GH4 Filming Corporate/Office Interviews with GH4s

[andvx]

Hi all,

I am looking to get feedback on filming (continuous > 30 mins) corporate/office interviews using multiple GH4 cameras.

I have a couple of GH4 bodies but I am yet to purchase any lenses and other equipment (as well as additional GH4s if required). I would really appreciate feedback on what you think is needed, what to look out for, and anything else of importance. From reading these forums there are many of you doing corporate/office interviews with GH4s.



SETUP
The cameras will be used to film uninterrupted interviews for greater than 30 minutes with the intention to use multiple cameras. The quality must be top-notch which is why the GH4s are ideal.

Depending on interview conditions, there will be times when the cameras will be left unattended, so once the cameras start rolling they won’t be monitored or touched until the interview is complete. After their initial placement and setup that’s it!
The reason for multiple cameras is to film both the Host and Subject (they will typically be 1.5-2 metres opposite each other). A mock-up of the “ideal” setup with each camera in order of priority is below. All cameras are GH4s, and the intention is to hit “record” and let the cameras continuously roll and record:

• Camera A captures the Host’s and Subject’s entire bodies.
• Camera B captures the Subject’s face.
• Camera C captures the Subject’s whole body (or waist up).
• Camera D captures the Host’s face (similar to Camera B with identical or different angle)

If you view this short 30 second segment of a 3-camera interview this is conceptually the setup and the different angles I am looking to achieve https://youtu.be/izr4s50t1LM?t=60 (1minute to 1 minute 30 seconds). This clip uses three cameras, not four.



LIGHTING
There isn’t an option to bring in stage or film lighting, so lighting will all be bright office lighting with or without a combination of natural light. As office lighting is generally bright, there shouldn’t be any typical limitations or obstacles a low-light environment would introduce that a good lens won’t overcome (Nocticron, etc.).


SOUND & AUDIO

The main recorder is a Zoom H6 with XLR inputs.

1. Should wires or wired lavalier microphones be used, should 2 x shotgun microphones be used mounted on top of the cameras with one pointing at the Subject and the other at the Host, or alternatively, should 2 x shotgun microphones be mounted on tripods above the Subject’s head and the Host’s head?

FILMING

Given the GH4’s 4K functionality, the intention is to record all cameras in 4K. Even if the final output post-editing is downscaled to HD, the 4K provides the flexibility of cropping the video and cutting unwanted edges out. Also, if there is only one camera on the Subject, while the angle will stay the same, the video can be cropped to give the appearance of a second camera (alternating between the larger and narrower/smaller crop).
I have a few questions all related to the above information and proposed setup:


CAMERA & LENS QUESTIONS

1. How many GH4s would do the job?
2. Which lenses are ideal for the different cameras? A good DOF to blur out the background is ideal for face angles (Cameras B & D - Nocticron???, Camera A - Lumix G X Vario 12-35mm F2.8???). A wide angle low aperture for Camera A? Are the Panasonic lenses as good as Leica, etc.?
3. Which distances and angles would you recommend? The cameras can be at least 2-3 metres away from the Host and Subject.

GENERAL QUESTIONS

1. Is it wise to film in 4k given the rationale above (cropping, etc.)?
2. Is it easy to pull frames out of the raw 4K footage with the GH4 for still shots?
3. Should all cameras be at eye-level or could the macro view be below eye-level looking up?
4. Based on the above setup, could two cameras share a single tripod with an adapter? (Due to travel the less number of items such as tripods, etc., the easier it will be).

Thanks very much for your help!

 

[Harry Pallenberg]

In general I think 4 cameras is insane. Even 3 is a bit much. Shooting 4K and cropping in for close up (if its well lit - and many offices are not that well lit) is totally doable. What is this for? 1080HD delivery on the net? 720? What about using a GoPro for the A Camera wide shot? I mean ho often will you actually want to see that wide of a shot?

LIGHTING
There isn’t an option to bring in stage or film lighting, so lighting will all be bright office lighting with or without a combination of natural light. As office lighting is generally bright, there shouldn’t be any typical limitations or obstacles a low-light environment would introduce that a good lens won’t overcome (Nocticron, etc.).

Offices are often not as bright as one would think... I'm guessing you'll want to have some lights.

SOUND & AUDIO

The main recorder is a Zoom H6 with XLR inputs.

1. Should wires or wired lavalier microphones be used, should 2 x shotgun microphones be used mounted on top of the cameras with one pointing at the Subject and the other at the Host, or alternatively, should 2 x shotgun microphones be mounted on tripods above the Subject’s head and the Host’s head?

No mics on camera. Shotguns over or under talent... but you also say you want to travel with less gear, so wireless lavs. The weight you save on boom poles / stands can go towards the lights.

FILMING

Given the GH4’s 4K functionality, the intention is to record all cameras in 4K. Even if the final output post-editing is downscaled to HD, the 4K provides the flexibility of cropping the video and cutting unwanted edges out. Also, if there is only one camera on the Subject, while the angle will stay the same, the video can be cropped to give the appearance of a second camera (alternating between the larger and narrower/smaller crop).
I have a few questions all related to the above information and proposed setup

Shooting 4K means Cameras B & C can be the same - just crop.

CAMERA & LENS QUESTIONS

1. How many GH4s would do the job? 2 and a GoPro
2. Which lenses are ideal for the different cameras? A good DOF to blur out the background is ideal for face angles (Cameras B & D - Nocticron???, Camera A - Lumix G X Vario 12-35mm F2.8???). A wide angle low aperture for Camera A? Are the Panasonic lenses as good as Leica, etc.?
3. Which distances and angles would you recommend? The cameras can be at least 2-3 metres away from the Host and Subject. Really? at least 2-3 meters? Those are some big offices. You will also want your subjects to have some distance from the back of the room.

GENERAL QUESTIONS

1. Is it wise to film in 4k given the rationale above (cropping, etc.)? YES and crop in for the close up
2. Is it easy to pull frames out of the raw 4K footage with the GH4 for still shots?
3. Should all cameras be at eye-level or could the macro view be below eye-level looking up? I'd say slightly above and looking down.
4. Based on the above setup, could two cameras share a single tripod with an adapter? (Due to travel the less number of items such as tripods, etc., the easier it will be). Probably not as they will be too far away.

 

[DPStewart]

I shoot up to 5 cameras on very dynamic events and it's a great way to do....THOSE.

The interviews you're talking about can quickly become disorienting if too many camera angles are used.

Just watch an episode of any network interview talkshow show and you'll see basically 3 "regularly occurring" angles with a 4th happening only occasionally during interviews, and that 4th is usually used for cutaways to commercial.
And although I know you're trying to "not let them get boring", in calm interviews like most corporate stuff if you use too many camera angles and edits than it just immediately draws attention to itself and looks like you're overdoing it.

I would advocate all cameras being the same model because it makes post production and even just general file management much easier.

 

[TubEfingers]

With my kit i'd go for:

• Camera A captures the Host’s and Subject’s entire bodies - Lumix 12-35
• Camera B captures the Subject’s face. - Canon FD 50mm/85mm
• Camera C over the subjects shoulder shot of Host - Voigtlander 25mm

Radio mics

 

[andvx]

Hi Harry,
Thanks for your input.

In general I think 4 cameras is insane. Even 3 is a bit much. Shooting 4K and cropping in for close up (if its well lit - and many offices are not that well lit) is totally doable. What is this for? 1080HD delivery on the net? 720? What about using a GoPro for the A Camera wide shot? I mean ho often will you actually want to see that wide of a shot?

The delivery will be online/net as well as on DVD disc. So either could be 4K or HD.

I looked at the GoPro before getting the GH4s and the quality doesn't compare if you really want superb detail and clarity.

If using 3 cameras (A, B & D) then the wide shot would be used quite a bit. If only using 2 cameras (A & B) then the wide shot would be used quite extensively.

Offices are often not as bright as one would think... I'm guessing you'll want to have some lights.

Unfortunately I'll have to settle with the existing room lighting. Perhaps an f/1.2 like the Nocticron would overcome this?

No mics on camera. Shotguns over or under talent... but you also say you want to travel with less gear, so wireless lavs. The weight you save on boom poles / stands can go towards the lights.

Are there any wireless lavs you would recommend? The top Sennheiser is seriously expensive.

Shooting 4K means Cameras B & C can be the same - just crop.

Thanks for the tip.

Which distances and angles would you recommend? The cameras can be at least 2-3 metres away from the Host and Subject. Really? at least 2-3 meters? Those are some big offices. You will also want your subjects to have some distance from the back of the room.

Yeah, there will be some pretty large spaces. These are executive interviews so offices and rooms won't be small.

1. Should all cameras be at eye-level or could the macro view be below eye-level looking up? I'd say slightly above and looking down.
2. Based on the above setup, could two cameras share a single tripod with an adapter? (Due to travel the less number of items such as tripods, etc., the easier it will be). Probably not as they will be too far away.

Thanks for the above information.


Thanks Harry

 

[andvx]

Hi Stewart,
Thanks for your input.

I shoot up to 5 cameras on very dynamic events and it's a great way to do....THOSE.

The interviews you're talking about can quickly become disorienting if too many camera angles are used.

Just watch an episode of any network interview talkshow show and you'll see basically 3 "regularly occurring" angles with a 4th happening only occasionally during interviews, and that 4th is usually used for cutaways to commercial.
And although I know you're trying to "not let them get boring", in calm interviews like most corporate stuff if you use too many camera angles and edits than it just immediately draws attention to itself and looks like you're overdoing it.

I would advocate all cameras being the same model because it makes post production and even just general file management much easier.

You've helped me narrow the cameras down to no more than three. As Harry said above, filming in 4K and downscaling to HD gives the advantages of creating additional angles from the footage if need be.


Do you have any opinions towards the best lenses? Is the Nocticron combined with the 12-35mm Vario ideal?



Thanks Stewart

 

[andvx]

Hi TubEfingers,
Thanks for your input.

With my kit i'd go for:

• Camera A captures the Host’s and Subject’s entire bodies - Lumix 12-35
• Camera B captures the Subject’s face. - Canon FD 50mm/85mm
• Camera C over the subjects shoulder shot of Host - Voigtlander 25mm

Radio mics

Is there any reason why you recommend the Canon and Voigtlander over Panasonic or Leica? These would require Speed Booster wouldn't they?



Thanks TubEfingers

 

[andvx]

Also, if the DOF is not too shallow but the background is still blurred out so that the attention always remains on the subject, are the face tracking capabilities on the GH4 (v2.4) good enough to overcome this, particularly if combined with the lenses mentioned in this thread (Nocticron, 12-35mm, etc.)?

As mentioned in my first post, depending on interview conditions, there will be times when the cameras will be left unattended, so once the cameras start rolling they won’t be monitored or touched until the interview is complete. After their initial placement and setup that’s it! If the subject moves around during the interview will it cause the cameras to constantly go in and out of focus, or are these lenses combined with the GH4 able to overcome this?


Thanks

 

[andvx]

Hi, bump anyone?

Thanks

 

[stoneinapond]

I can speak to the Nocticron. It is a beautiful lens and renders amazing images. If the DOF is really shallow and the subject goes out of focus by simply moving a small amount, then you will have to deepen the DOF. I don't think that the lens and camera can adequately compensate for that kind of movement and if you are in auto focus you may find the lens hunting and ruining the shot, especially if the lighting is low.

Also, because of the effective FOV of 95mm, you need to check how far back you need to place the camera. Even if it is the full face camera, check your distance.

But it is a beautiful lens.

 

[andvx]

I can speak to the Nocticron. It is a beautiful lens and renders amazing images. If the DOF is really shallow and the subject goes out of focus by simply moving a small amount, then you will have to deepen the DOF. I don't think that the lens and camera can adequately compensate for that kind of movement and if you are in auto focus you may find the lens hunting and ruining the shot, especially if the lighting is low.

Also, because of the effective FOV of 95mm, you need to check how far back you need to place the camera. Even if it is the full face camera, check your distance.

But it is a beautiful lens.

Hi stoneinapond,
Thank you for your feedback.

Two questions about the DOF and autofocus:

1. Should the lens be set to manual once a focus point has been established?
2. Is the 42.5mm f/1.7 (1/4 of the price of the Nocticron) possibly a better option for this? With video, 4K specifically, would you notice a difference between the Nocticron and the f/1.7?

Thanks

 

[MichaelTiemann]

Unfortunately I'll have to settle with the existing room lighting. Perhaps an f/1.2 like the Nocticron would overcome this?

[...]

These are executive interviews so offices and rooms won't be small.

There are times when one needs to stand up and raise questions about the assumptions. This is one of those times. If you are doing executive interviews with 3 GH4 cameras, decent lenses, and external sound recording, and you don't have rim, key, and fill lights, your executives are going to look like low-rent schlubs and your $6000-$8000 AV investment is going to look like a big waste of money.

You don't need huge lights. You don't need hot lights. But if you shoot without proper 3-point lighting, its going to look like amateur hour. You might get away with blaming the cameras, or even the lens (f1.2 or otherwise) but why aim to be a loser when you could stand up and be a hero?

 

[Matt Gottshalk]

There are times when one needs to stand up and raise questions about the assumptions. This is one of those times. If you are doing executive interviews with 3 GH4 cameras, decent lenses, and external sound recording, and you don't have rim, key, and fill lights, your executives are going to look like low-rent schlubs and your $6000-$8000 AV investment is going to look like a big waste of money.

You don't need huge lights. You don't need hot lights. But if you shoot without proper 3-point lighting, its going to look like amateur hour. You might get away with blaming the cameras, or even the lens (f1.2 or otherwise) but why aim to be a loser when you could stand up and be a hero?

Well said.

 

[David W. Jones]

I had brought up this point in andvx's matching thread about audio gear, and suggested battery powered compact LED lights/diffusion & small lightweight light stands which would be easily transportable.

Sometimes it's hard for me to hold my tongue when there are so many strikes going into a high end shoot.

1: Nobody monitoring the audio.

2: Nobody monitoring the video.

3: No lighting used on the shoot.

 

[estarkey7]

Consider HD delivery and do digital dolly and punch ins to get some camera movement. Also, rent a few led lights for rim/hair lighting, it will improve your production value immensely.

 

[estarkey7]

can speak from recent experience that a short film turned up to be a complete hot mess! Here are a list of reasons:

1. Not enough experienced crew. You may bring your drinking buddies to help move gear, but don't have them monitor audio! I trained two friends for a few hours on how to use my recording equipment, but damn near every take was 12-16db too low!

2. Not enough lighting. I have read on this forum 1000 times about lighting, and I'm a pretty decent stills photographer (using up to five strobes, not just natural light). I screwed up my indoor footage not because it was too dark or that my lens wasn't fast enough or because I didn't use lights (I did use a high power led spot and smaller led fill), but because I didn't do lighting design. It's hard to do multi camera angles and have decent lighting when you are shooting in a real interior location and not a film set. But you have your subjects in locked off positions so there is no excuse not to 3-point light the set!

 

[estarkey7]

Also, if the DOF is not too shallow but the background is still blurred out so that the attention always remains on the subject, are the face tracking capabilities on the GH4 (v2.4) good enough to overcome this, particularly if combined with the lenses mentioned in this thread (Nocticron, 12-35mm, etc.)?

As mentioned in my first post, depending on interview conditions, there will be times when the cameras will be left unattended, so once the cameras start rolling they won’t be monitored or touched until the interview is complete. After their initial placement and setup that’s it! If the subject moves around during the interview will it cause the cameras to constantly go in and out of focus, or are these lenses combined with the GH4 able to overcome this?


Thanks

Man, I see a lot of me in you and unfortunately that's not a good thing! If you are doing a paying job using lenses you have NEVER USED BEFORE you have the perfect recipe for disaster. There is so much more than how large the subject looks when it comes to lens selection. Under no circumstances do I recommend using auto focus with the GH4 for nothing but photography! That means that ultra fast f/1.2 lens may need stopped down to f/4-5.6 to have deep enough focus band.

 

[andvx]

There are times when one needs to stand up and raise questions about the assumptions. This is one of those times. If you are doing executive interviews with 3 GH4 cameras, decent lenses, and external sound recording, and you don't have rim, key, and fill lights, your executives are going to look like low-rent schlubs and your $6000-$8000 AV investment is going to look like a big waste of money.

You don't need huge lights. You don't need hot lights. But if you shoot without proper 3-point lighting, its going to look like amateur hour. You might get away with blaming the cameras, or even the lens (f1.2 or otherwise) but why aim to be a loser when you could stand up and be a hero?

Hi Michael,
Thanks for your post and honest feedback.

This is a huge learning experience and learning curve, so I'm open to feedback and experiences. After all, we have to start somewhere.

As I've said in other posts, I haven't ruled out anything completely. The key is to find which trade-offs I'm willing to accept within the constrains of the project and different environments. For example, the original intention was to have any microphones and cables hidden (using wireless lavs or shotgun mics). After much research and listening to the feedback on this forum, I am most likely going to settle with wired lavs directly in a Zoom H6 recorder. If the cable is still noticeable in a wide-angle shot then that is a trade-off and compromise I have to accept.

For the lighting, given the almost-unanimous view that relying on bright office lighting is a dangerous and potentially costly assumption, I am looking into LED travel lighting options such as the Aputure Amaran AL-528S double kit - http://www.amazon.com/gp/product/B00LC0OVEI/.


If you have any lighting suggestions they would be appreciated.


Thanks Michael

 

[andvx]

I had brought up this point in andvx's matching thread about audio gear, and suggested battery powered compact LED lights/diffusion & small lightweight light stands which would be easily transportable.

Sometimes it's hard for me to hold my tongue when there are so many strikes going into a high end shoot.

1: Nobody monitoring the audio.

2: Nobody monitoring the video.

3: No lighting used on the shoot.

Hi David,
I agree there are risks and there is the potential for something to go wrong. I am also trying to best work in the constrains of the environments as well which I don't have a large degree of control over.


For lighting, do you have any suggestions for LED travel lights? I posted a link to the Aputure Amaran AL-528S double kit above. I've looked at the Yongnuo LED lights but the reviews with the fan coming on and being too noisy are a big downfall.


Thanks David

 

[andvx]

Man, I see a lot of me in you and unfortunately that's not a good thing! If you are doing a paying job using lenses you have NEVER USED BEFORE you have the perfect recipe for disaster. There is so much more than how large the subject looks when it comes to lens selection. Under no circumstances do I recommend using auto focus with the GH4 for nothing but photography! That means that ultra fast f/1.2 lens may need stopped down to f/4-5.6 to have deep enough focus band.

Hi estarkey7,
Thanks for your feedack.

After a lot of testing and experimenting with different lenses (Nocticron, etc.) I settled with the 12-35mm f/2.8 and the 35-100 f/2.8. While they obviously aren't as sharp as the Nocticron or have the higher aperture, like you have said, filming at a high aperture isn't ideal for a variety of reasons. Also, the Noctricon isn't ideal for this project and would be overkill.

Like I've said above, this is a huge learning experience and learning curve.


Thanks and any other feedback and advice is welcomed.