filmguy123
Veteran
When you say sports documentary, are you going to do much capturing of actual gameplay footage/highlights, or more of the team ethos itself with only art style shots of the game here and there? Or both?
Are you shooting mostly indoor sports (say, basketball) or outdoor sports (say, football?)
Are you working as a one man show, 2-3 man team? Are you travelling much? When you travel, will you bring your own crew, or meet some local assistants at point of arrival?
These are all key concerns in what setup may be best. Reading through here, I'll offer up a few more thoughts just to keep you extra confused and torn
(kidding - more to help you think through possible workflow pitfalls with whatever solution you choose).
First, multiple M43 bodies might be a brilliant solution. As ahalpert pointed out, the main pitfall I've run into for this is that video is more taxing than photo - it can be pretty time consuming if the scene is changing rapidly (say when I shoot overseas) to keep adjusting settings on two different cameras (frame rate, ISO, shutter, WB, etc.). However, if you have a rather consistent environment such as a sports arena this is likely less of an issue... though still present. Really visualize a working day and think of what that might be like.
Second, if you are shooting sports highlights themselves... this is actually where I started my career, though it's been well over 10 years since I did this. I will say that for highlights, I would personally consider a servo zoom lens a huge boon. It really helps for smooth ball tracking. If you use a standard zoom lens all of your transitions are going to look choppy and perhaps sloppy if you are focused on accurately capturing a play. You'll also have a very hard time zooming in/out as the ball moves around because most of those lenses are not parafocal and so you'll lose focus constantly. If you are just doing some sizzle b-roll stuff where capturing any given play does not matter, than this is fine. You can shoot your wides, closes, etc. seperatately and in this case, no harm no foul. If you are actually documenting a play, I'd recommend a good servo zoom personally.
Third, if you are shooting mostly indoors with basketball, a few practical concerns here. You're going to want slow motion quite likely, and that is going to EAT light especially if you are going for 120fps. Now lets add to the concerns. You may want a faster shutter speed for sports. And, you may need to adjust the shutter faster to compensate for those hellish LED lights all over that will ruin your shots with flicker. Both of these will eat even more light. And football is likely not much better if you're working with a night game. So M43 is going to suck for that. The GH5s might be ok, but then it doesn't have IBIS, so what's the point? For this reason I'd be selecting a camera with extremely good low light so I have the headroom for high shutter, high FPS shots under limited lighting. And the next consideration here is if you want to wow a client, those measly internal codecs can wreak some havoc on high FPS footage and I've gotten immensely better results going to an external recorder that doesn't gimp the mbps devoted to each frame so much (the internal codecs, say you've got 150mbps... divvy that up between 24 frames, or between 120 frames, see the difference? External RAW won't have that issue).
Next, consider if you are shooting many actual game highlights, I don't think mobility on a long lens is quite as essential as a good position in my past experience. I'd definitely move around some, but it was not constant like it is if I am shooting something for a NGO overseas. And, even a lightweight m43 with a lightweight zoom is going to get real heavy real quick when you have to hold it for long focal length shots over time if you are capturing highlights. So I'd recommend a monopod anyway, now, and a servo. With all of these considerations, it pushes me more to think of the Sony FX6. It is going to have way better lowlight than the EVA1, it's years newer, the short flange mount is preferable to EF for maximum lens options. And you can use a lens hood with internal NDs and stack any filters you may need easily.
Now, thinking outside the box. What about an FX6 with a servo zoom lens on a tripod or monopod (depending on your crew), or even better, one of those convertible mode monopod/tripods to swap back and forth. And then your B-cam has IBIS and a VND for your art style shots where you need to be mobile and small - i.e. get inside the huddle, get down on the benches, crowds, etc. I think this is at least a two-rig styles job. If you are shooting either football or basketball I am not convinced you're going to need the fan in the camera to prevent overheating, unless you are shooting in very hot environments. Also consider the DSLR style body may not get the same workout as the main camera body capturing highlights (if that's the case).
Let's also consider some post workflow options and how they tie in here. You will likely want Digital Anarchy's Flicker Free 2 for working with slow motion and sports lighting, and good noise reduction (perhaps Resolve, or Neat Video 5). You could also be a guinea pig and brave a new frontier: Cinematch and non matching camera bodies. Ok, hear me out. This could be a crap idea because you just open yourself up to hassle, and differing batteries and menu UIs and post problems. BUT depending on where you end up with your specific needs, it could be an option. I've been very impressed the results from CineMatch, it does a true total conversion to a different colorspace. You can use a trial and find examples online. If you've got some GoPros, an FX6, and lets say you added a M43 body to the mix you could actually get a very quick/easy and excellent camera match between them... something that wasn't even possible a year ago at this time. No, there's not 5 years of user experience to back this and you may run into some problems. I'd try to stay in the same manufacturer workflow for a number of reasons, but let's say you find a really perfect combination of two different vendor's solutions. You can get around that more than ever now. For me, I am all Panasonic, but I've liked toying with FilmConvert because I can make my Panny's look closer to a BlackMagic, Arri, Canon, Sony, or whatever very quickly if I want that look stylistically. I've not done a project on that (thanks COVID) more just toyed with pre existing footage I have. But enough of my out there crazy talk, just throwing it out.
Back to less outside the box thinking, the question of your crew and travel needs really should be considered. If you are a one man show travelling by plane a lot, meeting some assistants on ground on location, this will really push you to favor smaller gear I would think. But if you get to travel everywhere with even one companion, you double your carry on options and could more easily travel with a bit larger kit. (And of course your checked options and ease of transport, thought airport porters, carts, etc. can solve that easily enough... just less fun).
As far as some other concerns thoughts put forth by others recommending against VND or separate sound as generally needed on bodies. I've never had any issues with my SLR Magic VND or my PowerXND Gen II VND, they do a lovely jump overall when not pushed too far to either extreme. They are not perfect but I am not working in narrative films with seamless cuts where things must be perfect. The small deviations on a good filter just don't matter for a lot of docu stuff (YMMV) if you're diligent with your white balancing. And, color tools are so good today it's often easy to fix. I just don't think that's much of a concern. What *IS* a concern, and where I see the highest value for internal NDs, has more to do with wanting to use multiple filters. The *need* to use VND will drive you nuts if your work calls for needing Circular Polarizer, Black ProMist filter, or lens hoods to help with light glare. In this case, it can be rough. You quickly end up needing to stack filters... do you want to protect your $$$ lens in a sports environment with a clear UV filter? That's one filter, now stack a VND. But do you want a ProMist for something, or polarizer? You've got to start stacking. And bright sports arenas and stadium lights can create some nasty flares without a lens hood cover, and YES there are workarounds with this while using a VND but at that point you're going to want to permanently afix the VND (not using Xume) so you can add a hood to the VND. And now you can't remove the VND quickly. So, it can be a hassle. But, for a lot of my work, these things haven't come up as much and so the VND has worked great. But for you, they might... will they? Think about it.
Next, separate audio. Well, I'll just say this. The whole separate audio problem on DSLR is today, IMO, not a problem at all and over emphasized. Going direct into my EVA1 is over rated as well. Here is what I mean. First, on both the sony's and panasonic they sell audio units. I can go straight into my S1H using my Panny XLR attachment which works and sounds very similar to going direct into my EVA1 via XLR. But in either case, I still always use my MixPre 6 II. Because it sounds way better. The preamps on that are just brilliant, super low noise, smooth recordings, and 32-bit float means when I am directing interviews and running sound I just do not have to worry about clipping. It is also incredibly easy to sink in post with PluralEyes or even Premiere's built in waveform match. Non issue IMO and I always choose without fail to do it even though I have the option to go direct into camera. I'll also add with the sound setup, I bought about a dozen Manfrotto QR plates, specifically, "Manfrotto 394 RC4 Low Profile Rectangular Rapid Connect Adapter with 410PL Plate". It's a bit of coin to swallow up front but everything is hyper quick snap in, snap out. I attach them to my tripod, cameras, cages, and MixPre and can sandwich things like Legos. Tripod, click in the MixPre, Click on the camera, boom. Or without? Quick click out of the MixPre, back in the bag, camera and go.
Lastly, with m43, don't forget... dynamic range. 2 Stops makes a big difference. Maybe not for all content but man it can be a lot harder if you've got dark skinned players in white jerseys on a bright summer day and you're moving fast, the DR advantages of larger sensors really help along with the lowlight.
All of this very long winded and hopefully semi helpful post to say: Shooting b-roll style footage vs capturing sports highlights have very unique considerations (i.e. servo zoom, monopod, etc.) and consider your travel needs for what kind of kit will actually be practical. Concerns with DSLR + VND/external audio are IMO overblown, but also not... depending on your specific needs. Two m43 bodies could be brilliant or awful. Consider lowlight needs, slow motion needs, flicker. You may want a large mix of content... gimbal style art shots, actually plays captured, b-roll benches, etc. Optimal setup for each is different. Maybe you have 3 cameras: FX6 w/servo on tripod, FX3/A7SIII on a gimbal, FX3/A7SIII handheld rig.
Obviously this is not a clear answer, just a ton of contradictory things to think about. If only video was a straight line, you're going to have to really visualize a day in the life and use multiple tools. Luckily there are more options than ever.
Are you shooting mostly indoor sports (say, basketball) or outdoor sports (say, football?)
Are you working as a one man show, 2-3 man team? Are you travelling much? When you travel, will you bring your own crew, or meet some local assistants at point of arrival?
These are all key concerns in what setup may be best. Reading through here, I'll offer up a few more thoughts just to keep you extra confused and torn
(kidding - more to help you think through possible workflow pitfalls with whatever solution you choose).First, multiple M43 bodies might be a brilliant solution. As ahalpert pointed out, the main pitfall I've run into for this is that video is more taxing than photo - it can be pretty time consuming if the scene is changing rapidly (say when I shoot overseas) to keep adjusting settings on two different cameras (frame rate, ISO, shutter, WB, etc.). However, if you have a rather consistent environment such as a sports arena this is likely less of an issue... though still present. Really visualize a working day and think of what that might be like.
Second, if you are shooting sports highlights themselves... this is actually where I started my career, though it's been well over 10 years since I did this. I will say that for highlights, I would personally consider a servo zoom lens a huge boon. It really helps for smooth ball tracking. If you use a standard zoom lens all of your transitions are going to look choppy and perhaps sloppy if you are focused on accurately capturing a play. You'll also have a very hard time zooming in/out as the ball moves around because most of those lenses are not parafocal and so you'll lose focus constantly. If you are just doing some sizzle b-roll stuff where capturing any given play does not matter, than this is fine. You can shoot your wides, closes, etc. seperatately and in this case, no harm no foul. If you are actually documenting a play, I'd recommend a good servo zoom personally.
Third, if you are shooting mostly indoors with basketball, a few practical concerns here. You're going to want slow motion quite likely, and that is going to EAT light especially if you are going for 120fps. Now lets add to the concerns. You may want a faster shutter speed for sports. And, you may need to adjust the shutter faster to compensate for those hellish LED lights all over that will ruin your shots with flicker. Both of these will eat even more light. And football is likely not much better if you're working with a night game. So M43 is going to suck for that. The GH5s might be ok, but then it doesn't have IBIS, so what's the point? For this reason I'd be selecting a camera with extremely good low light so I have the headroom for high shutter, high FPS shots under limited lighting. And the next consideration here is if you want to wow a client, those measly internal codecs can wreak some havoc on high FPS footage and I've gotten immensely better results going to an external recorder that doesn't gimp the mbps devoted to each frame so much (the internal codecs, say you've got 150mbps... divvy that up between 24 frames, or between 120 frames, see the difference? External RAW won't have that issue).
Next, consider if you are shooting many actual game highlights, I don't think mobility on a long lens is quite as essential as a good position in my past experience. I'd definitely move around some, but it was not constant like it is if I am shooting something for a NGO overseas. And, even a lightweight m43 with a lightweight zoom is going to get real heavy real quick when you have to hold it for long focal length shots over time if you are capturing highlights. So I'd recommend a monopod anyway, now, and a servo. With all of these considerations, it pushes me more to think of the Sony FX6. It is going to have way better lowlight than the EVA1, it's years newer, the short flange mount is preferable to EF for maximum lens options. And you can use a lens hood with internal NDs and stack any filters you may need easily.
Now, thinking outside the box. What about an FX6 with a servo zoom lens on a tripod or monopod (depending on your crew), or even better, one of those convertible mode monopod/tripods to swap back and forth. And then your B-cam has IBIS and a VND for your art style shots where you need to be mobile and small - i.e. get inside the huddle, get down on the benches, crowds, etc. I think this is at least a two-rig styles job. If you are shooting either football or basketball I am not convinced you're going to need the fan in the camera to prevent overheating, unless you are shooting in very hot environments. Also consider the DSLR style body may not get the same workout as the main camera body capturing highlights (if that's the case).
Let's also consider some post workflow options and how they tie in here. You will likely want Digital Anarchy's Flicker Free 2 for working with slow motion and sports lighting, and good noise reduction (perhaps Resolve, or Neat Video 5). You could also be a guinea pig and brave a new frontier: Cinematch and non matching camera bodies. Ok, hear me out. This could be a crap idea because you just open yourself up to hassle, and differing batteries and menu UIs and post problems. BUT depending on where you end up with your specific needs, it could be an option. I've been very impressed the results from CineMatch, it does a true total conversion to a different colorspace. You can use a trial and find examples online. If you've got some GoPros, an FX6, and lets say you added a M43 body to the mix you could actually get a very quick/easy and excellent camera match between them... something that wasn't even possible a year ago at this time. No, there's not 5 years of user experience to back this and you may run into some problems. I'd try to stay in the same manufacturer workflow for a number of reasons, but let's say you find a really perfect combination of two different vendor's solutions. You can get around that more than ever now. For me, I am all Panasonic, but I've liked toying with FilmConvert because I can make my Panny's look closer to a BlackMagic, Arri, Canon, Sony, or whatever very quickly if I want that look stylistically. I've not done a project on that (thanks COVID) more just toyed with pre existing footage I have. But enough of my out there crazy talk, just throwing it out.
Back to less outside the box thinking, the question of your crew and travel needs really should be considered. If you are a one man show travelling by plane a lot, meeting some assistants on ground on location, this will really push you to favor smaller gear I would think. But if you get to travel everywhere with even one companion, you double your carry on options and could more easily travel with a bit larger kit. (And of course your checked options and ease of transport, thought airport porters, carts, etc. can solve that easily enough... just less fun).
As far as some other concerns thoughts put forth by others recommending against VND or separate sound as generally needed on bodies. I've never had any issues with my SLR Magic VND or my PowerXND Gen II VND, they do a lovely jump overall when not pushed too far to either extreme. They are not perfect but I am not working in narrative films with seamless cuts where things must be perfect. The small deviations on a good filter just don't matter for a lot of docu stuff (YMMV) if you're diligent with your white balancing. And, color tools are so good today it's often easy to fix. I just don't think that's much of a concern. What *IS* a concern, and where I see the highest value for internal NDs, has more to do with wanting to use multiple filters. The *need* to use VND will drive you nuts if your work calls for needing Circular Polarizer, Black ProMist filter, or lens hoods to help with light glare. In this case, it can be rough. You quickly end up needing to stack filters... do you want to protect your $$$ lens in a sports environment with a clear UV filter? That's one filter, now stack a VND. But do you want a ProMist for something, or polarizer? You've got to start stacking. And bright sports arenas and stadium lights can create some nasty flares without a lens hood cover, and YES there are workarounds with this while using a VND but at that point you're going to want to permanently afix the VND (not using Xume) so you can add a hood to the VND. And now you can't remove the VND quickly. So, it can be a hassle. But, for a lot of my work, these things haven't come up as much and so the VND has worked great. But for you, they might... will they? Think about it.
Next, separate audio. Well, I'll just say this. The whole separate audio problem on DSLR is today, IMO, not a problem at all and over emphasized. Going direct into my EVA1 is over rated as well. Here is what I mean. First, on both the sony's and panasonic they sell audio units. I can go straight into my S1H using my Panny XLR attachment which works and sounds very similar to going direct into my EVA1 via XLR. But in either case, I still always use my MixPre 6 II. Because it sounds way better. The preamps on that are just brilliant, super low noise, smooth recordings, and 32-bit float means when I am directing interviews and running sound I just do not have to worry about clipping. It is also incredibly easy to sink in post with PluralEyes or even Premiere's built in waveform match. Non issue IMO and I always choose without fail to do it even though I have the option to go direct into camera. I'll also add with the sound setup, I bought about a dozen Manfrotto QR plates, specifically, "Manfrotto 394 RC4 Low Profile Rectangular Rapid Connect Adapter with 410PL Plate". It's a bit of coin to swallow up front but everything is hyper quick snap in, snap out. I attach them to my tripod, cameras, cages, and MixPre and can sandwich things like Legos. Tripod, click in the MixPre, Click on the camera, boom. Or without? Quick click out of the MixPre, back in the bag, camera and go.
Lastly, with m43, don't forget... dynamic range. 2 Stops makes a big difference. Maybe not for all content but man it can be a lot harder if you've got dark skinned players in white jerseys on a bright summer day and you're moving fast, the DR advantages of larger sensors really help along with the lowlight.
All of this very long winded and hopefully semi helpful post to say: Shooting b-roll style footage vs capturing sports highlights have very unique considerations (i.e. servo zoom, monopod, etc.) and consider your travel needs for what kind of kit will actually be practical. Concerns with DSLR + VND/external audio are IMO overblown, but also not... depending on your specific needs. Two m43 bodies could be brilliant or awful. Consider lowlight needs, slow motion needs, flicker. You may want a large mix of content... gimbal style art shots, actually plays captured, b-roll benches, etc. Optimal setup for each is different. Maybe you have 3 cameras: FX6 w/servo on tripod, FX3/A7SIII on a gimbal, FX3/A7SIII handheld rig.
Obviously this is not a clear answer, just a ton of contradictory things to think about. If only video was a straight line, you're going to have to really visualize a day in the life and use multiple tools. Luckily there are more options than ever.
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