Best Lens For GH4: 6 of the Best Lenses for the GH4

Best Lens For GH4: 6 of the Best Lenses for the GH4

Panasonic’s GH4 might seem like just a camera on the outside, but it represents more than that. When it was released, it became the first consumer viable camera that could shoot videos in high-resolution 4K format. We’ll be covering the best lens for GH4 in this article, along with discussing the pros and cons of each along the way.

The end of the sixth season of the TV series House was shot partly with the Canon 5D Mark II. Since then, the Canon 5D Mark II and its successors have been considered by many to be the standard for small, affordable, high-quality film devices.

Indie film productions, video reporters, event filmmakers – many use the EOS series as a professional camera for photography and filming. And these cameras have really revolutionized what we can do with affordable lightweight cameras.

And then along came the Panasonic Lumix GH4.

As mentioned, it was the first commercially accessible camera that can shoot videos in high-resolution 4K format. Panasonic’s camera is all about filming first and foremost. There are countless modes and settings and we’ll cover some of those later in the article.

For now, let’s take a look at what we consider the best lenses for GH4.

The Best Lens for GH4

If you want to get the best out of your Lumix GH4, you’ll need more than one lens. This will enable you to cover multiple focal lengths and shooting situations.

Here are our picks for the best lenses for the GH4.

This telephoto lens is really worth a look. The Olympus M.Zuiko Digital ED 40-150mm f / 2.8 Pro lens is a convenient and very compact, by the standards of its class, lens.

This is the tool that should be in the arsenal of every owner of the mirrorless Olympus GH4, especially those videographers who work on a range of different types of projects.

It is no coincidence that this zoom lens was released next to M.Zuiko PRO series after the “regular” zoom of M.Zuiko Digital ED 12-40mm f / 2.8 PRO.

As in other systems, these two lenses make up a classic pair that allows you to cover a large range of focal lengths and get professional-quality work. Whether you’re working promotional video projects, narrative film or event work, this represents an awesome 1-2 combo.

Highly recommended by us.

Universal zoom lens Panasonic LUMIX G VARIO 14-140mm f / 3.5-5.6 ASPH. POWER.OIS provides a wide range of 14-140 mm (the equivalent of 35mm: 28-280 mm).

The optical scheme of the lens consists of 14 elements with a multilayer coating in 12 groups, including three aspherical elements and two ED elements made of glass with ultra-low dispersion.

It should be noted that Power OIS Image Stabilizer is twice as effective as Mega OIS Metal Bayonet.

This covers the wider focal lengths, and so represents more variation than the 40-150mm lens already discussed. However, you’re compromising on aperture in order to have that greater distance.

Let’s talk Tamron. The Tamron 14-150mm F / 3.5-5.8 Di III VC is a really useful lens that represents a more budget friendly alternative to the above-mentioned 14-140mm. You’re also getting an extra 10mm in focal distance at the top end, too.

The lens with a range of equivalent focal lengths of 28-300 mm is equipped with an autofocus stepper motor and an optical stabilizer. At the same time, its weight is only 280 grams.

The optical circuit unites 17 elements in 14 groups, one lens from a low-dispersion glass is applied. The diaphragm is seven-petalled.

The Olympus M.Zuiko Digital ED 75-300mm f / 4.8-6.7 II  is your choice if you like to shoot from afar. It does not matter: animals, birds, sports, travel work or landscapes. With all these tasks, the lens will perform excellently.

The range of focal lengths is simply huge 75-300 mm, that is 150-600 mm in equivalent to the full frame.

At the same time, the size and weight of the lens are more than modest. However, there are no compromises with image quality.

Olympus M.Zuiko Digital ED 75-300mm f / 4.8-6.7 II is sharp with a soft blur, good for telephoto lens, very fast autofocus and almost complete absence of chromatic aberrations.

This is one of those lenses that make the Micro 4/3 system really unique.

However, the compromise here is the aperture range. Won’t slow you down too much for photos, but will make video work especially difficult in low light environments.

Sale


Olympus MSC ED-M 75 to 300mm II f4.8-6.7 Zoom Lens

  • Notes on Shooting: Edges of pictures may be cut off if more than one filter is used or if a thick…
  • Excellent Imaging Performance. Super-telephoto shooting in a compact, lightweight, affordable lens.
  • MSC mechanism for fast, q1uiet auto focusing

The Optical Diagram of the Leica DG Vario-Elmar 100-400mm f / 4.0-6.3 ASPH lens consists of 20 elements in 13 groups.

The lens is equipped with the system of optical stabilization Power OIS, has a 9-bladed diaphragm, built-in sliding blend, zoom ring lock, fast focusing motor (updating information 240 times per second).

Made without gaps in the housing which provides dust and moisture protection. The tripod adapter also does not block access to the lens controls.

Again, there’s a big compromise on the aperture, which doesn’t exactly lend itself to low light performance. Still, if you’re not buying it to shoot in low light environments, then it’s still a really useful and effective telephoto lens.

The Olympus M.Zuiko Digital ED 14-150mm lens has a supeior dust and waterproof design. It uses a relatively new optical coating ZERO (Zuiko Extra-low Reflection Optical), protecting the glass from scratches, minimizing glare and light scattering.

The lens uses the proprietary MSC (Movie and Still Compatible) focusing technology, which provides silent and fast autofocus.

Again, as with a lot of the Olympus M.Zuiko lenses, you’re going to take a hit in the aperture department, rendering it of little use in low light situations.

The Panasonic Lumix GH4 camera itself

At first glance, the GH4 looks like a small SLR camera. The device looks solid in the hand. The surface feels sturdy.

Nevertheless, it weighs much less than a Canon EOS 5D Mark III, which is a direct competitor, at least in the video field.

The GH4, body only, weighs just 560 grams on the scales. The Canon, on the other hand, weighs in at 950 grams.

Lenses are much heavier and larger for the EOS 5D Mark III, too. You’ll notice that the Canon has a twice as large full-frame sensor. This makes housing and lenses much larger.

The GH4 Display

Quite apart from the fact that you can count on great visuals when it comes to the display, the GH4 display pops out from within the camera, enabling easy use in all kinds of shooting situations.

Display for all situations

Comparing the GH4 again with Canon’s 5D range, yet another difference is noticeable at first glance at the two cameras. The GH4 has an electronic and touch-sensitive display that can be kept unfolded in every situation. This offrs great flexibility for the user and that is not completely insignificant, especially for amateur filmmakers.

The focus area on the display is positioned effectively to easily be changed with one’s fingers.

The Canon, however, has a permanently installed display. It is not sensitive to touch either. So if you want more than just placing the camera all the time on a tripod or a portable frame right in front of your own nose, you have to mount a display.

In addition, the GH4 has five freely programmable function buttons, which can be assigned depending on the photo or video mode. Once you have filled them with features according to your own taste, the camera is even more of a pleasure to use.

As a photography camera

As a camera for still images, the GH4 is not a complicated to us, but still offers a fair amount of bells and whistles.

Firstly, it offers a sensor with 16 megapixels. With good light and unprocessed RAW format, it makes sharp and neutral images. With its natural output sensitivity of 200 ISO, it can compete well with the competition that often have larger sensors.

Bright and dark areas of the picture are well displayed in this area. However, 16 million pixels are no longer the top of the resolution. And monotonous areas such as gray walls or areas of skin even show a slight noise even at this low sensitivity.

However, this is not a problem at all up to 400 ISO.

The autofocus makes an excellent impression at first glance. The camera is pretty fast in this regard.

The GH4 with its 49 autofocus sensors has six autofocus modes. Face recognition, tracking and so on and so forth.

Best Lens for GH4 – In Conclusion

Now, when you’re making a purchasing decision on what lenses to buy for the GH4, there’s obviously a lot to consider.

This is a powerful camera with great image quality. It might be a little dated now, but this means you can pick the camera up for a really reasonable price, especially second hand.

Always of relevance when you’re buying lenses is to look at compatibility with other cameras you might have. Is there an adapter you can use if you want to use a lens on multiple cameras from different manufacturers? Or maybe you just want to use one of these lenses on the GH4 and nothing else? These are questions you need to consider.

We invite you to do your own research and really look into the different lenses discussed here. As mentioned, there is one best lens for the GH4, different lenses have different purposes – whether it be focal distances or use cases for different shooting scenarios.

We hope this article on the best lens for GH4 has been instructive. Did we miss out your favourite lens for the GH4? Let us know in the comments below here.

You Should Try:

Published at Thu, 28 Jun 2018 12:59:54 +0000

RØDE LAUNCHES THE VIDEOMIC ME-L FOR APPLE iOS DEVICES AT VIDCON 2018

RØDE LAUNCHES THE VIDEOMIC ME-L FOR APPLE iOS DEVICES AT VIDCON 2018

RØDE Microphones, Australian pro audio giant, announces the release of the new VideoMic Me-L at the world’s largest online creators Expo, VidCon 2018.

The VideoMic Me-L is a Lightning connector equipped high-quality directional microphone with a compact and lightweight body designed for Apple iOS devices. Its Lightning connector plugs directly into the device, utilising the device’s internal power for instant plug-and-play – no batteries necessary. A standard 3.5mm headphone jack on the rear allows audio play-through in real-time and effortless audio playback.

The VideoMic Me-L is made from durable aluminium and coated in a military-grade ceramic finish, providing a hardwearing chassis that’s resistant to scratching. It’s a build quality far and away from the competition, reflected in superior sound. The microphone also comes packaged with a deluxe furry windshield for shooting outdoors and in adverse weather.

The VideoMic Me-L is suitable for vloggers, musicians and any iPhone users seeking to drastically improve their iOS device’s quality of sound.

“The original VideoMic Me is one of our most accessible mics and the world’s most popular microphone for mobile audio,” says Damien Wilson, RØDE CEO. “The new VideoMic Me-L’s Lightning connector and plug-and-play functionality is a great addition to the VideoMic family, introducing the latest iOS devices to RØDE’s made-for-purpose mic.

“Vidcon is the perfect venue for launching the VideoMic Me-L at: 50,000 emerging online creators converge at Anaheim over the weekend and all are looking to create the best content they can. George Lucas once said, ‘the sound and music are 50% of the entertainment in a movie’. With sound quality 50% of any decent video experience, the VideoMic Me-L is the perfect choice for today’s creative generation.”

Check out the VideoMic Me-L at the fun, entertaining and informative RØDE stand at VidCon, Booth 1200 and online at www.rode.com/vmml.

Published at Fri, 22 Jun 2018 00:28:28 +0000

VIDEO COPILOT | After Effects Tutorials, Plug-ins and Stock Footage for Post Production Professionals

VIDEO COPILOT | After Effects Tutorials, Plug-ins and Stock Footage for Post Production Professionals

Good news everybody! Our sweet workflow plug-in, FX Console, has been updated with a BUNCH of bug fixes and a few new enhancements! If you are not using FX Console, check it out! It’s free!

Fixes and Enhancements for V1.0.3:

  • Added option to save images as JPG from menu & Gallery
  • Preferences files are now saved in a user path instead of a common path, meaning different preferences for different users.
  • Fixed user presets path for AE 2017 and 2018.
  • Fixed issues of preset and effects not being applied if a floating panel had the focus.
  • Fixed screenshot image resolution not being correct in OSX.
  • Fixed crash when rending via command line.
  • Fixed color profile issue when taking a screenshot (mismatch colors).


After Effects Requirements:
Adobe After Effects CC and above (Including CC2014 Sorry no CS6)

DOWNLOAD FX Console V1.0.3 PLUG-IN: For After Effects!

FX Console V1 Features:

  • Access FX & Presets quickly
  • Create FX Shortcuts
  • Create FX Overrides
  • Export Snapshot with PNG
  • Automatic Snapshot Tool & Gallery
  • + MORE!

In V1.0.1 we added these features:

  • Custom Shortcut Key
  • Import + Export Settings file
  • Tab to Presets in search results
  • Over a dozen bug fixes!

Published at

8 Ways to Monetize Your Videos in 2018

8 Ways to Monetize Your Videos in 2018

Lots of people make videos. But far fewer are able to effectively monetize them and bring in any notable amount of money.

But you can.

It’s a crowded market out there. Billions of videos are available and more being released all the time. 300 hours of new videos are uploaded to YouTube every minute. To make money, you need to stand out. And that starts with choosing the right monetization strategy.

There are many ways you can monetize your videos. We’ve chosen seven of the most effective methods for you here. You can probably guess what a few of them are—but some of them are bound to surprise you.

1. Create Your Own Netflix

Netflix is one of the most well-known video on demand (VOD) services. But there are tons of other VOD services out there—some are as big as Netflix and Hulu, others are niche as KweliTV and RIVNow.

The rise of new easy-to-use online VOD platforms out there has made it easier than ever for small independent video content creators to create their own Netflix-style businesses.

Imagine having your own streaming service just for your videos.

Makes you feel pretty powerful, doesn’t it?

Having your own streaming video service adds some serious cool factor to your videos, but it also gives you needed flexibility for making the most of your monetization.

monetize your videos

You could create multiple videos for entertainment or educational purpose. You can cover different topics so your service appeals to a wider audience, or you can cover niche topics to create an online community. You could sell single videos that cover individual topics. You could post videos once a month. Or every day. Or in big batches.

That flexibility extends to payment, as well. Have people pay for single videos. Or sets. Or as a subscription so they can watch as much video as possible.

You can implement the distribution and monetization options that work best for your audience. And that goes a long way toward generating a loyal group of followers that want to pay for your content.

2. Launch an OTT Video App

A streaming video on demand service is a great way to monetize your videos. But because it’s almost exclusively accessed through a browser, it can be a bit limiting. Many people prefer to watch videos on their TV.

That’s where an over-the-top (OTT) video app comes in. Any app or service that doesn’t come from a traditional telecommunications provider can be considered OTT. In this discussion, though, what’s important is that they come as apps, not as browser-based sites.

That means your videos can be served to anything that can download apps—like smart TVs, iPads, and phones. Getting video from a browser is always easy, but tapping an app icon is even easier, and viewers can watching in a few seconds.

Again, the pricing is very flexible; your viewers can pay by the video, by the course, by the month, or any other way you can think of.

And while it might sound like a significant technical endeavor to build an OTT app, you don’t have to worry—there are plenty of services that will do the heavy lifting. All you need to do is use their tools to create your own custom video app.

With how easy it is to get started, it’s tough to pass up OTT apps; they look very professional and let your viewers access your videos however they want. That flexibility, as I mentioned earlier, is key to building loyalty.

monetize your videos

3. Sell stock videos online

You probably know about stock photos, but did you know that stock videos are also bought and sold online? They’re used for things like advertisements, web design, video production, and in news footage.

And if you’re into artistic filmmaking, it could be the best way to monetize your videos.

Selling stock footage isn’t like selling video via SVoD or OTT—much of the content delivered via those methods is educational or entertaining. Stock video covers common topics, like cityscapes or sports, and is specifically made to not be too specific.

(Check out Pexels to see what I mean.)

Of course, that makes it difficult to stand out. Especially if you want your videos to outshine the thousands of others that have already been made on the same topic. You can always branch out to a new area, but if there’s little demand there, you won’t make much money.

Your best bet is to create very high-quality videos in a niche that you know is going to be popular. Start by searching stock video sites like Shutterstock Video and Adobe Stock to see which types of videos show up often.

monetize your videos

You can try to compete directly with those videos or identify a niche that’s related but hasn’t yet been covered. For example, if you see that videos of gardens are in high demand, but that most focus on summer gardens you could start making videos of gardens in the fall. Or a specific type of garden, like herb gardens or tea gardens.

While you can start filming as many different stock videos ideas as possible, it’s a good idea to start with a small niche so you can build up your content and your reputation, then expand from there.

It’s important to reiterate that your videos need to be of very high quality if you’re going to sell them for stock footage. You’ll be competing with very high-level videographers in this market.

4. Blogging

Your video monetization strategy doesn’t have to involve directly selling videos. You can use your videos to support another money-making tactic, like blogging. Some bloggers earn money through ad networks, paid ad placements, sponsorships, or product sales . . . but they still need to get people to their website.

And what better way to get people to your website than with great videos? People love videos—in fact, studies have shown that just about every subgroup that you might be targeting, from executives to consumers, prefers video to text.

By releasing great video content that gets people to your site, you’ll be capturing an audience for your actual monetization pitch. You don’t need to be selling something extremely popular or have millions of viewers. Even very niche websites can use video to generate traffic.

5. YouTube

When people think about monetizing videos, they’re likely to think of YouTube first. And with good cause—YouTube has made internet sensations out of content creators, and 30 million people watch videos there every day.

Who doesn’t want to see their name next to the likes of Daniel Middleton, Lily Singh, and Evan Fong?

monetize your videos

YouTube’s monetization system is simple: ads are displayed in or near your video, and if they generate revenue, you get part of it. How much? It’s hard to tell. You might get a couple cents for an ad click, or you could get a dollar or two per thousand views. There are a lot of factors involved: the type of ads, the type of monetization you’re using, your product/service niche, and others.

But one thing remains true no matter what your videos are about: you’re going to need a huge number of views. YouTube won’t enable monetization until you have 4,000 hours of video watched in the past 12 months and 1,000 subscribers. That’s not easy.

And even if you do cross that threshold, you’ll still need thousands, if not millions, of views to score you any appreciable payout (if you want to make a million dollars, you might need somewhere around a billion views).

Can it work? Yes.

Is it easy? No.

6. SmugMug

While SmugMug is generally thought of as a place to host and sell photos, you can also use it for videos. Most of what you’ll find there is stock footage, though you could likely host many types of video.

What makes SmugMug stand out from other options is the bevy of useful tools integrated into the platform. You can use it to build your own site where people can buy your videos, and there are built-in commerce tools to help you sell your content. You can even sell physical products with their tools.

And when you sell via SmugMug, you get to keep 85% of the profits. That’s a solid margin.

There are lots of great promotion options, like coupons, package deals, SEO-friendly tools. You can use your own custom domain. In short, you can create a full-featured site that helps you market and sell your videos.

This is likely a good option for professionals—you’ll want a very large catalog to take advantage of these tools. And if you also sell photography, you’re even better suited for this platform.

7. Twitch

You might be surprised to find Twitch on a list of the best ways to monetize your videos. Most people think that Twitch is all about streaming video games. That’s certainly a big part of it, but there are plenty of other things it’s used for, too.

You can find shows about cooking, board gaming, positivity, cats, anime, drawing, painting, glass blowing, and anything else you can think of. Whatever it is that you’re thinking about making videos about, there’s probably a community on Twitch that would love to have you.

monetize your videos

Of course, there’s one major difference here: Twitch is all about live streaming (with one exception, which we’ll talk about in a moment). That means you won’t be recording and then posting. You’ll be doing it all live.

Live streaming, while related to recorded video distribution, is notably different. You won’t have to edit and go through post-production. You won’t have to worry about pricing out each individual video or a course. There’s no e-commerce to deal with. All of the monetization is done through Twitch, where people can subscribe to your channel.

Of course, that means you’ll need to get subscribers. Getting Twitch subscribers isn’t like getting more people to your stock video site. Your content will need to be useful and entertaining, and you’ll need to create a lot of it to get people interested.

There are unique considerations on Twitch, like hosting, emotes, and extensions. Don’t know what those are? You’ll have to find out if you’re going to make money on Twitch.

It’s also worth noting that Twitch does support some video-on-demand. You’ll be able to save full episodes of your stream for up to 60 days (depending on how well your channel is doing), and highlights can be saved indefinitely. That doesn’t compare to your own SVoD channel, but it’s something.

Monetize Your Videos – Choose the Monetization Strategy That’s Right for You

These seven ways to monetize your videos cover a wide spectrum of strategies, from creating your own Netflix to streaming on Twitch (and everything in between). But there are plenty of other monetization strategies out there.

Think about the type of content that you’re creating and what you want to do with it. Who is your audience? Where do they look for content online? What will make your videos stand out to them?

Let your goals and interests guide your monetization.

No matter what you decide to do, stick with it. All of these strategies take time to really start earning money—you might actually be losing money when you start. But with perseverance, they’ll pay off.

You Should Try:

Published at Mon, 18 Jun 2018 12:54:09 +0000

AACTA Announces National Pitching Competition for Scripted Television and Web Series

AACTA Announces National Pitching Competition for Scripted Television and Web Series

The cast and crew of TOP OF THE LAKE: CHINA GIRL accepting the AACTA Award for Best Television Drama Series at the 7th AACTA Awards.

The Australian Academy of Cinema and Television Arts (AACTA) today launched AACTA PITCH, a national pitching competition that aims to discover Australia’s next world-class scripted series for television or web.

With the audience demand and consumption for new, original drama and comedy at an all-time high, this is one of the most exciting times for emerging Australian content creators. Identifying and nurturing the best and most exciting new series ideas, AACTA PITCH will provide meaningful support for creatives as they start their journey to the world stage. AACTA encourages people from all backgrounds and levels of experience to enter.

A shortlist of up to eight finalists will be selected to participate in the final AACTA PITCH event in August, staged at Event Cinemas Bondi Junction in Sydney.

Finalists will have the opportunity to screen their trailer or proof of concept and pitch their series in front of a live audience, including a judging panel of esteemed figures from the worlds of television, online, production, development and commissioning. Finalists from interstate will be provided with flights and accommodation to attend and participate in the AACTA PITCH event.

The 2018 AACTA PITCH judging panel includes:

  • Mike Cowap, Senior Producer Scripted and Unscripted at Princess Pictures;
  • Carly Heaton, Drama Development Executive at Foxtel;
  • Lee Naimo, Online Investment Manager at Screen Australia; and
  • Shay Spencer, Drama Development Manager at Jungle

Finalists will be pitching for the chance to win a $5,000 cash prize as well as invaluable feedback and mentorship opportunities from AACTA, participating production companies, development executives and screen craft practitioners. The AACTA PITCH winner will also receive post-production support from Spectrum Films to the value of $5,000 and tickets to the 8th AACTA Awards presented by Foxtel Industry Luncheon and Awards Ceremony. All shortlisted finalists will receive a year’s AFI | AACTA membership. 

“With more and more original and innovative content becoming widely available through streaming, online and traditional television broadcasting, this is an exciting time for our emerging Australian creatives, many of whom have ideas for great series waiting to be discovered,” said AFI | AACTA CEO Damian Trewhella. “We are excited to provide these new Australian voices with a platform to shine through AACTA PITCH. This is an incredible opportunity for these creatives to present their ideas to some of our industry’s key content commissioners and producers, network build and hone their vitally important pitching skills.”

AACTA PITCH entries are now open. Entrants are required to pitch a scripted series by providing a pilot or proof of concept. An entry fee of $50 applies. AACTA welcomes everyone with an idea for a series to enter, and encourages series concepts from creators and teams from diverse and under-represented backgrounds.

Entries close on Friday 20 July 2018 at 5pm AEST.

Published at Mon, 18 Jun 2018 22:28:26 +0000

FUJINON/FUJIFILM Optics highlights from CineGear 2018

FUJINON/FUJIFILM Optics highlights from CineGear 2018

Visitors at this year’s Cine Gear Expo got a “master class” on evaluating lenses at the FUJINON/FUJIFILM Optics Learning Centre (Stage 18, Booth S206). Leading lens repair and rental house optic experts put the FUJINON Premier, Cabrio and MK lenses through their paces, teaching attendees how they use Lens Projection to test and evaluate lenses. Representatives from ARRI RENTAL, Keslow Camera and Duclos Lenses were some of the featured technicians in Fujifilm’s lens projection room. 

The MK Series of lenses are designed for E-Mount cameras and boast advanced optical performance, ultra-compact and lightweight design, as well as superb cost performance. With a combined focal length range of 18mm-135mm in the Super 35mm format, the MK18-55mmT2.9 and MK50-135mmT2.9 cover the most frequently used range utilised by emerging cinematographers. The series offers fast lenses with T2.9 speed across the entire zoom range, enabling a shallow depth-of-field. 

Thanks to the extreme popularity of the FUJINON MK zooms, third party providers have introduced a range of solutions to benefit MK lens owners and broaden their compatibility. One of the most popular accessories are additional camera mounts – MK Series lenses come standard with an E-Mount. Showcased in the Cine Gear booth will be the Duclos Lenses’ FZ mount, which allows the lens to work with the popular Sony F5 and F55 cameras. Also shown were MTF’s Micro Four Thirds (M4/3) mount for the MK series. This mount allows for use on Panasonic, JVC, and other manufacturers’ cameras. Heden, SLR Magic, Chrosziel, Bright Tangerine and Zacuto also showed their latest accessories for the MK lenses. 

The new Duclos 1.7x expander enables FUJINON Cabrio and Premier Series Super 35mm zooms to be used on the latest larger sensor cameras, such as Sony’s Venice, RED’s Vista Vision 8K, and ARRI Alexa LF. 

The Electronic Imaging Division highlighted the new video-capable FUJIFILM X-H1 camera and the new MKX cinema lenses for X Mount, the FUJINON MKX18-55mmT2.9 and FUJINON MKX50-135mmT2.9, at Cine Gear 2018. These product offerings provide the ideal compact combination for both video reproduction and still photography. 

 The full family of mirrorless FUJIFILM X Series and GFX camera systems, featuring the video-capableX-H1 camera, new MKX cinema lenses, and GFX 50S medium format mirrorless camera, were also showcased within the booth. Additionally, FUJIFILM technicians were on hand to conduct a complimentary “Check and Clean” program for of attendees with X Series or GFX system products. 

Published at Thu, 14 Jun 2018 23:12:18 +0000

TUTORIAL: Capture perfect lens flares

TUTORIAL: Capture perfect lens flares

Lens flares – love them, hate them, risk looking too much like J.J. Abrams with them.

Despite the Abrams-induced overuse, however, lens flares are a cool effect that can give everything from eye-catching naturalism to a lusted-after retro sheen to a shot. But how to capture them perfectly in the editing room? This video tutorial takes you through the RocketStock Lucent Warm pack, which captures incredible flares without sacrificing locations or killing time on set. Check it out.

Published at Wed, 06 Jun 2018 22:58:46 +0000

Live Presentations and NAB Sale!

Live Presentations and NAB Sale!

This week I’ll be in Las Vegas for NAB 2018 and Adobe is going to be broadcasting the presentations LIVE! Be sure to follow us on Twitter or Instagram for the links! If you are at the show, be sure to stop by the Adobe booth!

LIVE Presentations:
Monday & Tuesday at 2PM! PST

VIDEO COPILOT SUPER NAB SALE:
We are also having the annual NAB sale, so if you were thinking about upgrading your toolbox save 25% while your’re at it!

Shop Now!

Published at Sun, 08 Apr 2018 23:25:20 +0000

How Much Money do You Need to Setup a Video Production Company? 7 Tips on the Cost of Starting a Video Company

How Much Money do You Need to Setup a Video Production Company? 7 Tips on the Cost of Starting a Video Company

We want to talk today about the costs of setting up a video company and how much money do you need to setup a video production company. It’s one of the main questions I get asked, so I’d like to cover it here.

With your talent of being able to be an all-around videographer, you can definitely take it to the next level, having your own video production business. With this, you will be able to provide a full service for your clients’ needs, and have enough flexibility to be able to grow your brand over time.

Even better, as a company (a brand), which could more easily be marketable rather than going as an individual in the video production scene.

The Costs of Starting a Video Production Company

When starting out in business, many people tend to initially think about the finances. ‘How much money do I need to be able to start my company?’, and as someone who is deciding to set up your own video production business, the question still remains the same.

You may have seen some other video production companies who have a fixed office in the city, have a lot of production equipment, and a lot of staff to do every part of the video production process. They may also be able to fly out to any location requested by their clients, things that seem like really high expenses, that you may not initially be able to have the capital for just yet.

Given that you haven’t yet been able to gain some revenue for your business, of course, you will have to think about the initial capital to put out. And, fortunately, I have been able to put a few things in here that will be able to help you calculate how much you will need for your video production company, and help identify what your priorities are for your company.

how much money do you need to setup a video production company

1. Incorporating your video business

Let us start with knowing how to incorporate your business. You can register yourself as a sole proprietor, be in a partnership, or set up a corporation. Each of these have their own benefits, and I have shared with you in the past about how to set up a business by yourself, or have a team or partner in your business.

In addition, setting up a corporation would also entail that you set up the legal documents necessary, and have the declared positions for your company.

Every location is going to be different, so it’s pointless me trying to advise on legal situations like this. For example, in some countries, you would have to have at least 5 shareholders, with a distribution of shares, totally up to 100%. And, frequently, the distribution of shares is also dependent on how much each shareholder contributes to the overall capital.

In whatever way you decide to legalize your company, there would be corresponding expenses for registration, licensing and permits, and insurance. These are non-negotiable expenses that need to be taken care of immediately.

Perhaps, this is the only non-negotiable kind of expense, because the next few things for consideration have a varying range, depending on what your priorities are. Much thought have to be put into these, as they become your basis for a lot of decision making.

Ultimately, remember that in most countries, you can just remain a sole proprietor (or the equivalent in your location) and this will keep most of your costs down for running a business. Of course, as you grow and the company scales up, you may need to become an LLC for legal reasons.

Just know that your initial costs in setting up a video production company don’t have to be astronomically high.

how much money do you need to setup a video production company

2. Where you choose to work

Mentioned in another article I have written, do you want to set up a home office, or have a physical location for your production company? My article provides a detailed list to consider when deciding between one and the other, and it is highly dependent on what kind of setup you would like to have.

There is not right or wrong answer, but whatever decision you make will also impact your initial capitalization for your company. The decision of renting a location would involve obvious initial upfront costs, which would be a whole lot more than just working from an office at your home (for example).

And you would also have to think about the monthly overhead expenses, later on when you continue with the business. These are fixed expenses, along with the utilities, that need to be paid for.

3. Your location – The Extras

When you start shop, and decide to have a physical location for your business, you will then have to also think about the office materials that are necessary for your business.

Some things to consider:

  • Do you need to invest in renovation to fix up the location,
  • Purchase some work tables for you and your crew to be working on,
  • computers to be used in the course of work, and
  • software to be purchased for editing and general business use
  • Other office equipment costs like large TV monitors, printers, etc etc etc.

Many of these items can be purchased brand new or as second hand. It will also depend on your priorities on what to purchase initially, what to purchase eventually when you have met some milestones, and what to discard completely?

If you’re going to be expecting to have your clients frequently at your office for meetings or shoots, then you need to consider presenting a good impression by spending money on your surroundings.

how much money do you need to setup a video production company

4. Video equipment

Aside from setting up your office space, you have to think about your assets, and these are your video equipment.

  • Video camera,
  • lenses,
  • laptops for working and editing,
  • editing and production software,
  • stabilization kit,
  • hard drives & memory cards,
  • Etc etc etc.

They may be a necessary expense because you need to be working with all of these to ensure that your business is able to produce something exceptional. Depending on your priorities, you can of course choose rent some of this equipment.

When you purchase this equipment, they don’t necessarily have to be a part of your initial investment. But, if you decide to rent, then you are adding expense onto the video project expenses of your clients. This has pros and cons, of course, and it’s worth looking into all your options before you make any firm decisions.

how much money do you need to setup a video production company

5. Hiring people: employees or freelancers?

Next up, how are you viewing the people you work with? Are they going to be considered freelancers that you hire, or are you willing to commit to having these people as a permanent part of the team?

These choices affect your initial expenses as well, because having permanent, in-house employees is a very, very different concept than having remote working freelancers.

Here are some of the key considerations here:

  • You will have to think about your office size and setup with a view to accommodating employees physically,
  • to the extent of how many tables you may potentially have to set up for them, and how big an office space is necessary for your entire pool of employees to work in.
  • Insurance.
  • Employee benefits and health care that they will be entitled to.

When it comes to employee benefits, the minimum you have to address is that required by the government in your area, but some companies tend to think a little more outside the box because they want to ensure that they are able to retain the best talent they can get their hands-on.

Many companies have a game room for time outs, so having a video console and a comfortable space set up is necessary, or foosball machines may work as well. Naturally, this is something to consider further down the road as you get bigger and expand somewhat.

Other companies include having transportation benefits with an allowance of a certain amount, and company cellphones, to ensure that all employees are contactable during work hours.

how much money do you need to setup a video production company

6. Advertising and Branding

As mentioned earlier, you want to think about the kind of company you want to set up, and that would also entail some brand knowledge and management.

Some people decide to have external companies to help them create a good marketing plan and brand identification that sets them apart from the rest of the group.

You will likely also have to learn how to get started effectively and efficiently and spend money on setting up an amazing website presence, as well as other advertising costs.

7. Finding startup capital

Finally, where is the money going to be coming from?

A good practice in business is to be able to have at least 6 months’ worth of buffer for overhead expenses when you initially set up your company to be assured that you are not dangerously running close to going into debt in the first year of business.

This is because you are expecting to still be building up your business in the initial months, and may not be able to meet the revenue targets to say that your business is profitable. So, as listed here, you have to think about the rent, the office materials, and the employees and their salaries.

Do you already have enough capital to set up these things, or would you need to look into getting a loan? This is also necessary, because it contributes to your overall business plan. You have to be able to compute how much you need, and then also figure out how much additional capital may be needed to be set aside, to ensure you are able to pay the interest and principal loan amount that was borrowed.

How much money do you need to setup a video production company – In Conclusion

Given this checklist of things to consider, and knowing what your priorities will be, you will be able to zone in on how you would like to set up your business.

The investment may actually be very small, with only licenses needed to be paid for, as the other items are only project expenses.

Alternatively, if you have the startup capital required, you could go all-in on renting a fantastic space, purchasing all equipment necessary, hiring a great team of regular employees, and have expensive professional consultants to help out with your branding. This, naturally, on the more expensive side of the initial investment spectrum for your video business.

Whatever you choose, we wish you good luck! We hope this article has helped you understand how much money do you need to setup a video production company.

Have you started your video company already? What was your biggest expense? Let us know in the comments below.

You Should Try:

Published at Mon, 04 Jun 2018 07:44:53 +0000