2021 - What would be your documentary setup and why?

FX6 owner here. Am I alone in wanting a set of super-lightweight cine zooms that will also work with autofocus? Don't care about servo. Could be like the 24-105 f/4 but optically better. Or like the fujinon MK series with a clutch for MF/AF... but for full frame?

I realise that all lenses are compromises and 'cine zooms' usually deliver the good stuff by compromising on price, weight and range. I'd pay proper money for a slightly different set of compromises though.

Happy face: Parfocal, minimal breathing, lightweight, decent range, AF
Sad face (but ok): No servo, just ok manual focusing, some simple distortion that can be fixed in-camera, annoying marketing (4k lenses etc.)
 
Andy9 said:
FX6 owner here. Am I alone in wanting a set of super-lightweight cine zooms that will also work with autofocus? Don't care about servo. Could be like the 24-105 f/4 but optically better. Or like the fujinon MK series with a clutch for MF/AF... but for full frame?

I realise that all lenses are compromises and 'cine zooms' usually deliver the good stuff by compromising on price, weight and range. I'd pay proper money for a slightly different set of compromises though.

Happy face: Parfocal, minimal breathing, lightweight, decent range, AF
Sad face (but ok): No servo, just ok manual focusing, some simple distortion that can be fixed in-camera, annoying marketing (4k lenses etc.)
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what’s your current solution or work around, since you don’t have the tools you wish for yet?
 
morgan_moore said:
New to the thread.

Seems not much mention of a C300ii and 18-80 (and 70-200 or 100-400 and a macro) - surely the obvious doc choice right now?
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i’d say so. that is a pretty sweet setup. but also, i think people buying new are migrating to other options. but the C300ii done right is pretty great:

 
James0b57 said:
2019 to present has seen a fairly noticeable improvement on cameras across the board. Time to revamp the documentary wish list based on what is now possible.

To me, the obvious new options are the Fx6 and Fx3/S3 duo. so much to work with in a wide variety of needs. only downside is no s35 4K. So, longer zooms become a bit more restricted.

But what elsenis available? how is GoPro doing compared to the competition these days? better to just get a Zcam?

This is a free for all, so all types of doc shooting and gear is on the table.
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I'm looking forward to this:

 
James0b57 said:
yes, that is the dream.

they probably had to tell the model to keep both eyes open, but it is not a bad thing to keep aware of ones surroundings.
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Kubrick's idea of a futuristic ideal camera design in 2001 A Space Odyssey. Note the emphasis on the handgrip itself unlike that camera above or stupid smartphones. And also on the viewfinder. But otherwise a dinky little all-in-one as well. Actually I guess it's kind of like a Director's viewfinder. And that suit!

Screenshot_20210313-122619_YouTube.jpg

20210313_122809.jpg
 
These kind of cameras are pretty much my dream...but I always imagined them to be unrealistically powerful (even though it all could be realistic but just won't happen).

Imagine casually walking around with:

8K/240p laddering down to two handfuls of 6K/4K/HD framerates, all 12-bit, 20 stops of DR, AF that's so good it knows your eye color, IBIS that doesn't break a sweat when sprinting...all seen through a dreamy viewfinder that gradually improves your eyesight with micro-lasers while looking through it (you can turn that feature off if you're 20/20+).
 
ahalpert said:
Kubrick's idea of a futuristic ideal camera design in 2001 A Space Odyssey. Note the emphasis on the handgrip itself unlike that camera above or stupid smartphones. And also on the viewfinder. But otherwise a dinky little all-in-one as well. Actually I guess it's kind of like a Director's viewfinder. And that suit!

View attachment 142675

View attachment 142676
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That’s the route I would go, but with a larger sensor, a snap on/off handle and a snap on/off 3000 nits montor with variable swivel/tilt.

Also, these days for posh doco work clients usually demand muliple cameras. A-Cam, B-Cam, drone and crash/action cam is my usual set-up.
 
My documentary setup: Sony FS7 18-110, Samyang 14mm 2.8 Canon 100-400, Lumix G7 14-42mm, gopros.
SMAD with reciever and two transmitters for FS7 lavaliers. AT875
Cheap Chinese LED panels, old German Tungsten lights.
DJI 3 pro

And more important, acces to a bunch of archives.

And most important acces to buyers and viewers.
 
in 2015, i don’t think i would have used PTZ cameras in a documentary. eventhough little has functionally changed about them, i don’t think i would have liked the image quality. as cameras of all sensor sizes get better, i would revisit that. 2019 there was a big push for PTZ and Covid likely just added fuel to that movement. So, that is one way i might incorporate new tech into a doc in 2021 that i might not have before.

Erol Morris (spelling) did thos interviews where the interviewer was broadcast into the room of the subject, and a camera was right behind that projection, and it allowed the subject to look straight into the lens very naturally. this was perhaps more of a trade secret of his for a little while, so i won’t imagine any of you to share you trademark techniques, but i wonder what tech is allowing new ways of doing things.

i can say the 500w and 600w COB lights are pretty game changing in terms of lighting possibilities. being able to plug in anywhere. that is cool.

some of the new lav mic recorder packs are awesome. the little tascam dr10l something, was good but lacked in a couple key features that the newer packs seem to solve. total game change being able to run 32bit float recording on those too.
 
Publimix said:
My documentary setup: Sony FS7 18-110, Samyang 14mm 2.8 Canon 100-400, Lumix G7 14-42mm, gopros.
SMAD with reciever and two transmitters for FS7 lavaliers. AT875
Cheap Chinese LED panels, old German Tungsten lights.
DJI 3 pro

And more important, acces to a bunch of archives.

And most important acces to buyers and viewers.
Click to expand...

have you checked out the laowa 12mm f/2.8? you could get a wider FOV and much lower distortion than the samyang 14
 
#ahlpert No I got the lens cheap. I just found out that the 14mm lens is not a Samyang but a Rokinon, but that is the same I believe. I rarely use it. The 18-110 almost never comes of the camera.

I forgot to mention the Tripod, a Sachtler 15 SB and the Still photo function on the Lumix, sometime a good photo is better than a bad video. And last but not least a handheld recorder (tascam) to catch ambient sound.

I had Sigma Sports 150-600 a Sony 200-600, a Sony 18-105 and a Nikkor 50-300. I sold them, to much weight.
I try to keep my set compact.
 
Publimix said:
#ahlpert No I got the lens cheap. I just found out that the 14mm lens is not a Samyang but a Rokinon, but that is the same I believe. I rarely use it. The 18-110 almost never comes of the camera.

I forgot to mention the Tripod, a Sachtler 15 SB and the Still photo function on the Lumix, sometime a good photo is better than a bad video. And last but not least a handheld recorder (tascam) to catch ambient sound.

I had Sigma Sports 150-600 a Sony 200-600, a Sony 18-105 and a Nikkor 50-300. I sold them, to much weight.
I try to keep my set compact.
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The offshoot benefits of all the new stuff, is that the old stuff still works, and is either already paid for, or cheap to acquire.

Interesting, I am having some people request the cameras have auto focus. haha. Really funny what gets requested. At least they aren't requesting resolution anymore. I think the only HD/2K camera used anymore is the Alexa, and no one even bothers worrying, since it is so widely accepted as the best. Even though that camera is also getting long in the tooth. (heavy, battery hog, iso2000 ceiling, no autofocus lol)
 
Requiring auto focus as a producer is completely understandable, reasonable and intelligent. S35 and Fullframe came to the masses as did sun reflection screens and a penchant for F2 and no rehearsals/using these cams for live unscrpted. Mix this with producer directors that come from 1/3 chip and never heard of focus, focus puller or any 'cinema methods' and a keen to please 21 year old operator and you have 80% of shots going in the bin.

I have some respect for focus (aka I take nothing for granted) leading to spending on monitors/hoods, but also just constantly checking to the best of my ability. Frankly that gets in the way of other elements of the shoot. My respect for focus means I do get a bit more than 20% sharp afer using manual glass since I was a teenager more than quarter of a centtury ago.

But really most 90% of shoots should be..
1/3 to 2/3in cameras
Use AF if the sensor is MFT or bigger
or
Be directed completely differently
 
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