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Blackmagic Design reimagines the HyperDeck Studio

Blackmagic Design HyperDeck Studio Pro
Image courtesy: Blackmagic Design

The HyperDeck Studio line has been very successful for Blackmagic Design. However, according to Blackmagic, it’s time for an update.

Having reached the limit with software updates, Blackmagic recently announced four new powerful models in a fully redesigned HyperDeck Studio line.

The updated line consists of the new HyperDeck Studio HD Mini, HD Plus, HD Pro and 4K Pro. Each model offers notable upgrades to its predecessors. For example, each model can record H.264, ProRes and DNx files to standard SD cards and UHS-II cards — which is great because you won’t have to invest in a custom storage device. In addition to that, they all feature timecode and reference generators with output to look with other HyperDecks. So you can build several racks of various HyperDeck devices, allowing you to sync their actions together. For example, if you hit play on one HyperDeck, they’ll follow suit.

In addition, each model features dual media slots (an imperative feature for broadcast recorders). Dual media slots allow you to hot-swap as your memory cards fill up during recording. Every model will automatically go to the next card when the one currently recording is full, so it’s simple to swap cards.

Blackmagic Design HyperDeck HD Mini

Being the smallest of the bunch, the HyperDeck HD Mini still comes packed with features. It comes with 3G-SDI in and out, HDMI output, AC and DC power inputs and timecode generators. It can also work as a webcam; you just have to connect it to your computer through USB. Also, the HyperDeck HD Mini can record H.264 up to 1080p60 or ProRes and DNxHD up to 2160p30. H.264 files are small, so you can record for a while, even on standard cards.

Blackmagic Design HyperDeck Studio HD Plus

With the HyperDeck Studio HD Plus, you get everything you’d get with the HD Mini model, as well as a few added features and a larger body. Its larger body allows for easier control access since the buttons are wider and there’s more room for more buttons. Feature-wise, the Plus supports 6G-SDI to record and playback ProRes up to Ultra HD 30fps and fill and key playback up to 1080p60. Additionally, it supports HDR and has an SDI loop out. You’ll also notice there is a headphone socket and a built-in speaker for better audio monitoring.

Blackmagic Design HyperDeck Studio HD Pro

The HD Pro model is a beefed-up version of the HD Plus. You get all the same features, but you also have two SSD slots, along with the other model’s two SD card slots. So, with the HD Pro, you can record even longer. There are also transport control buttons and a metal search dial with a clutch. This clutch stops the dial from spinning whenever you reach the end of a menu screen or when you reach the beginning or end of a video you’re playing back. The HD Pro also features XLR connectors.

Blackmagic Design HyperDeck Studio 4K Pro

Last but not least, we have the HyperDeck Studio 4K Pro. It’s essentially the same as the HD Pro version but has 10G Ethernet support and a 12G-SDI with a loop 12G-SDI output, allowing you to play ProRes 4444 files. In addition to H.264 recording for SD and HD (like the other models), the 4K Pro model transitions to H.265 when it’s recording in Ultra HD.

Pricing and availability

Each model is available right now, starting at $495 for the HyperDeck Studio HD Mini and capping off at $1,495 for the HyperDeck Studio 4K Pro.

With the prolonged success of the original HyperDeck Studio line, it’s good to see the line with a fresh new coat of paint. Features like dual card slots, timecode and reference generators make each model a formidable piece of equipment for live broadcast.

Getting more from your smartphone – 5 ways to improve your next video

After significant advancements to mobile technology in recent years, it’s no longer a question of if smartphone hardware can capture professional-level video. How you construct your shot and the gear you use now determines the quality of the video you shoot on your smartphone. The JOBY GorillaPod Mobile Vlogging Kit can help you shoot professional videos thanks to its highly versatile design and flexibility. With the JOBY GorillaPod Mobile Vlogging Kit and these five production tips, you’ll make the most out of your smartphone’s camera.

Keep your camera steady

Since smartphone cameras don’t have the same in-body stabilization as most dedicated cameras, you experience much more camera shake. Camera shake lowers the quality of your video and can make it look distorted and blurred. So, it’s best to negate as much shake as you can.

To keep your smartphone steady throughout the entire shot, consider using either a tripod or handheld stabilizer. Tripods help prop up your camera on solid surfaces, and handheld stabilizers are great for keeping your camera steady when vlogging. Conveniently, the GorillaPod Mobile Rig can be either a tripod or a stabilizer. The rig’s flexibility allows you to keep your camera steady in a variety of situations.

Make sure you have good lighting

Good lighting is just as important, if not more important, than the camera you use. Since smartphones have smaller sensors than traditional cameras, they tend to capture less light. So, to correctly expose your scenes, you will need adequate amounts of light to capture more detail with your smartphone camera. If you can, plan your shoot during the day — this way you can use natural light to your advantage. It is, after all, an excellent method for achieving natural, flattering-looking skin tones. 

However, you may want to be careful not to get too much light and run the risk of overexposing your shot. If you’re shooting indoors, try shooting near a window so you can use the natural light coming through.

If you need extra light inside or your shooting at night, use a portable LED light. These products are powerful enough to light your subjects and are portable enough to carry around with you. When choosing a light to use, you will want something that’s able to emit the ideal color temperature you desire for the scene. JOBY’s Beamo Mini LED emits 5100K, replicating daylight sun in the process. Therefore, you can get all the benefits of daylight sun, no matter where you are or what time of day it is. 

You can also use a diffuser to soften the LED’s light to achieve the same natural skin tones you’d get using sunlight. And, if the light is still too intense for you, you can adjust the light’s intensity in the JOBY app.

Work on your composition

How you frame your shot plays a significant role in the visual quality of your video. To improve your framing, implement the rule of thirds whenever you’re setting up your shot. Keep your subject away from the center of the frame because it will make the composition look more visually attractive. Additionally, it would be best if you shot a variety of unique camera angles of the same scene to spice up the flow of your video. You can do this with the GorillaPod Mobile Rig, thanks to its flexible legs.They allow you to either hold it, wrap it around something or stand it up. So, you can try many different angles to change up the flow of your video.

Capture quality audio

Audio is vital to the quality of your video. Good audio allows your audience to hear what your subjects are saying and better understand what’s going on. However, built-in smartphone microphones don’t capture the best quality audio. You can place your smartphone’s microphone closer to your subjects so their voices are clearer, but that can limit the type of compositions you can do. It’s best to use a mobile microphone, like the JOBE Wavo Mobile microphone. When paired with the Windjammer, the mic captures clear audio while reducing unwanted background noise.

Use a portable setup

Smartphones are portable — by comparison, heavy setups can make it challenging to shoot on the go. When packing for a shoot, bring only what you need. The Mobile Rig has removable arms, so you only need to hold what you need. Also, with all of your gear attached to the GorillaPod Mobile Rig, it’s easy to carry around — even with one hand.

A new approach to portable vlogging

With these five production tips, you have the tools that could lead to a dramatic improvement in the quality of your mobile video. Additionally, the JOBY GorillaPod Mobile Vlogging Kit can help you carry out each of these tips with its versatile, portable design and pro-level features.

Learn more at: JOBY.com

When do you need a model release form?

Whether you’re working on a documentary, hip-hop music video, social media ad or anything in between, remember that if you’re going to be recording people, make sure they sign a model release form. This basic-but-crucial step gives you permission to use footage of that person, control over what you can ultimately do with the final product and peace of mind that you’re protected from unwanted future lawsuits.

What can happen if you don’t have a model release form signed? Your subject can get cold feet right when you decide to publish and distribute your final product, effectively precluding you from using any footage or soundtrack of that person. If they’re central to your video, that can be a disaster. If you publish the work, your subject can come to you after the fact and demand compensation or can force you to take down the content if they suddenly don’t want their likeness publicized. We strongly recommend you have a video release on hand at the beginning of each shoot and make sure your subjects sign it before moving forward with the project.

Use this four-step checklist to determine if a model release form is needed. First, ask yourself, “can I identify the subject as a unique person or thing?” If not, you will not need a photo release. With individuals, the photo release is called a model or talent release. If your actors are identifiable subjects, they should sign model releases, but people whose faces the camera never captures, need not.   

Next, “how will this photo be used?” If your video is to entertain the public or if you are shooting for commercial purposes, you will need photo releases. On the other hand, newspapers, TV news stations, online reporters and photojournalists aren’t required to obtain permission to take people’s pictures at newsworthy events. They are considered editorial sources rather than commercial operations. Their chief purpose is to inform and educate. So, if you’re shooting for editorial purposes for a news organization, generally you shouldn’t have to have permission or releases.    

Next, “is the video to be taped on public or private premises?” The owners of private areas, such as homes and corporate buildings, generally have more rights than do caretakers of public settings such as streets, museums and zoos. In other words, taping on public property may not require a photo release, but taping on private property generally does.

Lastly, “will there be compensation?” If you don’t pay your actors, the release may not actually be an enforceable contract. In California, for example, the release is considered merely a “gratuitous promise.” Look up your state’s requirement for compensation. Be safe and pay each of your actors at least a dollar.  

Right of privacy

People in public have limited rights of privacy. The more famous the public figures, the stronger your right to shoot them.

But even if you are not starting a production company or trying to sell a shot to a stock media site, if you plan to use images of unknown people you will need model release forms. That said, it’s a good idea to have them signed at the beginning of your shoot.

Be sensitive to people’s privacy in public if what you’re covering is a tragic event such as a car accident, house fire or medical situation. Shooting the medical personnel, firefighters or police isn’t generally a problem, but shooting the victims is. Often, news people will shoot half-angles of faces they want to obscure. While video recording police in the line of action is your right, if they and you are on public property, and if you are obstructing traffic or endangering others or preventing them from doing their job, they can take action against you.

Private property 

As long as you are in a public place, you might not need to get a location release but you might need permits to shoot. Many city and state governments have film commissions that run the video red-tape for location shooting permits. Here is a link to a Videomaker forum that directs you to the U.S. Film Commission offices in each state.

Each state’s office can tip you to the specific city office. When you need to gather permits for location shooting, plan far enough in advance, and let the commission(s) know the exact times and dates for your shoot, along with the amount of gear and the number of anticipated crew members. Will you need to shut down streets? Entrances to public buildings? Parks? This requires even more red tape, so have your needs all planned as well as a budget for possible processing fees.

Shooting on private property requires permission of the owner or authorized agent. Places like your local museum, mall or zoo might seem to be public property, but they aren’t and they have rules for photo and video that are usually printed in the fine print on the back of your entry ticket. If you are shooting for only a day in the park with family and friends, even if you plan to post it to YouTube, that will generally be permitted, but if you are shooting for commercial purposes, you might not be able to proceed without permission. When you are selling your images for anything other than editorial (educational or informational) coverage, the property owners might simply not want you to create a commercial product.

When do you need a release?

In summary, here are reasons you will need to have signed model release forms. 

  1. If you are using a person in your video for a commercial video.
  2. If the event you are shooting isn’t at a public venue – that is, if the event is private, even if it’s in a seemingly public place. 
  3. If the event is private, you might need permission from the owner or agent of the property, but that can be implied or agreed upon with the person or organization that is booking the venue. 
  4. Places that appear to be public but aren’t, like a ballpark, amusement park and other large private venues.  
  5. You shoot someone (unknown or celebrity) in a public place who happens to be holding a can of Pepsi Cola, for example. You can use that image, except if you are using it as an advertisement for that, or any other company. 
  6.  When someone’s face is seen in an advertisement or endorsement or as a representative of a business, product or service. 
  7. If an advertisement or endorsement includes any company or product trademark or a recognizable building.
  8. If the shot was taken on or of private property.
  9. If the shot was taken on public property of events happening on private property, like a wedding, people having a barbeque, inside someone’s home without their knowledge or consent.
  10.  Shooting minors, especially very young children, under any circumstances without their guardian’s consent.

Where can I find a model release form?

Most of your shooting will be non-editorial, which means you should carry a supply of talent releases. The appropriate release should be considered a standard item of video production, like extra batteries. Many places have sample forms, including from Videomaker. We sell a “Book of Forms” that has samples of every form you can possibly think of, from a model release form template to a talent release form, to video production shooting lists, location release forms, video production costs checklists and production tracking lists for starting a production company. Some of these can be downloaded individually on our site: https://www.videomaker.com/l/book_of_forms. The entire book can be downloaded or purchased as a printed copy with a CD of forms. 

This link will take you to one online release form offered on the Videomaker website. You can check out our “Videomaker Complete Book of Forms” here.

Spoken agreement

When you don’t have a written release, or are interviewing a lot of people in a very short time, you can sometimes get away with a verbal release. Have the person read a short script while on camera. That verbal agreement must include the person’s name, the date, the video production company or producers’ name and clearly defined understanding of what the shoot is for. Here is an example:

(Read this aloud)

I, __________________, give _______________ the right to use my name, likeness, still or moving image, voice, appearance, and performance in a videotape program. This grant includes without limitation the right to edit, mix or duplicate and to use or re-use this videotape program in whole or part. I acknowledge that I have no interest or ownership in the videotape program or its copyright. I also grant the right to broadcast, exhibit, market, sell, and otherwise distribute this videotape program, either in whole or in part, and either alone or with other products for any lawful purpose. In consideration of all of the above, I hereby acknowledge receipt of reasonable and fair consideration.

Remember, unless the photo release states commercial use, the signed release may not be sufficient to use the footage to sell goods or services.

What happens if you fail to obtain a photo release but choose to make and use the video anyway? If this happens, make sure you obtained the photo without trespassing on private property. Photo releases fall under the First Amendment, but you do not want to violate an individual’s right of privacy or publicity. If, as a videographer, you have obtained an image of a clearly identifiable person or object, you can remove identifiable features (e.g., tattoos), if possible. Some videographers digitally alter the image, which is why you see blurred or silhouetted shots, especially on broadcast news footage. Feel free to use the following form for your talent’s signature and date.


PHOTOGRAPHER NAME: ____________________________

LOCATION: _______________________ DATE: ___________________

For and in consideration of benefits to be derived by me from the participation in activities of ____________________ (the Photographer), including, but not limited to, the above listed photo/video shoot, I, the undersigned Participant, hereby authorizes the Photographer, and any agents, officers, employees or servants of the Photographer, to record and photograph my image and/or voice for purposes that include, but are not limited to, the creation of educational and/or other informational materials, entertainment or teaching. I consent to my name being used with my photograph or moving image. I specifically acknowledge and agree that any photo and/or video appearance of me may be displayed online and used in any manner or medium and for any purpose desired by the Photographer.

I understand and agree that these audio, video, film and/or print images may be used, edited, duplicated, distributed, reproduced, broadcast and/or reformatted in any form and manner without payment of fees to me or to anyone else on my behalf forever, and I hereby relinquish all right, title and interest therein to the Photographer.

I release the Photographer and any agents, officers, employees or servants thereof from any and all liability relating to the taking, reproduction and/or use of such photographs, video images and/or sound recordings. I hereby certify that I am at least 18 years of age and that I am legally competent to sign this form. If I am under the age of 18, I have had my parent or legal guardian sign this form, below, along with myself.



Living in a free country like the United States, you might have the right to shoot almost whenever, whoever or wherever you want. But the person or owner of the location that you are shooting has rights to privacy, and their rights can supersede yours. Use your model release forms and location release forms wisely. 

Canon might be developing a quirky new smartphone tool

A new Canon patent has recently been spotted, offering insight into the company’s apparent plans to develop a smartphone tool to enhance your device’s ability to take photos and video.

First found by Canon News and later reported on by publications like PetaPixel, a patent dating back to July 15, 2021 reveals blueprints for “an imaging device” that resembles a telephoto camera accessory designed for smartphones. Canon has yet to confirm the development of any such device and likely won’t. But from the looks of it, Canon may be attempting to build an attachable camera for your smartphone complete with the ability to swap lenses, be operated remotely and work entirely on its own if need be. 

It’s all strictly speculation at this point, so you’d be advised to take all of this with a grain of salt. That being said, here are a few inferences about Canon’s unannounced product based off of the details in this newly-discovered patent.  

It’s less of an accessory, more of a standalone device

A quick Amazon inquiry opens the door to an overwhelming amount of clip-on camera kits for smartphones. In a nutshell, they’re add-on, inexpensive smartphone tools that aim to improve the capabilities of your phone’s built-in camera.

This mysterious Canon product is not that. Or, at least, it doesn’t seem to be. With features like onboard storage for JPEG images and video files, as well as a processor that’s allegedly capable of adjusting various settings like color space conversion, gamma conversion, white balance and more, it’s fairly clear that this will be an actual camera rather than an accessory to an existing camera.

While the designs do depict a spot meant for a smartphone and the product to connect to each other, it sure seems like the phone will be attached to this device rather than the other way around. From the extremely limited information currently available, the smartphone in this setup will likely act as a field monitor rather than the device that’s actually capturing photos and video. 

It will likely be a niche, not-cheap addition to Canon’s lineup

As PetaPixel points out, Canon is no stranger to out-of-the-box devices. The PowerShot Zoom, a $300 telephoto monocular, and the PowerShot PICK, an AI-powered camera that will supposedly survey environments and automatically take pictures, are just a few recent examples of Canon’s oddball additions to its roster. This new device would certainly fall into that category, though it may prove more useful than either of its predecessors. 

It also won’t be cheap, at least not if it falls in line with the PowerShot Zoom or the PowerShot PICK (which is said to ship with a price tag around $400 later this year). 

Will creators who primarily use their smartphones to capture content be intrigued enough to spend this kind of money on a smartphone tool like this? Maybe! There honestly aren’t enough details to make any kind of determination here. Without a release date (or confirmation, for that matter), the only thing to do is wonder about the possibilities of Canon’s creative new project. 

Here are the new Blackmagic Studio Camera’s key features

Blackmagic Studio Camera announced
Image courtesy: Blackmagic Design

High-scale live broadcasting equipment, while powerful, is often too expensive for many smaller broadcasting productions’ budgets. Blackmagic, a company that prides itself on developing affordable broadcasting equipment for smaller productions, recently announced two new live broadcasting cameras: the new Blackmagic Studio Camera Pro and Plus models.

The new Pro and Plus models look to take all of the advantages you’d get from a high-scale broadcast camera and fit them in compact, affordable bodies in order to be much more accessible to smaller productions.

Here are some of the key highlights of the two models:

The Blackmagic Studio Camera has impressive low light performance

Both Blackmagic Studio Cameras Pro and Plus models have an impressive ISO (the measurement of the sensor’s sensitivity to light). Higher ISO adds more gain, allowing you to shoot in darker situations. The Blackmagic Studio Camera features gain from -12dB (100 ISO) up to +36dB (25,600 ISO). One downfall to shooting at a higher ISO is a higher noise count. However, Blackmagic Design says the two models reduce the noise at full dynamic range of the sensor.

Blackmagic Studio Camera
Image courtesy: Blackmagic Design

Built-in color correction on the Blackmagic Studio Camera

With their 4K sensor, the cameras feature Blackmagic Design’s generation 5 color science. Each model has a built-in color corrector (which can be controlled from the switcher as well). You have access to 13 stops of dynamic range and can apply 3D LUTs. Considering the cameras’ sensors feature a resolution of 4096 x 2160 (with support from 23.98 fps up to 60 fps), you should have a lot of flexibility in post.

The Pro model features strong audio recording

According to Blackmagic Design, the Pro model reimagines what we can expect from on-camera audio. The Pro model has 2-channel balanced XLR inputs supporting +24 dBu line level and has a low noise microphone preamplifier with P48 phantom power.

Both models use photographic lenses

This might come as a surprise to broadcasters. Typically, high-end broadcasting cameras use B4 lenses. When developing the Blackmagic Studio Camera, Blackmagic Design decided B4 lenses aren’t as good of a choice of camera — noting their heavy weight and high price tags. So, they chose to use MFT lens mount photographic lenses instead, keeping the overall payload lighter.

Additionally, to make the experience feel closer to using a B4 lens, Blackmagic Design offers optional Zoom and Focus Demands. You attach the Zoom and Focus Demands to the tripod’s handles and can adjust the focus and zoom without needing to reach around the camera and adjust manually.

Blackmagic Studio Camera back
Image courtesy: Blackmagic Design

The Pro model supports talkback

The Pro model features SDI connections that include talkback. So, if you have a switcher operator on set, they can communicate with the camera throughout the entire live broadcast. The camera’s talkback connection supports standard 5-pin XLR broadcast headsets and uses audio channels 15 and 16 in the SDI connection between the camera and the switcher.

Shared specs between Pro & Plus models

  • Up to 25,600 ISO
  • Native 4K sensor with 13 stops of dynamic range
  • Compatible with MFT lenses
  • 7-inch high brightness viewfinder
  • Features parameters, histogram, focus peaking indicators, levels and frame guides
  • HDMI support
  • USB-C port allows recording directly to external disks
  • Blackmagic RAW recording
  • Built-in stereo microphones with wide separation
  • Mini XLR inputs with 48 volt phantom power
  • Tripod mount
  • 12V DC
  • USB-C expansion

Specs unique to the Pro model

  • 12G-SDI in / out
  • 10G Ethernet support
  • 5 pin talkback
  • XLR audio inputs
  • Built-in speakers
  • HDR displat

Pricing and availability

Both models are available right now. The base Blackmagic Studio Cameras Plus model costs $1,295, while the Pro model costs $1,795. The Plus and Pro models both look pretty capable. The Plus model offers many of the same core features but lacks a few features, such as the Pro’s audio specs and its higher quality viewfinder.

Still, if you want to save $500, the Plus looks like a great option. If you want to get the whole experience but still want an affordable broadcast camera, the Pro seems like the best choice on paper.

AJA adds Apple M1 support with new SDK 16.1 update

Image courtesy: AJA

This week, AJA unveiled the new SDK v16.1 update for KONA, Io, and T-TAP Pro. On paper, the update looks like a big one, adding new enhancements across the board for broadcast, production and post workflows.

Let’s break down everything in this update:

AJA launches native Apple M1

The SDK v16.1 update brings native Apple M1 support to AJA KONA, Io, and T-TAP Pro users and AJA’s Developer Partners. Now, users can benefit from the massive performance and speed boost they get from the Apple M1 chip when performing video I/O tasks.

AJA Control Panel enhancements

AJA also refreshed its Control Room’s interface, removing a lot of clutter and replacing it with a more simplified design. According to the company, the interface’s controls are more easily recognizable. On top of this, you can customize the layout of the Control Room to your liking. You can also save user presets as well.

Plus, you can get additional GUI feedback in the Control Panel when “Auto” has resulted in single modification. So, it’s now easier to understand the results you get.

More support with Telestream Wirecast

Additionally, AJA added more support for Telestream Wirecast. Desktop Software v16.1 opens up more options in MultiChannel Config. The update adds 12G-/6G-SDI input support and extends audio input support for KONA, Io, and T-TAP Pro products with Telestream Wirecast.

Update breakdown

  • Native Apple M1 support for AJA’s macOS drivers and application plug-ins, Control Room, Control Panel, and System Test and NMOS software
  • Improves Telestream Wirecast support (K via 12G-/6G-SDI, Digital AES Audio Input, and Analog (Line Level Audio Input)
  • Enhancement to the AJA Control Panel (new customizable interface, saveable user presets, etc.)
  • V4L2 updates for KONA HDMI
  • 64-channel audio support for NTV2 SDK


AJA Desktop Software v16.1 is available now. So, if you want to download it, you can do so for free on the copmany’s support page. 

Drone-like shot without the hassle? Now it’s possible thanks to Manfrotto’s Gimbal & GimBoom system

Around these parts, it’s universally accepted as fact that drones are just awesome. However, there are certain situations where drones may not be ideal, or simply not the best tool for the job. Infact, there is a current trend of making fake drone shots with DIY solutions. In this article we’ll discuss how to get drone-like shots without the hassle of a drone and why the Manfrotto Gimbal and GimBoom system is a great solution. 

Situations where drones are not the right tool or not allowed

Let’s set the scene. Say you find yourself shooting a wedding and need to capture a shot that would typically require you launching your drone into the air to get. However, the buzzing of a drone is most likely too distracting for an event like a wedding, not to mention the potential safety concerns that come with operating a machine over a crowd of hundreds of people. Instead of getting your drone airborne, Manfrotto’s Gimboom can help you get that same shot faster without even taking your camera off the gimbal. 

Weddings are just one example, of course. The GimBoom is a solid option for any time you want a quick shot with a different perspective, but don’t have the ability to break out your drone to get it. Maybe you’re in an area where drones aren’t allowed, or maybe the production you’re working on can’t afford the additional production time. 

Additionally, if you don’t yet own a drone, the GimBoom means you won’t necessarily need to set aside the budget to invest in both it and the liability insurance you’ll need to fly it. Essentially, the GimBoom is an effective way to offer drone-esque shots without having to navigate a drone-esque price tag.

Drone shots without the hassle

Connecting to the bottom of a one-handed gimbal like the Manfrotto MVG220 or MVG460, the GimBoom extends the reach of your camera. Let’s go over all the shots where drones could certainly be used, but where the Gimboom might be a better choice. 

Establishing shots

The establishing shot is found at the front of a scene to, as the name suggests, establish the location. This creates the setting for the viewer to gain spatial perspective. First and foremost, an establishing shot is a wide shot that establishes the setting of the scene.


A follow is as it sounds – you follow a subject. This incorporates a different perspective compared to how we see the world. An example of this kind of shot could be following a bride down the aisle during a wedding, or chronicling a character as they walk through a scene in a film production. 

Low to high (high to low)

Low to high or high to low is a typical boom/jib shot. The camera goes from very high to very low, or vice versa. A great way to pull off this kind of shot is to put something in front of the starting point of the shot to reveal the setting. 

Over the top

This is a shot over the top of a subject, but looking straight down on it. An instance where you’re hoping to showcase a delicious plate of food, for example, would be a great scenario to implement an over-the-top shot. 


A fly-through is where the camera goes through an object. This is a forward or backward movement going through some kind of frame. A simple example of when this kind of shot is typically used would be when following a subject as they move from inside to outside through a door frame.


In a nutshell, the pedestal shot is a rise or fall of the camera from a static position. The up and down movement gives the shot dynamics without getting closer to the subject by changing the focal point.

High Pan

A high pan is just a pan in the air for a higher perspective, either turning from left to right, or right to left. 

Manfrotto’s solutions

The Manfrotto Fast Gimboom and Gimbal series were chosen as the TIPA’s pick for best gimbal system

Fast GimBoom

The Manfrotto Fast GimBoom Carbon Fiber (MVGBF-CF) extends the reach of a gimbal so that the camera can reach a higher and different perspective. It allows for stable shots because of the attached gimbal. It is designed for Manfrottos 220 and 460 Manfrotto Gimbals, but also adaptable to most gimbals on the market that are equipped with either a 3/8” or a 1/4” thread at the base of their handle. Plus, it has a payload of up to 14.3 pounds and uses Manfrotto’s FAST twisting lock technology to extend length with a single hand for quick use. The GimBoom fully extends to 42.27 inches, weighs just 1.76 pounds and is built from carbon fiber.

Manfrotto gimbals

All Manfrotto gimbals are independent locking: each axis is equipped with a lock. They have a quick installation system without levelling. They also have different modes that include: TikTok Portrait, Selfie, Inception or Time-lapse.


The MVG220 is a professional 3-axis gimbal that can hold up to 4.85 pounds. It is a good fit for small-to-medium sized mirrorless cameras, and comes with a detachable handle that is handy for switching to a different shooting option.


In addition to the standard Manfrotto gimbal features, the MVG460 is a professional 3-axis gimbal with a weight capacity of up to 10.1 pounds. It’s a good fit for heavier setups.

It might be easier to get that shot than to break out the drone

The next time you need a shot that a drone can get, ask yourself: do you really need to use a drone, or could it be easier if you could do it without the hassle? That’s where Manfrotto’s Gimbal & Gimboom system comes in.

Learn more at: www.manfrotto

6 tips and 5 shots that will instantly improve your drone photography

Today after watching this video, the images you capture with your drone are going to be a lot better. By applying these six tips, you will be ready to shoot anything that comes your way. You’ll know your rights and your local laws, know where the sun will be when you shoot and have a plan for prolonged flying. Through lowering the contrast on your drone, your shots won’t be plagued with overly dynamic shots. With proper composition and a commitment to your shot, the shots you take will look better and be long enough for you to use them.

Make sure to try all five shots, so you’ll have them mastered the next time you need to use them. Use the horizon flyover, 45 degrees down flyover and straight down flyover over a shopping area and see what you like best. Next try a simple leading lines shot, find a straight road you can fly over and try using the rule of thirds to place the rode in the frame. Lastly, try to master the orbit manually. Through flight time, your shots will continue to get better and better every time you go out.

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Premiere Rush vs Pro: which Adobe tool should you use?

Image assets: Adobe

Adobe is one of the largest and most widely used creative software companies in the world. From novices to Hollywood professionals, video editors from around the globe use the Adobe Creative Cloud to complete the work they do. Two of the collection’s most popular applications amongst video creators are Adobe Premiere Pro and Premiere Rush.

While both applications are video editing software, they work best in different situations. If you’re just starting in Adobe Creative Cloud, it can be a little confusing to know which application is best for your needs. Here, we’ll go over each application, the differences between Premiere Rush vs. Pro and help you decide which application you should use and when.

What is Adobe Premiere Pro?

Premiere Pro is Adobe’s heavy-hitting, flagship editing software for many professional video editors. The software, the follow-up to Adobe Premiere (released back in 2003), is a timeline-based video editing application. Essentially, that means all your media (video clips, audio, graphics, etc.) are layered onto Premiere Pro’s interface linearly and progresses horizontally as you move later in the timeline.

Many professional-level productions (in commercials, film and television) use Premiere Pro to create pro-level edits. For example, Tim Miller and his crew edited the R-rated superhero movie Deadpool entirely in Premiere Pro. It was also used to edit Terminator: Dark Fate, Hail, Caesar! and Mindhunter.

Premiere Pro comes with everything you’d need to make a professional edit. It comes with a dozen customizable effects, presets and an interface that you’d be hard-pressed to find something similar video editing software.

Some of the key features of Premiere Pro


Keyframes are one of the most essential features of Premiere Pro, and they’re something that sets the software apart from most editing applications. They allow you to make many edits to clips and graphics on the timeline. For instance, if you want a graphic to fade in at an exact frame and move at precisely four seconds after appearing in frame, you can do that in Premiere Pro with exact accuracy. Every single clip and effect you create in Premiere, you can keyframe them, giving you immense control.

Comprehensive color editing tools

While Premiere Pro offers a few color presets, you can dive deep into color edits and customize the look of your clips. You have access to tools like RGB curves and can adjust shadows, mid-tones, and highlights. You can also save color edits as presets so you can quickly apply the same color grade to multiple video files, saving you lots of time in post.

Support for multiple file formats

Premiere Pro supports a wide variety of native video formats. So, you don’t have to go through conversion to ensure your files are supported. It saves you a lot of time when you’re adding in media files.

Who should use Adobe Premiere Pro?

Premiere Pro is an application for video editors wanting to make an edit that goes past the standard adjustments you would do on standard software. If you’re new to video editing or Premiere Pro, loading into the program for the first time can feel like being thrown into a cockpit without knowing how to fly a plane. Admittedly, there’s a lot to Premiere Pro and it can be overwhelming for beginners. While Premiere Pro can do all of the basic editing functions, like trimming or overlaying music, it might take a little while to learn Premiere Pro to get the edit you want.

What is Adobe Premiere Rush?

Premiere Pro is the video editor featuring all the tools you’d ever need – comparatively, Premiere Rush is a trimmed-down, simpler video editor. As the name suggests, Premiere Rush is an application for quick edits on videos. While it is much simpler than Premiere Pro, that’s isn’t necessarily a bad thing. Anyone can pick up Premiere Rush and start editing videos with little to no prior experience. It features a timeline to add in a set number of video clips and a few audio and graphic layers.

Some of the key features of Premiere Rush

Basic clip editing tools

Like many other basic editing applications, Premiere Rush can do basic video edits on clips. This includes cropping, rotating, resizing and color correction. However, its color correction is slightly more comprehensive than the standard editor. It offers a few color grading presets and there are a few sliders you can adjust to get the look you like.

Audio tools

Premiere Rush also features a few audio adjustment tools. You can control the volume of different media files. For example, you can turn down a music file and increase the audio of a video clip. Additionally, there are tools to reduce noise and balance sound.

Mobile App

Premiere Rush shines when you use it with its mobile app. Available for iOS and Android, the Rush app allows you to either do an entire edit or start your edit on the go. This is highly useful for video professionals who travel a lot. Creators can create videos for social posts right on their smartphones. Also, video professionals can trim their clips while traveling, preparing them for a more extensive edit in Premiere Pro.

Who should use Adobe Premiere Rush?

Adobe Premiere Rush is an excellent program for beginners or those looking to do quick edits on their videos. It offers all the tools you need to make a clean, concise edit for posting on social media. Online creators who just need to do basic edits on their videos may want to use Premiere Rush, especially if they’re on the go. The Rush app allows anyone to start edits right on their phone and finish it on mobile or desktop.

Premiere Rush files can also be converted into Premiere files. So professionals can start in Rush, do basic edits and later import the files into Premiere Pro. It’s a great starting point for professionals who may be traveling and want to get started on editing.

Should you use Adobe Premiere Pro or Premiere Rush?

Adobe Premiere Pro and Premiere Rush are both helpful editing tools. They’re just beneficial in different situations. Premiere Pro is Adobe’s flagship video editing application; it’s got nearly everything a professional video editor will ever need — which is excellent for more complex edits, but might be a little overkill for basic edits. Not everyone needs to pull out the big guns every time they need to make an edit on a video. For instance, trimming clips down to share on social media can be done in Premiere Pro, but it can probably be done faster in Premiere Rush. However, its inclusion of color correction, graphics and keyframes makes Premiere Pro a top-tier editor and only limited to the skill level and creativity of the user. However, what it lacks is simplicity and mobility. This is where Adobe Premiere Rush comes in.

Rush has all the fundamentals you would desire in video editing software. You can import media into its timeline, trim video clips, do basic color correction, add preset graphics and incorporate audio tracks into the project. Rush is an excellent software for people wanting to make a quick edit on their video or content creators making an edit on their video to share to social media. Additionally, Rush has a companion mobile app. You can start edits on your phone while traveling from set and finish them later on your desktop (since Premiere Rush saves to the Cloud.) Where Premiere Pro’s strength lies in its expansive library of tools, Rush shines in its simplicity. It won’t take long to learn the application to make a decent edit.

Two solid video editors – a good problem to have

Premiere Pro and Premiere Rush are each great in their own way when it comes down to it. The one you choose to use will depend on your workflow and the job you’re working on. If you need a more extensive, complex edit, Premiere Pro is the way to go. If you want to make a quick edit or prepare your footage for a more expansive edit later, Premiere Rush is the better choice. Regardless of what you choose, both programs can help you create professional-level edits on your videos.

The Sony ZV-E10 vlogging camera’s top 5 features

Sony ZV-E10 in use
Image courtesy: Sony

Sony’s ZV-E10 camera, the company’s latest camera release, looks like an intriguing new option for vlogging professionals and content creators.

Let’s take a look at the top features of the Sony ZV-E10:

ZV-E10 should deliver high quality video

Being that it houses an APS-C Exmor CMOS sensor with a BIONZ X imaging processing engine, the Sony ZV-E10 looks to deliver higher quality than most vlogging cameras on the market. Many vloggers settle for smartphone cameras but, by comparison, the ZV-E10’s sensor is about 10 times larger than a smartphone, allowing it to capture much more detail and produce a higher quality image. Additionally, it supports more cinematic depth-of-field control and HDR along with lower noise levels.

The Sony ZV-E10 oversamples 6K to produce 4K video at 30p. Oversampled 4K video from 6K video retains more detail than 4K video shot standardly, so the image quality should be more detailed than the standard 4K camera. It also features a few functions like HLG (Hybrid Log Gamma) and S-Gamut3.Cine/S-Log3, S-Gamut3/S-Log3. The camera also has an interchangeable lens mount, which is unique compared to similar vlogging cameras. So, you’ll be able to swap out lenses depending on the situation and your desired look.

Sony ZV-E10
Image courtesy: Sony

Flexible autofocus on the ZV-E10

The ZV-E10 camera supports both phase-detection and contrast-detection autofocus, allowing the camera to be helpful in various situations. Phase-detection is ideal for keeping fast-moving subjects in focus, whereas contrast-detection is best when you want more accurate autofocus in live-view. It’s slower than phase detection, but it’s much more accurate. So, the ZV-E10 is ready to capture both fast-moving subjects as well as still life, landscapes and portraits. You can also fine-tune their settings to your liking.

Additionally, the ZV-E10 features real-time Eye AF for humans and real-time tracking. So, when you’re behind the camera, Sony claims the camera will keep you in focus as you move around the frame.

Vlogging features

Sony designed the ZV-E10 camera with a few vlogging-specific features. For instance, the camera has a vari-angle LCD screen, allowing you to see the camera’s framing while being in front of the camera. Weight-wise, the camera is just 12 oz (0.75 pounds) and measures out to be 4.53 x 2.52 x 1.76. It seems to be a highly portable camera that shouldn’t present a problem to carry around with you.

Sony ZV-E10 with gear
Image courtesy: Sony

Livestreaming capabiilties

You can turn the ZV-E10 camera into a webcam through USB. It supports the UVC/UAC standards and sends image and audio outputs to PC or smartphones. There’s no need for a video capture card and you don’t need any special software or app. Overall, its livestreaming seems simple to set up and it will likely save you some money thanks to not needing a capture card.

Lots of options for audio

Capturing clear, quality audio when you’re out vlogging or livestreaming is very important. The Sony ZV-E10’s audio functions, on paper, seem to have the goods to help creators deliver professional audio. It features a Multi Interface (MI) shoe. Also, it supports low-noise digital sound recording and operation without connecting cables or a power supply. You can connect the latest wireless microphone and lavalier microphone through the MI short connection.


  • APS-C CMOS sensor
  • BIONZ X processing engine
  • 4K 24p/30p full pixel readout video and 6K oversampling
  • HD 120p with full AF/AE
  • S-Gamut3.Cine/S-Log3, S-Gamut3/S-Log3
  • Fast hybrid AF, Real-time Eye AF, Real-time tracking
  • Face priority AE
  • Electronic Image Stabilization
  • Natural skin tones and soft skin effects
  • Built-in directional 3-capsule mic with windscreen
  • Digital audio interface through MI shoe
  • 3.5mm headphone and mic jack
  • Vari-angle LCD with touch operation
  • USB webcam compatible (UVC/UAC)
  • Livestreaming via USB
  • Battery life: 80 minutes or 440 images

Pricing and availability

The Sony ZV-E10 releases this August for $699 (body only).

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