshoe prevents a NATO top handle from taking that prime spot for secure center of gravity.  On the other hand, as seen below, the center of gravity may get offset anyway once we rig it up, and so I’ve added my trusted Zacuto top handle onto the top NATO rail a bit off-center.

I’ve also added an underappreciated, extremely critical tool for adding a third point of contact with your face, via the indie product A-Cup by Miller & Schneider.  There have been subsequent alternatives by Hoodman and Vello, but none of them are big enough to fully simulate a proper cinema camera eyepiece.  However, since fitting onto your face is really subjective, it might be worth a try sampling a few options to see what works best for you.  One drawback of the A-Cup is that it blocks the automatic presence sensor, shutting off the rear screen.  On the other hand, Sony has improved the tight fight of the eyepiece bracket, adding confidence to taking off and re-mounting this bigger eyepiece whenever you need it.

ZARN SIDE HANDLE

Another must-have rigging accessory is this deceptively simple “Zarn” by Zacuto.  Instead of the typical bulky, vertical rectangular handle, this little thing behaves like a ball joint in your arm, helping you elegantly twist and turn into stable positions across a shot.  You’ll believe it when you try it, and you’ll never want to go back to a clunky grip.  When you’ve got this wider berth of left-side/right-side grips, combined with the third point of contact from an eyecup, it’s an altogether stable rig for running-and-gunning.

SHOTGUN MIC

Finally, there’s one more must-have when you’re rigging up your Sony a7 IV:  the Rode VideoMic NTG.  The moment when this thing hit the market, it obliterated all other options.  It combines the performance of Rode’s professional NTG shotgun lineup, with a strong pre-amp to feed the camera’s mediocre microphone-level input (recipe: set the Rode high, set the Sony low), with an excellent Rycote shock mount, and a versatile USB computer/smartphone connection option too.  It also lets you record a safety track at lower amplitude to the other of the stereo recording tracks, in case of clipping.

OMISSIONS

Normally, a guide to rigging a new camera comes with tons of anxiety about battery power and storage media.  For a few reasons, that just doesn’t apply here.  Firstly, once the NP-FZ100 battery standard arrived (compared to the weakling NP-FW50 used in the a7S II), our power problems diminished.  So long as you buy OEM (or third-party equivalents that have at least 2250 mAh capacity), a single battery gets you through a few hours, and when that runs out, you just toss in another.  They’re cheap.  Meantime, it doesn’t get better when you try to power from the USB-C bus, or even from a fragile “dummy” battery:  that’s ironically worst-case for overheating into shut-down, since the camera holds out longest (given its high-temperature setting) from the internal battery, after the rear-panel LCD stays swung away from the body.

Sony also stubbornly refuses to allow external media storage via the USB-C port (compared to, e.g., the Blackmagic Pocket line of cameras), so it all comes down to internal SD cards.  Ignore those overpriced CFexpress Type A cards, because you wouldn’t need them for anything but the creepiest Bridezilla mode (and please, stop obsessing over slow motion already).  For maximum versatility, it’s gotten cheap to invest in V90 UHS-II SD cards, and my favorite so far is the Lexar gold label marked “2000x” (we all know that’s a fake number).  But you can also get by with V60 for almost all of the recording modes — and anyway, you won’t want to shoot in the all-intra XAVC S-I, format because there’s no visible difference, and your editing program won’t notice the difference either.

January 8, 2022 FocusPulling Original, Sony a7S Leave a Comment
15 October 2021

Review of Moman MT2 Teleprompter

Written by Paul Moon

Somehow all these years I never got around to genuinely needing a teleprompter, mostly because I’ve preferred interview-driven and verité documentary style, compared to the presence and delivery of a scripted “host.” But every once in a great while, I’m helping someone make a pitch video – or, I reach a dead end after too many takes, and resign to just have someone read lines.

There are very industrial ways to do this sort of thing: the most expensive and time-consuming, is to hire a dedicated person who writes out and holds up physical cue cards from a giant stack! (My favorite: Tony Mendez on the David Letterman show years ago.) Next comes something in the thousands of dollars that has a dedicated playback system and a very large overlay, designed for television studios. But here we are in 2021 with more choices than ever, and if you’re like me – needing something that gets you by, without getting fancy – there are tons of inexpensive options. The one I’m looking at today is the Moman MT2 teleprompter for tablets and smartphones.

It makes sense to simply use hardware you’ve already got handy, for scrolling through and projecting the text, right? That’s the most sophisticated part of a teleprompter kit, after all. In this cheap category, it boils down to small teleprompters for smartphone displays, or bigger teleprompters for tablet displays up to 11 inches large diagonally. Since most everyone has a tablet besides their smartphone, it’s a no-brainer to go for the bigger size. Not everyone has 20/20 distance vision!

Narrowing down some more, if the whole rig can be lightweight anyway, there’s no point in having a complex rigging system with rails and brackets to mount everything onto your camera – so, you’ll want something that easily and quickly just hooks onto your camera lens. The Moman MT2, like many (but not all) others, includes adapter rings ranging from 49mm to 77mm to screw into those filter threads on the front of most lenses (though sadly, not at 82mm which I would have liked to use with my Tamron G2 lenses). Then, a bracket on the back of the teleprompter body just slides onto that adapter ring, and you need to rotate it until level. It doesn’t solidly lock into position, but this isn’t an industrial product either.

I’m pairing the MT2 with my basic Sony A6600 and Sony 35mm pancake Zeiss lens, which is a pretty good match: you’ll want a focal length that’s not too wide, not too long. But you’ll be able to make further adjustments. Using the tablet (and smartphone) tray sticking out the front, you’re able to adjust the height of the display surface pointing up, which in turn “zooms” in and out to fill the reflecting surface just right. That mechanism, however, is the biggest flaw of the MT2: the tray is secured by just a single thumbscrew, and the whole tablet/smartphone easily rotates out of position over the course of any session. Moman should have designed the holder with two mounting points so that it’s forced to stay parallel with the teleprompter.

The MT2 comes with free software for Android and iOS, and there are pros and cons to using it. On the plus side, you can use the Bluetooth-connected remote control for starting/stopping scrolling, and adjusting the speed. On the negative side, the software leaves a lot to be desired. It cannot import text from any file format – an incredible omission because it would have been such an easy feature to code. You need to cut and paste from the clipboard of your device, hopping between open apps. My chosen compromise is to use the free version of an alternative app called Elegant Teleprompter. Since it’s not natively compatible with the proprietary Bluetooth remote, I just pair it with a Bluetooth mini-keyboard and assign keys to the necessary functions.

But what really matters, of course, is the ultimate video quality. I was surprised to find it being hardly degraded, under the right lighting conditions. Sure, as with any bare lens in general, if there are angles of light pollution hitting the intermediate reflector in a wrong way, you can get glares/reflections. But in a studio setting where you’d almost always shoot teleprompted scenes, that’s always manageable (less so, outdoors).

Speaking of, if you’re really shooting on the cheap and want to use a smartphone camera as the actual filming device, there is an adjustable top mounting point, and side mounting point, for an included bracket that pairs with various foam mattes to get the smartphone camera lens sealed up to the rear hole for minimal light leaks/pollution.

The kit comes with a mini-tripod, and a nice big drawstring bag, boxed up for retail/shipment. All told, for under a hundred bucks, this does the trick. It’s not rocket science, and you won’t be – shouldn’t be, really – using this too often in your serious nonfiction work. And if you’re using this or anything like it for your scripted dramas – well, you might be in trouble.

October 15, 2021 FocusPulling Original Leave a Comment
16 September 2021

Norm Macdonald reads The Final Chapter from his memoir, reflecting back on his life

Written by Paul Moon

I’ll never forget sitting a few rows from Norm Macdonald, almost exactly five years ago on September 22, 2016 at Sixth & I in Washington, D.C., when he read from his memoir Based on a True Story. Now that we know he had cancer back then too, his reading of “The Final Chapter” might be the best way for us to understand what he went through, to celebrate his wit, melancholy, and kind heart.

He’s sitting next to journalist Geoff Edgers, who wrote the best-ever piece on Norm, then one more “final chapter” at The Washington Post.

Here, I’ve edited and upscaled from a low-resolution copy-of-a-copy-of-a-copy into 4K using Topaz Video Enhance AI (Artemis Medium Quality v13 from 720p to 2160p), then I color graded using FilmConvert (FJ SuperX 400 emulsion simulation with 35mm film grain), and cleaned up the audio using iZotope RX 8 Advanced (Vocal Noise Reduction and Loudness Control). There are no cuts or edits to his original reading, just me leveraging the 4K upscale to occasionally punch in for shot diversity. It felt important to get this right, and it’s shared here in a spirit of fair use and tribute, in memoriam.

September 16, 2021 FocusPulling Original, FocusPulling Original Video Leave a Comment
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