Complete equipment list for HDSLR documentary (gh2)

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den59

Well-known member
Hi, everybody.

First of all, excuse me if this was discussed in details elsewhere, but in my google search, I did not find any good info/discussion on what is needed for a HDSLR documentary GH1/13/2 kit. I think this thread will be useful for others who are in the same boat like me.

It seems I finally decided to go HDSLR route (i'm a still photography Nikon guy for several years). In the light of Panasonic AF-100, I think it's ok idea to go with 4/3 system and be able to jump to AF-100 cam in few years. Anyway, I don't plan buying a lot of lens for the system, so it should be easy to switch to, say, Sony APS-C if it will be in pro cams 2011/2012.

What I would like to shoot is some cinema verite stuff, only practicals (no set up light!), could be indoors or outdoors. Probably no fast movements or sports. Sometimes I would like to use a glidetrack/pocket dolly, but in general make everything simple.

I already have some equipment:
1) a follow focus (D-Focus)
2) a Korean guy Gini rig (ds-17 or something, bought of e-bay, similar to this)
3) Manfrotto 055proB legs,
4) Nikkor 2.8 zooms (17-35 and 80-200) + Nikkor 50/1.4 Ai-s


Ok, here is a list to buy now (from bhphotovideo):
1) Mic Rod NTG2 with shock mount 279$
2) Rode WS6 Deluxe Windshield for the NTG2 59$
3) Transcend 16 Gb Class 10 (x3) 34$
4) Tascam DR-100 305$
5) Nikkor -> m4/3 adapter 99$
6) 2.5 male to 3.5 male cable (connect Tascam to GH2) 17$
or Unbalanced 1/8″ to 1/8″ (mini) Stereo Cable w/ built-in -50dB Mic Pad this
7) Ikan arm 69$
or 492 micro ball head 50$
8) Sony MDR-7506 headphones 85$
subtotal1 - 1015$

Once GH2 will come out:
9) Manfrotto 504 400$ or its kit (EDIT1: changed from 501/503)
10) GH2 14-42 3.5-5.6 camera 999$
subtotal2 - 1399$
+
11) battery for GH2 (this one is for GH1) $46

Buy someday:
12) Marshal VLCD50HDMI or Rerock EVF (something with peaking!) - around 600$
13) Sennheiser G3 lav 600$
subtotal3 - 1200$
+
14) some pocket dolly/slider like
Philip Bloom Pocket Dolly 1095$ or
Dollyslide Mark II 549$ or
Glidetrack HD 275£=435$
IndiSlider Pro 24'' 399$ (I would go with this one)
Pegasus Cinevate 580$



The thing I don't know how to deal with are ND filters. If I'm to use different lens, it's not practical to screw a filter on lens each time I change it (even if I have some step-up/down rigs so I can use the same ND). Well, does it mean I have to have matebox, will it help? I never seen one myself, so I can't imagine what are the benefits except for barn-doors.

Another question is good fast relatively cheap zoom for GH2, but this is probably a whole other story...

I would be very grateful if you advise me on the list I mentioned above and probably show me a way how to make it cheaper/better. I also might forget something crucial, so all advises are welcome.

p/s/ I live in PAL country, yet I plan to buy NTSC version and shoot 1080p24. Could there be any circumstances when I will highly regret not having a PAL version? If I'm correct, in progressive mode I won't have any problems with 50Hz flickering (monitors, lights, etc), so, other than that, are there any possible issues?
I guess I will have problems shooting 60i mode in PAL country, right?

p/p/s/ I don't think D7000 is a way to go since it will have huge recording time limitations compared to GH2, and this kills it for me as a documentary HDSLR...
It could also have more aliasing and moire if it does line-skipping.


Kind regards,
Denis

EDIT1:

added to wish list
15) Nikkor->m4/3 G mount adapter (290$) + Tokina 11-16/2.8 (600$)
16) Voigtlander Nokton 25mm f/0.95 (900$) or Leica 25mm f/1.4 (900$)
17) Oktava MK-12 150$
18) Tink Tank Media 20 belt pack 135$
19) Manfrotto Quick release plate 56$
20) Hoodman hood 19$
 
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Cut your kit by half and up the quality by 10

Really what you need I cant help - but documentary - I guess it will be a fast pace, maybe not at all

a short zoom GH kit zoom
a long zoom (80-200)

batteries batteries batteries batteries batteries
cards cards cards cards cards cards

sound sound sound

LAV Mics

a shoulder rig that drops onto sticks

a finder or monitor, probably a finder, (monitor=batts + wires)

Questions to ask yourself

am I setting stuff up or filming actuality
do I have an assistant
is it a secure location

Tommorow Im heading out doco

it will be secure, (so second rig is safe) factory and mines

I will have no assistant and will need to move in a landrover with driver, talent and director

I will have on sticks camera one, sound recorder lav receiver, monitro, probably 70-200

camera two

wide zoom and rode mic

It will be my intention to go through the day with no rebuild of kit

You need to see the future and think about your day on the location, how will it actually work, can I see in the sun, will my batteries last, even in my sound recorder etc

basic functionality is more imporatnt than a slider or fancy primes

S
 
Dear Morgan,

Thank you for you advises.
I'm absolutely agree, filming is much more important than setting up stuff in docu work. And yes, I'll mostly be one man crew, but in secure locations... :)

Ok, so no hassle with Follow Focus and ND filters/mate box, agree.
Yet, from the buy list I still need:
1-8 (I still need to go with Tascam/Zoom in order to monitor sound! VideoMic IMHO are not good at all for GH1/2), plus
9-13

So, pretty much everything I guess...
Maybe replace Sennheiser G3 with something else, like Audio Technica 1811 (~540$) with dual channel reciever...

btw, external EVF is also bats+wires.


Cheers,
Denis.

morgan_moore said:
Cut your kit by half and up the quality by 10

Really what you need I cant help - but documentary - I guess it will be a fast pace, maybe not at all

....

basic functionality is more imporatnt than a slider or fancy primes

S
Click to expand...
 
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I cant really suggest specific stuff, for example I dont like the zoom or the tascam - I have a sound devices 702 but understand that is painfully expensive, well it was for me

As I built my kit and did a few jobs I realised I bought all the jewellery first, like a steadicam, wheras I should have concentrated on getting a really solid basic kit with things like lavs and spare batts/wires

stuff that means you can always come away with something

and then got the fancy stuff later

S
 
prepping for my shoot this morning

error 30 on my 5d,

might need a new shutter even though it worked fine of friday

add this to your list .. spare body !

S
 
Heya Denis,

I'm pretty much doing the same set up as you moving from stills to verite documentary/narrative.
Through trial and error over the last year have set up that works for me shooting solo as my own producer/director/camara and renting my gear back to the production.

If I want a two man crew with sound guy/co-filmmaker everything is easily adaptable.

Camera/Lenses
GH1 (AF100 and GH2 on order)
Nikkor primes X 5
kipon Nikon to m4/3 adapter from adoroma
I want to add the Tokina 11-16mm with Nikon G adapter and the 80-200 you have soon.
I have the 140-140mm kit lens but never use it, I have no experience with the 14-42 that will come with the GH2 but if you love your Nikkor's doubt you will use it unless you really have to go autofocus.
You might want to test the Tokina first, I'm buying it blind and taking a chance as can't find one for sale in my hometown.
I have a Voigtlander 0'95 25mm on order that can't come soon enough for a specific project.

Sound
Zoom H4N - Use the Zoom when I'm solo, have rigged different mix and match setups using the following when 2nd mic option needed for eg. music recording, performance, controlled enviroment etc
Rode NTG-2\Okatava MK-12 series
Beachtek DXA
Sound device Mix Pre Mixer
Sennheiser lavs coming soon, that and your 80-200 NIkkor is a killer combo.
I have a bunch of delcam swivel mount devices from BH that I use to support the mics on the handle mounts of the hand rig I have or on the flash bracket although that Ikan arm looks good!

For filter setups I use a Lee filter 4x4 kit with a 77mm adapter ring with all my primes have step up rings to 77mm for standard. (77mm snap on's as well as 77mm UV's)
Use a 77mm circular polarizer and 77mm Genus fader ND as opposed to using the Lee filter kit that keep for filters like my IR or yellow for B+W etc.

It's also less cumbersome and discreet than a mattbox, although I have a Genus wideangle on order because sometimes I want to look like I know what I'm doing.

I use a Hot Rod/PL kit mount with rod support and handles, cannot tell you how great this small lightweight device is with a Genus Follow Focus.

I have a Think Tank Media 20 belt pack that I use to limit the gear I use on a doc shoot, what I got is what I use. It can handle two GH bodies and 4 lenses (even the 80-200) at a squeeze with a Zoom H4N, xlr cables, headphone hook keeps them attached to the bag ext. with cable ports through the bag.

I can strap a Gorrilapod or mono pod underneath it. For mobility, getting in and out of cars it's as close as I have found to perfection.
It can fit an IPad easy.

The best part of the bag is that I strap it high on my waist in front of me and use it as belly camera Hot Rod support Chrisopher Doyle style.
http://www.youtube.com/watch?v=iuWZI0yUUHU
I like 4' POV off the ground as opposed to shoulder mount.

I keep a 2nd back pack with less valuable odds and ends like practicals, battery on camera LED, battery charger... stuff you can leave in the car on a need to get basis.

here are few other things that are useful:
manfroto quick release plate for tripod
http://www.bhphotovideo.com/bnh/controller/home?O=WishList.jsp&A=details&Q=&sku=241139&is=REG
Viewfinder hood
http://www.bhphotovideo.com/bnh/controller/home?O=WishList.jsp&A=details&Q=&sku=579023&is=REG
Pistol grip for very discreet stripped down shooting
http://cgi.ebay.com/Hasselblad-Pist...364843766?pt=Film_Cameras&hash=item563b7706f6

best part is I'm not weighed down, total is just under 3kg's for everything in my bag including Hot Rod.

With the odd few lenses and new AF100 and GH2 I cant see my setup changing for a while.
The only addition is possibly an external HD set up for the AF100 and the new RR viewfinder does look nice...
 
biginvegas said:
Heya Denis,
I'm pretty much doing the same set up as you moving from stills to verite documentary/narrative.
...
Click to expand...

That's so cool you shared your experience on the topic. Thank you very much.

Camera/Lenses:
which lens you end up using most? That would also be grate to see results, you have something on youtube or vimeo?
Just a side question- how is GH1 in terms of overheating/reliability?

Sound:
So, when you are solo, you use ONLY Zoom (apart from mics, of course)? What about Beachtek DXA, I just don't see a reason why would you need it if you have Zoom? Yet, I like manual knobs on it, is it easy to adjust mic levels on the fly with Zoom? Any experience with Tascam?

Regarding filters, I think I have something like that left from still photography, just need to check it. And "useful things" are really useful :) Definitely will be buying an Quick release plate and a Hood. Was also watching Think Tank media 20 for a while, now i'm confident i'd buy it

Maybe some photos of your rig once you have time to make them and post here? That would be grate!

p/s/ nice tip on Chrisopher Doyle camera support style :)


NextWaveG said:
2nd the Manfrotto 504HD. Check out our site for a full review.
Click to expand...
ZazaCast said:
Get the new Manfrotto 504 head...
Click to expand...
Thanks for a tip, I also did consider 504hd head, but was not sure if it does worth extra money.
I put it in the list.

Cheers,
Denis.
 
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den59 said:
Dear Morgan,

And yes, I'll mostly be o I'll mostly be one man crew, but in secure locations....
Click to expand...

if you are lone operator understanding the 'security' is important

often I operatate two cams, one on sticks and another on the shoulder,

interviews etc on sticks and then runaround and get Broll/noddies on the shoulder abandoning the sticks rig

again in a secrue location you can take a slider, for example

operating alone on the street etc you must keep everything within a couple of meters of yourself, at that point a slider is a no-no mainly

I had a 300 2.8 nicked on a beach once - it was entrusted to a 'PR bod' at the time who turned his back
 
Denis,

Lenses all Nikkor

I seem to fall back on a 35mm 1.4 that is wide but still has great DOF and very fast. It's a classic journalist lens from the 80's. I find it is most effective close on a subject say arms length, that can be to close for some people with a camera in their face. I need to step back 10ft at least to use the 50mm effectively. This obviously can affect my sound quality.
I have a 50mm 1.2 that I swap it out with and a the 85mm 1.2 when I need close up portraits.
I have a 105mm that I use mostly for close up imagery although it is beautiful portrait lens.

As you can see I really need to invest in two or three zooms as the lens changes can be critical sometimes and I'm losing the shots I can get certainly with the 80-200 and even the great 17-35 2.8 you have.

I would like to mimic that 60/70's NFL films zoom style and the 17-35 is probably the all purpose lens to get that look along with the 80-200 .


It's a toss up between the Tokina and the 17-35... what ya gonna do eh
Ultimately lens choice is about solving practical solutions and often less about aesthetics. I would love my imagery to look like Robert Frank stills but that 'aint gonna happen soon.




Heating and reliability? I think most users here have had no problems with overheating and reliability with the GH1.


Use the Zoom solo, correct do not use it with the Beachtek. Use the GH1-Beachtek XLR to an on board Rode NTG-2. I have XLR'd the Rode with the Zoom H4n for a live music event with mixed results, no pun intended. There is no substitute for a decent sound guy.

Obviously going solo has its drawbacks, how does one get the best dialogue from say two or three characters when your camera dictates the direction of the mic?

I guess buy a 3x lav set otherwise the Zoom has to do.

The variable XY stereo mics on the Zoom that rotate from a 90% to a 120 is my favorite feature to best solve that issue. I was skeptical I could quality sound out of it since I was used to shotgun mics with a sound man but find since I am headphoned in I now simply move in on said subject or step back with a two shot with the XY at 120%... This is why I need a new wide Nikkor zoom!

There is a new pencil shotgun mini mic on the market I want to have a look at, could be a simple solution for the somewhat ungainly Rode when used solo strapped on the rig, it's always getting whacked on car roof.

I will have some doc sequences up on Vimeo soon and will post it here.
 
Nice lenses you have, biginvegas.
Even though I have very limited experience in documentary shooting, I feel zoom is a must. I used Canon hv20 (short documentary), which starts at 43mm (35mm still equivalent), and I could live with it. Therefore I would say 17+35 + 50 + 80-200 on m4/3 is a good combo. It would be better on APS-C size though :)


Yet, what about Oktava MK-12 mics, can't you use them the same way you use XY zoom's mic at 120 angle?


morgan, i'm fully agree on security issues. Thanks for pointing this out.

EDIT1:
that's what I found here:
"The H4n can record four channels (two internal, two external mics). That might be important to you. (It's not to me.) The Tascam has a wheel for controlling the recording gain, and you can set the two channels independently on the fly."
Tascam : "analog dials for gain controls for each track", "all mics use phantom or no mics use phantom"
"Tascam got both: line and headphones out...Zoom has only one out."
'Those volume control knobs on the dr-100 alone makes me regret my purchase. The clickity record level buttons on the zoom are an absolute joke."
"A major gripe for me with the H4n is the inability to adjust channel 3&4 seperately. I have discovered that by using the mixer function I can do an audio pan between tracks 3&4 effectively allowing me to balance the two inputs seperately."

One more thread on Tascam vs H4n.
Tascam:
"with the Tascam, you can not use the built in mic and the XLR at the same time"
" I've always felt very limited to having only 2 audio channels after working with broadcast cameras with 4 and the H4n gives you this and many options. Yes, the fact that the 2 inputs are ganged when it comes to level adjustment is annoying."
"the DR100 internal mics doesnt sound good thou.."
"Within a week the plastic 1/4 thread failed" (morgan_moore)
"can change levels on XLR with ease with the dial on the side."
"mic preamps still don’t have sufficient gain to make strong recordings with low-output mics"
"the DR-100’s performance with low-output mics such as reporter stand-bys the EV RE50, or 635A, leaves much to be desired"
"I just tested with internal directional mics as well as with EV RE50 connected via XLR and I had to set gain to "H" (high) and "10" to get a so-so level for an interview with mics being pretty close to my mouth (5in or so)."
Zoom:
"Wish it had longer batt life. Wish it had a faster boot up time. SOOO slow."


Resume:
Personally, I would still go with Tascam mostly because of nice dials to change levels on the fly.
No cash for Sound Devices 702 (not necessary now).
4 channels of H4n is a good feature, but I suppose working solo in documentary would be hard to manage 4 channel + framing + ... So not a must feature IMO.

Do you, biginvegas, use 4 channels often in solo cinema-verite style work?
 
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Some questions about the sound recorders for you to answer

how long does the battery last

can you use external power supply

when the battery fails what happens to the clip you were recording

(very important if you roll long sound clips)

it is physically robust

is the 1/4 screw made of plastic for example

how are the preamps, are they powerful enough for your mic

does it have the ability to preroll sound

--

I dont know enough about the zoom or the tascam to answer these questions clearly, beyond to say that I have owned one, handled the other and think both fail on one element or all

.. I now own a Sound Devices recorder 702 powered from my Vlock battery system

What I should have got is a 702T which may be able to pump timecode into the camera meaning no more puraleyes pain

Expensive? cheaper than not getting hired again

Cant afford it, use an Ex1 :)

S
 
morgan_moore said:
Some questions about the sound recorders for you to answer
....
it is physically robust
is the 1/4 screw made of plastic for example
...
Click to expand...
Just added above your quote from another thread, and also found this:
"Buying a decent recorder should therfore IMO be above the list of priroities to all the rigs and stablisers, primes and other bling we are adding to these cameras - I have realised that AFTER buying the bling hence I am now over budget but thats life"

I see why You went with 702 :)
 
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Denis,

There are hundreds of threads here and elsewhere on lens choice. To me lens choice is almost a DNA gene code thing, your eye should say yes, that the way I want to see! For example I have the Nikkor 28mm and never use it. I should be using it but just don't like the frame, prefer the 35. The 4/3 does make choices easier not more difficult when you have to consider the 2x crop. Thanks for making the decision for me, I agree for doc work ( and on the AF100) the 17-35 is now on my wishlist and the Tokina 11-16 is off. It's pricey but will pay itself back in time. And I can test it at local dealer.

The c mount hunt thread is a great read for old school Bolex lenses that led me to 4 Switars locally and a great addition to the camera bag as lenses to design a specific look for and size wise great for that small very stealth project.

Yes the Oktava's can be used much like the Zoom by changing the omni and hypercardiod heads of the mic. It is a new acquisition I bought for a music project so yet to use it in the field. I do see it replacing the Rode as my "A" mic on board (it is smaller) with the Zoom always rolling as a "B" mic.

To be honest I bough the zoom with very little research, had not even heard of the Tascam and could not be happier. It's on me every day and collecting sound wherever I go.
 
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