Zac Hancock⚡️

Why I’ve been quiet recently… In June this year I had a challenge I’ve never had to face before. An injury which could have altered my way of life, appearance, and career. In short - it’s probably the scariest thing I’ve ever had to overcome physically and mentally. When people asked how I was doing - I said “yeahh good”, whilst always having a smile on my face, but in the back of my mind… fear was massively underlying. - I couldn’t move my eye upwards - looking in the mirror was hard - anywhere I looked I could see double, sometimes quadruple - I couldn’t go the gym for 12 weeks - I couldn’t fly for 8 weeks - lifting a backpack felt near impossible - bending down, I can’t describe the pain As a very hands on, energetic person.. the above was alien to me. Which is why I stopped being my usual charismatic self online. I had to heal, overcome, and focus on how to keep my business moving forward with me taking a backseat for a while. All very scary things. But in a time like that, it really makes you reflect on the most important elements of life and the things you once use to worry about… now seem pointless. 6 months on… I’m now feeling very fortunate after making a full recovery, with a new perspective on: life, what I hold valuable, and what I want to pursue more of. So as I lay here writing this from the comfort of my bed in Bali, it’s as if this post is the closing of a chapter, and I’m very excited to write the next one with the unexpected learnings from the last. If you’ve taken the time to read this far, thank you. In short… I’m bloody back, and excited to start sharing my journey with you once again. Zac ✌️

🎥BTS + FINAL 🎬 by @originalhancock 📝 Full Breakdown and bts on our link in bio 🍿 💡Original caption by Zac 👇 I’m blown away 🤯🤯 I recently shared an advert that I made for Sacthler tripods, and the reaction / feedback it received has been really heartwarming… so firstly, thank you 🫶🏼 I’ve also been asked a few questions on how certain elements were shot. Therefore I’ve pieced together a behind the scenes showcasing how every single scene was filmed for the main advert. I hope this is interesting and again I’m so thankful for all the kind words on my latest project. A massive shoutout to the creators and crew who grafted day and night across the world to make this possible! 📝Enjoy the reel and read more on link in bio 👀 Credits: Directed by: Zac Hancock @originalhancock Produced by: Bronte Pennells @Brontevictoriapennells Production by: @fullsend.studios Creators in order of feature: @alexboulton @jodiehorne_ @mosesdukesmedia @scott_Clarkson @ellaparsonss Edit House: @fullsend.studios Lead Animator: @hannimator_ Lead Post VFX: @teamakerfisher Colourist: @tharan.tandle Special thanks to production support by: Arctic Guides @hettahuskies Horse Wrangler: @daltonbrothershorseranch Turkish Guide: @kerem6768kerem Maltese Production Support: @dreambeachmedia Snowboarder: @mick.vp Equipment Hire: @media_dog_hire How did you like it? Let us know in the comments and have a great day on our channels @filmmakersworld #filmmakersworld

MAJOR ANNOUNCEMENT ALERT! ⚠️ I’m so excited to share what has been one of my most challenging projects to date with @sachtlersystems It has taken me to 5 countries across the globe, whilst working with an incredible team of creators filming in every kind of condition imaginable. - Blistering Barren Deserts - The depths of water - Bone chilling snowstorms Which only scratches the surface, and if you’re asking WHY? Well, back in 2023 - Sachtler reached out and said they’re releasing the new Ace mark 2 tripod, and if I was to make a commercial for it… what would I do? MY ANSWER? Show the world that tripods aren’t boring. Therefore the advert would be a creative with zero restrictions, and ambition was the only rule. 4th of January hits.. and we’re all systems go! I called 5 creators who specialise in completely different areas - and challenged them to film a shot with no rulebook, if they could think it, we would go and do it. Then we did.. and I’m so stoked with the result. This has been a labour of love. Countless 3am hotel headaches when we’re figuring out how one transition can connect to the next. When the weather is throwing everything against you, and saying adapt, or don’t get the shot. Or sticking to my word, and figuring out how to actually make the ideas with no rule book even possible. So with all that said, It makes me incredibly nervous to finally be posting what we’ve created, as I’m both anxious and excited to hear your thoughts. And a massive thank you to every single person involved whose unwavering commitment brought this concept into reality. So with no further ado.. here’s my latest and proudest project. I’d love to know what you think. Credits: Directed by: Zac Hancock @originalhancock Produced by: Bronte Pennells @Brontevictoriapennells Production by: @fullsend.studios Creators in order of feature: @alexboulton @jodiehorne_ @mosesdukesmedia @scott_Clarkson @ellaparsonss Edit House: @fullsend.studios Lead Animator: @hannimator_ Lead Post VFX: @teamakerfisher Colourist: @tharan.tandle

💡Remember the transition-fuelled video @originalhancock built around the @manfrottoimaginemore ONE Hybrid Tripod? ➡️ Well this time, he’s back with a short 3D-effect tutorial; same tool, new perspective. 🤩 In this tutorial you’ll learn: 1.⁠ ⁠How to create an effective perspective shift without expensive VFX or the dreaded word… AI. 2.⁠ ⁠How a versatile tripod and hybrid camera like the Canon C50 unlocks a whole new layer of creativity. 3.⁠ ⁠The importance of shooting for the edit. 🗒️You don’t always need large crews or complicated rigs. Sometimes the power of a simple idea, combined with a make-it-happen attitude, is what creates the best shot. PS: This marks the start of a broader educational series @originalhancock and @manfrottoimaginemore are developing together. Stay tuned for more tutorials, tips, tricks, and filmmaking insights in the coming weeks. We’ll be curating selected highlights into dedicated carousels for the community. But for now, we’d love to hear your thoughts on this 3D transition 🙌 #manfrotto #filmmakersworld #videography #photography #behindthescenes

I’m hiring for arguably the best job in the world! Want to apply? See the link in my bio. It brings me so much excitement to be posting this. Over the past five years I’ve been building a production company, that makes ambitious ideas possible. It’s taken us all over the world, and this moto has allowed me to grow a small but mighty team in the heart of Manchester - which I truly believe can achieve anything. But as we continue to get incredible briefs, I’m looking to expand the unstoppable team with likeminded individuals that can create more of the stuff we love doing. So if this sounds like a bit of you, please apply through the form in my bio. I’m excited to read your applications. Speak soon, Zac ✌🏼

Back when we chose the long way home🍂

What’s the definition of storytelling?💡 In this final + BTS breakdown, @originalhancock shares how his collaboration with @Manfrottoimaginemore brought this ambitious video to life. 🤫The inside scoop - Notes by director Zac Hancock 👇 I wanted this video to be for filmmakers, by filmmakers - showing just how creative you can be with a single tool: The new Manfrotto ‘ONE Hybrid’ tripod. 💭What started as a simple idea quickly evolved into a 16-metre set build, complex VFX, and even shooting on a 100-metre cliffside, simply to demonstrate different use cases for creators of all kinds. From using a tripod for a stable talking head, to crafting transitions that push creativity, reimagining blue screen with AI, or going full adrenaline - the goal was to inspire ideas for every kind of creator, on any budget. There were moments where it was literally just me and Alex, with a camera rolling in the dirt to capture a shot that cost nothing. Then there were 20+ crew days, full top-down lighting rigs, and continuous one-takers blending practical and VFX work. If you’re a creative person who needs a tripod that can do it all, hopefully this video is proof that the Manfrotto ONE Hybrid really can. Gear: Camera: Canon C80, R5C, & R5 Lenses: K35 Primes Set, RF 15 - 35, 28 - 70, EF 70 - 200, EF 16 - 35, EF 12 Laowa. Tripod: Manfrotto ONE Hybrid Credits: Director: @originalhancock Production Company: @fullsend.studios Talent: @alexboulton Producer: @brontevictoriapennells Camera DOP: @scott_clarkson 1st AC: @henry_home 2nd AC: @darcie.ellson Cam Op: @christ0f Cam Op: @dancam_malta Photographer: @george.creates Production Assistant: @cassieatanasiu Production Support: @maxwellm99 Hire house: @Nodramaltd Lighting & Grip Supplier: @drop_city_ltd Gaffa: @kane.shaun Grip: Jon Head Trainee: @Tom.j.maher Art Department UK set design & build by: @fullsend.studios Malta Art director: @francesca.mercieca Storyboard Artist: @pordanjorrino #manfrotto #filmmakersworld #videography #photography #behindthescenes

𝗪𝗵𝘆 𝗯𝘂𝗶𝗹𝗱 𝗮 𝘀𝗲𝘁… 𝘄𝗵𝗲𝗻 𝘆𝗼𝘂 𝗰𝗮𝗻 𝗯𝘂𝗶𝗹𝗱 𝗳𝗼𝘂𝗿? [𝗣𝗮𝗿𝘁 𝟲] In the final breakdown of our series, Zac Hancock dives into the madness behind this multi-room, one-take shot - blending set design, VFX, and AI filmmaking into one surreal sequence. 𝗧𝗵𝗲 𝗦𝗵𝗼𝘁 This was the last moment of our film. We’d already shot cliffside scenes, remote DJ sets, and motocross bikes flying overhead. So the final scene needed to land big. We had the idea: What if Alex walked through a series of doorways, each one revisiting the worlds we’d already experienced in the commercial? That spark turned into a full-blown, physical-meets-digital set build, made up of four unique rooms with a twist. 𝗥𝗼𝗼𝗺 𝟭: Full practical set 𝗥𝗼𝗼𝗺 𝟮: Practical floor with an introduction to a VFX backdrop 𝗥𝗼𝗼𝗺 𝟯: An immersion into the full VFX world 𝗥𝗼𝗼𝗺 𝟰: Transitioning you back into the real world As Alex walked through each space, the aim was to surprise the viewer, and showcase how far you can push filmmaking when you mix practical tools, VFX, and AI. 𝗕𝗲𝗵𝗶𝗻𝗱 𝘁𝗵𝗲 𝗦𝗰𝗲𝗻𝗲𝘀 Prepping this took weeks. Huge thanks to the full team at @Fullsend.studios for the blood sweat and tears building it and to @tk_fx_studios for guiding us through how to light and build a space that would actually work for post. 💡 Our biggest lesson? Keep your subject well away from the walls. That distance is everything for clean blue screen keying and separation. Once we had our set, our lighting dialled in, and our tripod locked to a dolly track, all that was left was nailing the pacing and delivery in one take. We shot on the Canon C80 with a K35 50mm lens for added character and depth in the practical rooms. Then used a black drape as a way into the end product lock-up. 𝗚𝗲𝗮𝗿 𝗨𝘀𝗲𝗱 🎥 Camera: Canon C80 Lens: Canon K35 50mm Tripod: Manfrotto ONE, & 500X Head 𝗧𝗼𝗽 𝗧𝗶𝗽 - 𝗧𝗿𝘂𝘀𝘁 𝘆𝗼𝘂𝗿 𝗴𝘂𝘁. This was my first time directing in a hybrid AI / VFX space. A lot of people pitched “easier” workarounds, and I’m glad that I didn’t take them. Take advice. Lean on experts… but above all, back your idea.

Did we just pull that off? 🤯 [Part 5] In the penultimate part of our BTS series, Zac Hancock explains why they took some calculated risks for one high-stakes sequence. The Shot: As we built toward the finale of our hero film, we needed energy, but how do you inject pace using a tripod? Answer: the Q90 Roll. By using a 180° tilt with the Manfrotto ONE & 500X, we tracked a motocross rider entering the scene while shifting perspective to ramp up intensity. We shot on the Canon C80 with a 15–35mm RF 2.8, giving us a wide field of view, with the option to quickly punch in for tighter framing (especially useful in a dusty environment as it’s not the time to change lenses). To match the energy shift: ▪️We dropped the tripod low, shortened the legs, and had the rider fly past at speed. ▪️Alex loosened the tripod head tension, giving us fluid motion as the bike tore past. The result? A fast, floor-level shot that felt raw, dynamic, and cinematic, but still stable. The Transition: This moment also needed to flow perfectly into the next scene… which we’d shot a full week earlier. No pressure. To bridge the gap between our outdoor sequence and a studio scene, we used a spanner… a prop I’d kept in my pocket for 7 days. We filmed the transition at 35mm to focus the eye and mask horizon shifts. This gave the object weight and intent, helping sell the transition and change in pace. The spanner movement triggered: ▪️A shift in sound design (into a radio cue) ▪️A beat of comedy ▪️And a key line in the next scene... which we’ll break down next week 👀 Gear Used 🎥 Camera: Canon C80 Lens: Canon 15–35mm RF f/2.8 Tripod: Manfrotto ONE, & 500X Head 💡 Pro Tip: Sound design is everything. It’s what made our object transition feel seamless, and brought the motocross moment to life.Think about how you can use sound before you shoot.

How we filmed a Crash Zoom, Wormhole & Stunt with Zac Hancock [Part 4] 𝗧𝗵𝗲 𝗦𝗵𝗼𝘁 “We crash-zoomed out of a phone (with tracking markers on a green screen) playing the previous scene, which revealed our next carefully crafted location… a barren landscape straight out of Star Wars. I wanted the camera raised to help extenuate the next shot which would be a worm hole perspective. We pushed the tripods center column high and that gave us a really nice viewpoint coupled with a 15 to 35mm RF 2.8 to give us the zoom effect. 𝘐𝘮𝘱𝘰𝘳𝘵𝘢𝘯𝘵 𝘯𝘰𝘵𝘦 - since the next background would completely change into a sky with zero perspective, the real trick to a clean editorial flow was matching the talent’s movement and props in both shots. 𝗕𝘂𝘁 𝘁𝗵𝗲𝗻… 𝗮 𝗕𝗜𝗚 𝗽𝗿𝗼𝗯𝗹𝗲𝗺 𝘀𝘁𝗿𝘂𝗰𝗸. For the wormhole shot, we built a large black box with thick perspex and lugged it to a remote location. We’d opted for no side panels for transporting ease, and building - thinking black material would be fine to block the sun. However unexpected winds hit, turning our materials into a sail and almost impossible to control or block reflections. 𝗧𝗵𝗲 𝘀𝗼𝗹𝘂𝘁𝗶𝗼𝗻? We shot on a Canon C80 with internal ND and a 12mm Laowa lens. A hole was cut into the black material and cinched around the lens using the sun hood. With gaffer tape, clips, and a small army to hold it steady, we finally locked the shot. 𝗧𝗵𝗲 𝗙𝗶𝗻𝗮𝗹 𝗙𝗿𝗮𝗺𝗲 Using the same technique of motion and prop continuity to make the edit flow, we staged a stunt: a BMX’er mid-air as the talent snaps a photo. Filmed at 120fps to reduce motion blur, we were able to freeze the action like a real photo. Then, Alex Boulton (transition wizard) masked the skyline and dropped in a motocross rider that takes us seamlessly into our next scene which we’ll break down next Friday.” 𝗚𝗲𝗮𝗿: 📷 Canon C80 🎥 Lenses: 12mm Laowa, Canon 15-35mm 🎚 Tripod: Manfrotto ONE 500X 📺 Monitor: SmallHD Ultra 5 & 7” 𝗧𝗼𝗽 𝗧𝗶𝗽: If you’re replicating the wormhole shot, build full black walls and pack a small battery-powered light so you can see what you’re doing. Trust us, it would’ve saved our team hours

Is that a Canon R5C in someone’s mouth?…[Part 3] For our 3rd breakdown, Zac Hancock explains how they pulled off the catch of a century, and made a POV camera look like a video game. #ManfrottoONE 𝗧𝗵𝗲 𝗦𝗵𝗼𝘁 🎬 “To transition from our previous scene on a mountain, we wanted to use an object being thrown into the frame. The location had a 360 shooting space and leading lines that would make any cinematographer excited. Naturally we leaned into using the 12mm Zero D Laowa, to show as much of our backdrop as possible - but with that much field of view, we couldn’t hide anything. It had to be thrown from far away, and caught by Alex with a nonchalant style. Easier said than done, whilst trying to whip the camera, and stop with the talent dead center. However… to our own disbelief, we did it! It took a few attempts but there’s nothing like the feeling of capturing something for real. Then came the perspective flip. We wanted to showcase Manfrotto’s system in action, fully immersive. Same 12mm, but this time it was POV to really put the viewer in the driving seat. However, Myself and Alex really aren’t fans of the helmet cams. We found the best way to achieve the effect is by strapping some foam to a tripod plate, and sticking the lightest weight camera in your mouth. It hurts, the jaw will be painful for a few days, and we absolutely do not recommend doing it yourself. But the result is darn impressive. Because of the 360 setting, crew had to hide behind the walls while Alex ran takes. We’d review after each to see what could be tweaked. After about 10 tries we had it. The next part was easy. 4 cameras, 4 tripods, 4 shots - and let Alex DJ. Each tripod had different lens and camera combos to showcase each use - which we then animated social UI’s over to make it seem as if he was livestreaming to millions of people.” 𝗚𝗲𝗮𝗿: Camera: X2 Canon C80, Canon C70 Canon R5C, Lenses: 12mm Laowa, X2 Canon 15 to 35mm, Canon 28 to 70mm, Tripod: X4 Manfrotto ONE 500X Systems 𝗧𝗼𝗽 𝗧𝗶𝗽: When you pitch a practical effect, people might shoot it down before you even try. But if your gut says it’s possible, and it’s safe… go for it!

What in the transition is this? [Part 2] In the second instalment of our BTS series, Zac Hancock & Alex Boulton break down how (and why!) we ended up filming on a 100-meter-high cliff face. #ManfrottoONE 𝗧𝗵𝗲 𝗦𝗵𝗼𝘁 🎬 “This was the first major moment in the Manfrotto ONE launch film. We’d set the tone and laid the foundation of the story, now it was time to show what the tripod could really do. Enter: the transition that makes you go, ‘wait… what?!’ To pull it off, we used motion blur and a bookshelf as a masking point in the first scene. Then, on the mountain using the Q90 we pointed the camera at the cliff face. That way we could replicate the movement creating motion blur with a similar colour like the previous scene, making the transition feel seamless. But the twist? When we land on Alex, the entire world flips upside down. That subtle disorientation adds just the right amount of surprise to keep you watching. From there, we turned the mountain into our practical set. TK-FX Studios helped us remove the background and place Alex in what felt like the stratosphere - giving us the freedom to go wild in the second frame. For VFX, I handed over three shots: A 100mm static A 500mm static A crash zoom (as style reference) The team combined elements from the 100mm and 500mm to recreate my crash zoom, but with a much larger digital world built around him using AI. This was my way of proving that, even without a ton of VFX experience, scenes like this are possible. The tools are changing, and so are the rules.” Zac Hancock, Director 𝗚𝗲𝗮𝗿 Camera: Canon C80 Lens: Canon 16 - 35mm EF (old lens in case something happened) Tripod: Manfrotto ONE 500X System 𝗧𝗼𝗽 𝗧𝗶𝗽 When creating whip transitions, always plan your motion into the next scene. The closer you can get the colours and movement to your previous shot, the cleaner your transition will feel. Have questions? Let us know in the comments below