Packing Light: Camera, Sound and Edit To-Go

In less than a week, we are leaving for two months in Southeast Asia. Among the myriad of preparations for the trip, packing our film gear lightly and efficiently is most important.  We will be traveling through four countries and moving often, so light and compact is key. Here’s what we’re bringing:

1. Mac Book Pro. We debated bringing this Cadillac of a computer. It weighs a whopping 5 pounds and is valuable, so at considerable risk of theft. We’re going to bring along a cable lock, along with a lock on the sleeve and take the chance of keeping it in our guesthouse while we’re out for the day.  It’s a risk but we can’t edit, design and write without the Mac.

2. Mac Book Pro Charger. Oh boy do I wish the computer didn’t have the added weight of this brick!

3. Lumix 14-140 Lens. This is a great lens for wide angle and telephoto stills and video shots.

4. Hyper-cardioid Mic with Wind Muff & Handle. We debated bringing this along since we’re already bringing a wireless lavalier microphone and I didn’t want to add more weight to our kit.  But the sounds of Asia – crashing waves, chanting monks and the sounds of the street market — are just too salivating to pass on.

5. Gaffer’s Tape. Needs no explanation. It’s a must-have when filming anywhere.

6. Joby Gorillapod. We need a tripod but we’re not inclined to lug around something bulky and heavy, so we’re going to bring this little guy. It’s cheap, light, latches onto the camera bag, and serves as both tripod and make-shift Steadicam.

7. Wireless Lavalier Microphone.  This will be easy to clip onto an interview subject and get great sound.

8. Marantz Audio Recorder. With two audio inputs, this little compact high quality recorder can easily support a wireless lav and the hypercardioid mic.

9. Panasonic Gh1. This itty bitty micro 4/3rds camera shoots some spectacular images both still and video, especially with the addition of a Lumix 20 mm F 1.7.  It doesn’t hurt that this camera is ultra compact and light-weight.

10. Memory Cards. Not pictured is a slim profile memory card reader that makes image and video downloads from the cards a snap.

11. Rechargeable Batteries. I love these Sanyo Eneloop rechargeable batteries.  A set in the wireless mics or in the sound recorder can pretty much last a full day of non-stop shooting. And after an overnight charge, they’re ready to go for another whole day.

12. Mini Mouse.  With a contractible USB cord and slim profile, this low-cost iHome mouse is great for traveling and saves the aggravation of trying to edit on a laptop’s track pad.

13. Camera Battery Charger. If only there was one battery charger that accommodated all electronics.  Unfortunately there’s none and so I have no choice but to lug this around.

** Not pictured is a small hard-drive to store and edit footage.

All packed up!

This week’s filming toys: the pocket dolly & the Marantz

Kessler Crane Phillip Bloom Signature Pocket Dolly

Marantz PMD661 Audio Recorder

This week we had two new toys to play with:  the Kessler Crane Phillip Bloom signature pocket dolly and the PMD 661 Marantz audio recorder.  While it’s always exciting for us to try out a new piece of technology, it’s tricky to figure out how to integrate the tools into our filming and to make sure that those tools enhance, not hinder, the final product.  Below are our thoughts on these two:

The Pocket Dolly “Glam Cam”

We rented the pocket dolly for use on a client project in which we were filming a historic chapel under renovation. We wanted to show-off the chapel so we felt that the pocket dolly would add a little “glam” to our images. We tried positioning the dolly on two light stands but it wasn’t sturdy enough and needed several sand bags to weigh it down. Alas, we only had one. So we kept our dolly shots ground level with the camera tilted at different angles. Occasionally we’d find a bench or a ledge that would serve as a sturdy surface to rest the dolly. We found that dolly shots worked best when there was fine detail in the foreground, like bricks or ivy or especially rows of pews. Without that type of foreground, the moves weren’t especially noticeable.

Since we rented the dolly for two days, we tried using it on our independent film the next day, but found that the shots had a really slick commercial quality to them, which ultimately drew from the authentic feel we’re trying to create. Not to mention, it’s quite a process to set up and can only really be used for a few key b-roll shots. For shooting a verite scene, we didn’t find it terribly practical.

The Marantz – the joys of being untethered

I’m a bit of a klutz and a little unorganized, a couple of character traits that make cord management in sound work a little challenging. We purchased a sound recorder with the primary intent of using it during our next big trip to Southeast Asia. We want to tell mini video stories while we’re traveling but we don’t want to be dragged down by carrying lots of equipment. So we’re going to bring our Panasonic Gh1 for stills and video and use the audio recorder to capture sound.  I was also tantalized by the idea of using the sound recorder while doing verite work so that I could be untethered from the camera and not have to trip over cords while trying to direct the scene and monitor sound. After shooting today with disconnected sound, I’m a convert. I was able to put lavs on my main characters and jump around the room with the boom.  I’m excited to use it this weekend when I travel home to visit family and interview my grandmother. I’d long been eager to capture living history but never wanted to be burdened with lots of equipment.

Tech Thursdays: Review – Zeiss Makro-Planar T* 50mm f/2 ZF.2

The Zeiss 50mm Makro Planar

This week we rented a Zeiss Makro-Planar T* 50mm f/2 ZF.2 to use on our Panasonic AF100 to film the walking gallery.  We knew that the painted jackets by Regina Holliday would be the star of the video, so we wanted the capability to get some really great closeups.  This lens is not a true macro lens because it only provides a 1:2 magnification, but it still gave us the ability to get extreme closeups.  In the case of the painted jackets, we did not want to get too close, as then the images would no longer make sense.

The Zeiss is truly a joy to use for macro work.  The focus ring is very well dampened, and has a near 360 degree throw.  The majority of the throw is in the 9″ – 1′ range, so once you focus past 1′ it quickly goes to infinity.  But getting sharp focus for the macros of the jackets was incredibly easy.  The lens allows for very precise focus adjustments.  I could easily focus on individual threads of the jackets.  We used the lens for the interviews and some other shots, and it worked quite flawlessly there as well.  The only real challenge was focusing on anything farther than about 5 feet away.  I never felt like I couldn’t get focus, but it was much more challenging due to the very small turn between 5′ – infinity.  The lens was tack sharp wide open, and I found that f2 was plenty fast for us.  Faster lenses in this price range are rarely as good wide open, so I end up stopping down to at least f2 most of the time.  The lens is built like a tank and weighs over a pound, so it is best suited used on a tripod.  I would not want to run around handheld with this lens shooting video.  The only real downside of using it this week is that now I want to buy one!

Tech Thursdays: Micro 4/3rds Lenses for the AF100

Along with Art Tuesdays we are also going to be posting “Tech Thursdays.”  Each week I will post about a piece of technology, camera gear, computer software or the like and how we have used it at Eidolon in our work.  For the first post, let’s take a look at using Micro 4/3rds lenses on the AF100.

Why m4/3?

Why use a m4/3 lens on the AF100 out of the nearly endless possibilities of lenses available (thanks to the m4/3 format being incredibly adaptable)?  For me there are two main reasons: size and camera integration.  There are a few other advantages as well, but I’ll focus on these two big ones.

Size

AF100 with Lumix 20mm Lens.

Micro 4/3rds is a relatively new format sensor designed for photography and video.  It is about half as large as “full frame” sensors like the Canon 5D mkII, yet only slightly smaller than Academy 35mm motion picture film.  This makes it a great size for video, especially for those with a film background.  The “crop factor” with lenses is minimal when compared to 35mm motion picture film.  M4/3 also lacks a mirror when implemented in a DSLR body, allowing the cameras to be much smaller than a true DSLR.  All of this means that lenses for m4/3 can be built smaller than lenses of the past made for full frame and APS-C DSLRs (that’s some alphabet soup.)  Take the Panasonic Lumix 20mm f1.7 pancake lens.  They don’t call it pancake for nothing!  It is tiny.  When put on a m4/3 DSLR it doesn’t look too silly, but stick it on the AF100 and the combination looks like it was run over by a steamroller.  Looks aside, the lens is incredibly sharp wide open, pretty fast and a joy to use.  Focusing can be a little tricky in manual mode on the AF100 because the focus ring is electronic and is so close to the body that those with larger hands may have trouble.  But the total weight of the lens & camera is so low that hand holding is easy and can be done with little fatigue.  The 20mm gives an equivalent field of view of 40mm on a full frame sensor, great for walking around taking photos or close proximity filming.

Taken with the Lumix 20mm in Buenos Aires, Argentina.

It is the lens that probably spends the most time on our AF100.  Another great m4/3 lens is the Panasonic 7-14mm f4.0.  This equates to a 14-28mm field of view on full frame, so this is a super wide angle lens.  Yet it remains rectilinear, meaning lines stay straight and not distorted like on a fisheye lens.  Again, this lens is also tiny.  Not as small as the pancake, but when compared to its full frame equivalent from Nikon it is nearly a third of the weight and half the size (and half the price.)  Yes it’s made of plastic, but most of the size difference comes from the smaller sensor and shorter flange distance (because of no mirror) of the format.  This lens is extremely fun to use and sharp wide open.  The last lens with a great size to feature ratio is the Lumix 14-140mm.  This is a 10x zoom, and while it only opens up to f4.0 and quickly falls to f5.6, it is also tack sharp, light, and comes with OIS, something that is a huge benefit for video.  We use this lens often when running around during the day because it is so versatile when there is enough light.  It practically turns the AF100 into an upgraded HVX200.

Camera Connectivity

All of the Panasonic Lumix lenses interact with the AF100 body, meaning iris and focus information are passed through and electronically controlled, and the lenses correct for chromatic aberration and distortion.  For video, the camera connectivity is essential.  These are not cinema lenses, so they don’t have focus marks on their electronic focus rings, making it nearly impossible to rack focus or hit focus repeatedly and reliably.  But having a focus readout in feet helps alleviate the issue.  In our shooting so far, I’ve found the focus readout to be very accurate.  It can tend to jump quickly from .7 feet to say 5, 6 or event 30ft, but turning the ring slowly will allow for smoother focusing.  This is not unlike shooting with other camcorders like the Canon XHA1 which also had an electronic focusing ring and distance readout.  The iris control is also essential for video.  Non m4/3 lenses need adapters for iris control if they aren’t fully manual, and this tends to be a hit or miss proposition.  We have some non m4/3 lenses with adapters, and the iris control is just a ring that opens and closes the iris, but doesn’t provide any information as to what f-stop you might be at.  3rd party solutions to adapt lenses and retain electronic control of the iris are coming to market, but they are expensive and not for all lens manufacturers.  Lastly, the CA and distortion correction in the Lumix lenses, while not essential, is a nice extra feature.  It’s not something you would necessary notice if no one told you about it, but it makes the images better overall.

Video Still with the Lumix 7-14 at Georgetown University.

M4/3 lenses are a great option for shooting with on the AF100.  They are light, sharp and tend to be cheaper than their full frame counterparts.  They aren’t a total solution however.  Prime lenses from Nikon, Canon, Zeiss and other manufacturers can offer much higher build quality, manual focusing and image quality.  And then there is the cinema glass for those that need it and can afford it.  But having at least a couple m4/3 lenses in your bag is a must when shooting with the AF100.

Hello Large Sensor, Nice to Meet You.

By Ben Crosbie

With the Panasonic AF100 having just been released, and Sony having announced two new S35 video cameras, how does an indie film-maker decide on what camera to use for their next project?  DSLR, AF100, NXCAM, F3 (if you can afford it) – such a wide array of choices that many of us would have never imagined could exist 5 years ago.  Now instead of struggling with clunky 35mm adapters for your 1/3″ camcorder, you can simply pick up a DSLR or the forth coming Panasonic/Sony camera, attach a SLR lens and hit record.  You’ll be rewarded with a filmic depth of field, expanded dynamic range, and incredible low light capabilities (previously you only gained 35mm DOF with the adapters.)  So which camera do you choose?

Our Choice

We just got the new Panasonic AF100, and had picked up a Panasonic GH1 a month ago as a B-camera and to use in the gap prior to the AF100’s release.  In a previous blog I had said that we were not going to use a DSLR for film-making, but obviously we have reneged on that decision.  We were all set to shoot our new projects on the AF100, but a few had to begin a couple months prior to its release.  As a result, we decided we would try out the GH1.

While the Canon 5D MkII was one of the first DSLRs used to shoot video, and remains king of hyper shallow DOF (thanks to its massive full frame sensor), we decided against using it for a few reasons.  We opted for the GH1 because it’s cheaper ($1000 for body and video optimized lens vs. $2400 for the 5D body alone), and because we would easily be able to share lenses between the GH1 and the AF100, and the two would cut together much more easily.  Additionally, older models of the GH1 can be hacked to improve the bit-rate (and perhaps one day the newer models as well), and even without the hack, the GH1 works much better for shooting video.  It has no limit on recording times, includes typical video frame-rates and a good articulating LCD screen and high quality view finder that can be used while recording video (unlike the other DSLRs that have mirrors preventing the use of the viewfinder during recording.)  The 5D (and 7D, 60D etc.) all offer some advantages over the GH1 for certain users and purposes, but for us, the net advantage went to the GH1.

Shooting with the GH1

Our GH1 is unhacked due to it’s build date, so we are only seriously considering using it for sit down interviews and staged B-Roll/artistic scenes.  I have no real desire or plan to use the GH1 for any run & gun action, fast-moving subjects, wide shots or the like.  That is what the AF100 will be for.  So how did the GH1 work out on our recent shoot?  As a video camera, the GH1 is not perfect.  Like any DSLR, it is not meant to shoot video, so it lacks some essential features found on “real” camcorders.  Exposure tools like zebras, waveforms, XLR audio, and timecode are all absent from the GH1.  It also lacks a video out port that you can connect to a pro monitor.  So judging exposure with the GH1 can be scary to say the least.  You have to really trust your eyes and have enough experience with it to know what you will end up with.  All that said, the images it produces can be spectacular.  We shot 12 sit down interviews with the GH1, and all of them looked gorgeous.  We were able to get some shots that we were physically incapable of filming just one year ago with an XHA1 in the exact same shooting locations.  We shot a 2nd camera with an HVX200, and the side by side difference is actually quite stunning:

The lower quality AVCHD of the GH1 didn’t really present any problems with these types of shots.  In underexposed areas there were some artifacts, but the GH1 still outshines the HVX200 in pure aesthetic quality.

The AF100

We pre-ordered the AF100 a couple days after it went on pre-order.  “How can you buy a camera sight unseen?” you may ask.  Well, the last camera we bought (Canon XH-A1) we purchased without ever having used it, and I would venture to say most people never get to touch, let alone test extensively, any camera they are buying.  You have to make the decision based on reviews and specs.  The AF100 doesn’t have any reviews really, aside from pre-production model tests which have sent some into a tizzy about highlight clipping, lack of dynamic range and a “video-look.”  The footage I’ve seen from the test shots look amazing, and the earlier testers are all in love with the camera, so I stand firm in my decision to pre-order.

The AF100 offers everything the DSLR users have come to love, but leaves behind all of their short comings.  I consider this a game changer, but many do not.  Many are expecting this camera to deliver some amazing new “never-before-seen” imagery, but that is just unrealistic.  I’m not sure what that would even look like.  The AF100 will give us the same filmic image we have come to expect from DSLRs, but without moire, aliasing, skew, and with the addition of proper video features such as long recording times, proper audio, proper monitoring, outputs and lots of buttons to control all the functions.  This is exactly what we need.  We need a camera that works like a real video camera, that can be trusted in a variety of situations, and doesn’t need a multitude of accessories to function properly.  The AF100 promises to fit that bill.

First Test Shoot

Today I was able to take out the AF100 for a test shoot.  This was my first time using the camera, so I still have many things to learn about it.  But my first impressions are very high.  The camera is a dream to use.  Functionally, it works just as any prosumer camcorder should.  It has all the right tools, knobs, and functions for creating good looking video, and allows you to do it easily.  That is the key thing I noticed from the test shoot.  I never found myself once wishing that I had some extra feature.  I had all the tools I needed at my disposal.  This is how using a video camera should be.  The LCD is quite large and sharp, and I rarely had focusing issues due to the handy focus-in-red feature.  The built in waveform also helped enormously in judging tricky exposures.

The footage the AF100 produces is also very, very nice.  It resembles the GH1, but has the much better broadcast version of AVCHD.  This means it has a higher bitrate and many more compression key frames which allow the codec to withstand more challenging situations in which the GH1’s codec would fall apart.  The AF100 also has variable frame rates up to 60fps at full 1080p.  This is huge feature for a camera in this price range, and let me tell you, the 60fps stuff looks awesome.  I have many more tests and shoots to do with the AF100 before I can really comment on the quality of the footage, but so far I am impressed, and you can judge for yourself:

http://vimeo.com/18326382

The Difficulty of Not Being on the Bleeding Edge

By Ben Crosbie

As most people who work in the media/video field (and many serious hobbyists and enthusiasts) know, the last year or so has brought about a revolution in film-making.  With the release of the Canon 5d MkII, stunning 35mm film-like images with mouthwatering DOF and colors at an affordable price point has become a reality.  Since then, Canon and nearly every other camera manufacturer have released a wide variety of DSLRs that can shoot HD video.  Now this new breed of HDSLR film-making has spawned a whole new way of shooting.  What was once only attainable by Hollywood cinematographers can now be achieved by anyone with a relatively inexpensive DSLR and some nice lenses (and a ridiculous assortment of attachments and accessories).   Even though I have never used a DSLR for film-making, I have seen enough videos online to make me lust deeply after one.

So why don’t we just go out and get a 5d already?  Well, the main reason is we have plenty of gear we have been using the last 3 years that still works perfectly, and in my opinion still produces wonderful images.  Our latest project was shot with a Canon XHA1 and Panasonic HVX200, a set of Cool Lights LEDs and natural light (see below).  While neither camera can come close to getting the depth of field achievable with a 5d, I still think with the proper lighting and creativity they can produce very pleasing visuals.   Would this video look even better if it were shot on a 5d?  Certainly.  But that doesn’t mean we are ready to get one.

Because Eidolon is not currently on the bleeding edge of digital film-making, I question nearly every day whether to bite the bullet and buy a 5d, 7d or even a T2i, Canon’s latest DSLR that shoots video.  It’s tough not being on the bleeding edge!  But all that anxiety aside, I remind myself that this field is rapidly changing and evolving, and if we can just wait it out a bit longer, we will be rewarded.  Of course if you always wait until the “next thing” to purchase any gear, then you will never buy anything.  But if you have the tools to do your job and do it well, then there is no absolute need to upgrade.

The other reason we have not switched over to DSLRs is that they aren’t particularly well suited to documentary shooting.  Sure they would work great for planned sit down interviews in which we can control the lighting, environment and to a certain degree the subject.  But for run and gun shooting, a DSLR needs many accessories to function like a traditional video camera.  Stabilization, a viewfinder, and double system sound are just a few of the add-ons needed to make a camera like the 5d work like the XHA1 in a verite documentary situation.  Don’t get me wrong, there are many film-makers currently using a 5d or 7d to produce documentary film.  But these cameras were simply not built for serious documentary shooting, and it shows.

I eagerly await the day that I can hold in my hands the latest DSLR, or Canon/Sony/Panasonic’s new video camera with a large sensor (one can dream) or even the Red Scarlet.  I’d love to use a 5d on our next project, a short documentary about Karen refugees living in New Jersey.   But I just don’t feel confident any of the DSLRs would mesh with our style of unpredictable shooting out in the field on an already complex documentary.  So, we have to just wait a little longer, and continue to hone our craft and focus on story telling.  Because if I have learned one lesson from this revolution in film-making, it is that no amount of shallow depth of field can turn poor story telling into great film.

The Day Has Finally Arrived! We Have a Mac Pro!

Well, we did not lie. We bought the Mac Pro (well we said we would buy the 15th, but it came out a week earlier than that!) Our Mac Pro arrived a couple of days ago, and it was well worth the wait. Months of staring at our tapes, patiently waiting for Apple to update the Mac Pro, are now behind us.

We opted for the standard configuration (2.8Ghz, Dual Quad-Core), and are upgrading the RAM and HDDs from third party vendors. We’ve already got Final Cut Pro up and running, and have been digitizing ever since.

When we wake up in the morning, we do a couple of tapes while we get ready for work, and when we get home at night, we do a few more tapes while we eat dinner and relax. With the long weekend coming up, we are hoping to have all of our tapes digitzed by the end of it. Then we can finally start on some real editing, which, something tells me, is going to be really tough! Anyways, just like having a newborn baby, we took some really cheesy shots of our new editing suite – enjoy!

January 15th Will be the Day!

January 15th will be the day we buy a Mac Pro, regardless if Steve Jobs announces it at Macworld or not.  Of course we are hoping that a new Mac Pro will be unleashed upon the world on 1/15, but in the unlikely scenario that it is not, we will have to buy the current generation.  We have editing to do!

We are hoping to submit an application for a Jewish Documentary Film Grant that is due March 7th, and we need to have edited few short scenes to apply (along with a ton of other stuff that we need to start working on).  Now that Christmas and New Year’s are just around the corner, the wait until January 15th won’t be too bad.  And we probably wouldn’t be getting much work done even if we had a computer right now.

Check back on January 15th, 2008 to see what finally happens.  The suspense is killing us!

Barberin’ Out of the Running and Update on Post Production

Well Barberin’ made it to the quarterfinals of this month’s OurStage competition, but then quickly dropped in ranking after that and didn’t make it to the semis. We are currently waiting to see if Barberin’ gets accepted to the Our City Film Fest (what’s with all the “Our” film fests?), and we will update you when we know more.

We’ve been desperately waiting to start post-production on our kibbutz doc. Those 45 tapes are just sitting on a bookshelf, crying out “edit me please!” The only reason we haven’t started editing our film is because of a rumor that the Mac Pro is due for an imminent update, possibly by Nov. 13. We didn’t want to invest in an expensive edit suite only to have it bested by an updated new one a few months later. Although the next best thing is always on the horizon when it comes to technology, the Mac Pro is a special case. It has not been updated since it’s release in August 2006, so the current model is quite outdated. If the Mac Pro is updated in a couple weeks, then we will hopefully begin editing our film before thanksgiving (cross your fingers!)

Filming Uzi (not the gun, but the man).

Uzi

Yesterday morning we filmed Uzi in his workshop. He was shy and appeared nervous about the accuracy of his English. But after some time filming, his demeanor changed and he opened up about his life in Kfar Giladi — where he was born, met his volunteer wife Kathy, and raised five girls. Nearly 70 years old, Uzi is a pensioner who is only paid by the kibbutz to work four hours a day repairing bicycles, club cars, and kalnoeets (electric tricycles mostly used by the older people).

But he often works more hours without pay. He says working without payment doesn’t bother him because he likes to help people and he loves what he does — he was busy fixing a friend’s tractor free of charge when we showed up. When asked why most of his job responsibilities were transferred to the kibbutz quarry a few years ago, he responded that it was a topic he felt uncomfortable talking about. “Everything is fine,” he said. We promptly moved on from the issue, though it is something that continues to intrigue us.

Uzi also flies gliders during his free time. He said he always wanted to be a pilot, but struggled with the academic tests required of such a post. Gliding is his way of pursuing his lifelong passion. We plan to film Uzi as he glides, and we are considering taking a ride with our camera to shoot some aerial shots of the kibbutz and its environs (sounds fun right?).

Everybody Makes Mistakes

We’ve reviewed some of the footage of the shoot, and have recognized one of our errors. We still occasionally forget to lock the exposure. In tricky lighting environments like Uzi’s workshop, auto-exposure fails miserably. One moment Uzi’s face was perfectly exposed, but as soon as he stepped close to the windows and openings of the warehouse, his face became underexposed because the camera was compensating for the bright sunlight.

Exposure lock remedies this problem very quickly. It allows you to lock the exposure on your subject’s face, and then remains properly exposed when he steps into a much brighter area, such as a room with large windows. The windows will appear as overexposed white glowing squares in the background, but most of the time you don’t care about what is going on through the windows, you care about your subject’s face. It seems like a simple task to lock exposure (and the XH A1 makes it really easy with the placement of the exposure lock button), but amidst all the other distractions of shooting, it is sometimes easily forgotten. Most of the time we get it right, and hopefully in the future we won’t mess it up again!