GH2 GH2 Documentary Must-Haves

Boncrek

Boncrek

Well-known member
Ok so I like the GH2's form factor and toy-like appearance.
Makes interviewees less uncomfortable and more relaxed.
I also like its weight so whatever I get I want to keep that in mind.

My question is mainly directed towards the essentials in focal lengths and audio gear.
I was thinking of using the Videomic Pro for any run and gun audio along with the Olympus 14-54mm MKII.
Is this focal length preferred? Should I be more concerned with primes and hope I dont need to zoom to catch a shot?
I dont plan to use the zooming itself but the idea of quickly grabbing shots from one spot without disturbing my subject is nice.
Along with the VMP i was planning to use a monopod for mostly on-the-street interviews and the like.

I know that audio is paramount in a doc and so would like a more robust audio kit but I'm failing at finding one that matches the GH2's form factor and size (except for in-camera audio from the VMP).
I already have a K-Tek 110CCR boompole along with a NTG-2 but for times I didnt need the length or distance I was hoping the VMP would suffice.
The trailer for this documentary made me think it was doable as all the dialogue audio was recorded usign the VMP straight into the GH2.

Thanks for any advice.
 
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Hey Boncrek,

I think the 14-50,54 whatever is a good range for most verite. A 2.8 at 54 can sort of do nice interviews too. I had the zoom you mentioned and it is a great lens, but the VMP will pick up the sound of it focusing, whether you're doing manual or not. Other than the noises and the lack of OIS I think it's a great lens. I would prefer the 12-60 but that's a fair amount more. I switched to the Panny 14-50 for my main zoom. It's got issues too, but the OIS is great and it makes much less noise when focusing manually. Autofocus on it sucks. It breathes like crazy. Neither of those two issue are that important to me though.
If you need to be unobtrusive while shooting then a zoom is a must. I love primes, but often I don't want a subject to know that they're in a close up--or I just don't want to disturb a moment by...walking closer.
If I use the VMP into camera, I put the +20db switch on and use a -11db attentuator cable. I think +9db is an improvement and the little cable allows me to mount the mic a little farther from the camera.
A variable ND to go with your zoom is important for documentary work I think but you probably already have that.

I love the form factor of the GH2 as well. I'm thinking of getting the Beachtek DXA-SLR though. Having difficulty pulling the trigger.

If you don't have a stereo RCA to mini adapter you should get one. I use this to listen to my audio in playback (when I'm not going dual system). Better than nothing.
 
woodcarver said:
Hey Boncrek,

I think the 14-50,54 whatever is a good range for most verite. A 2.8 at 54 can sort of do nice interviews too. I had the zoom you mentioned and it is a great lens, but the VMP will pick up the sound of it focusing, whether you're doing manual or not. Other than the noises and the lack of OIS I think it's a great lens. I would prefer the 12-60 but that's a fair amount more. I switched to the Panny 14-50 for my main zoom. It's got issues too, but the OIS is great and it makes much less noise when focusing manually. Autofocus on it sucks. It breathes like crazy. Neither of those two issue are that important to me though.
If you need to be unobtrusive while shooting then a zoom is a must. I love primes, but often I don't want a subject to know that they're in a close up--or I just don't want to disturb a moment by...walking closer.
If I use the VMP into camera, I put the +20db switch on and use a -11db attentuator cable. I think +9db is an improvement and the little cable allows me to mount the mic a little farther from the camera.
A variable ND to go with your zoom is important for documentary work I think but you probably already have that.

I love the form factor of the GH2 as well. I'm thinking of getting the Beachtek DXA-SLR though. Having difficulty pulling the trigger.

If you don't have a stereo RCA to mini adapter you should get one. I use this to listen to my audio in playback (when I'm not going dual system). Better than nothing.
Click to expand...

Isnt that XLR box gonna mess with the nice GH2 form factor? I knwo it should improve audio but I'm waining at the choice.
The Olympus 14-54mm MKII is not a constant aperture zoom, its actually F3.5 at the long end.
Maybe something like the Tamron 17-50 F2.8 would be the ticket as its constant aperture, silent focusing and with the proper adapter has silent gradual iris changes as well.
 
Boncrek said:
Isnt that XLR box gonna mess with the nice GH2 form factor? I knwo it should improve audio but I'm waining at the choice.
The Olympus 14-54mm MKII is not a constant aperture zoom, its actually F3.5 at the long end.
Maybe something like the Tamron 17-50 F2.8 would be the ticket as its constant aperture, silent focusing and with the proper adapter has silent gradual iris changes as well.
Click to expand...

Boncrek -- I agree that a fast zoom is the way to go. I've decided to go that route myself -- but I don't think Tamron makes an Olympus/Panasonic compatible lens -- do you mean the Sigma 18-50 f2.8 for 4/3? I have been looking for one and they are very hard to find (e.g., out of stock at B&H and Amazon). You can still find one periodically on eBay or craigslist.

If you want to try the Sigma out before making the effort to find it, you can rent one for 4 days for $28.50 + $22 shipping. You would need a 4/3 to micro 4/3 adapter.

Another (expensive) option is the Olympus 14-35 f2.0 for $2300.

You can rent one of these for not much more than the Sigma -- 4 days for $83.25 + $29 shipping. You would need the adapter for this lens too.

Cheers,

Bill


 
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If you decide on the 14-54mm f2.8-3.5, Olympus made an inexpensive high-quality zoom that covers the rest of the handheld focal range: the 40-150mm f3.5-4.5 auto-focus zoom. (Note that there's a newer, slower version of this lens at f4-5.6.) The unusual thing about this lens is that it can be manually focused by directly twisting the bayonet-mounted lens hood. And unlike other Panasonic and Olympus Micro/Four Thirds lenses, it holds its focus while zooming. While f3.5-4.5 may not sound very fast, it's actually only a half-stop slower than the Oly 14-54mm.
 
Last year I thought about buying the Olympus 14-54mm thinking it was the best fast zoom i can get for my GH1, but them i ask myself, No fast autofocus, No OIS, need a expensive adapter, no constant aperture, noiser, the only good point is the electronic Iris control. So i decide to go for the Tamron 17-50mm f2.8(450$) SonyAlpha adapter with aperture control for 35$, no regret.
 
I picked up a Tokina 24-40 constant 2.8 for the Pentax K mount cameras. With the adapter I only paid 120 bucks. It's a really sweet semi wide zoom. Next, I'll get the tokina 11-16 2.8 and believe I'm done buying zooms. I'll have 3 with the 14-140.

I think the 100 dollar F1.4 50mm Canon FD lenses are very appealing. The 35mm F2 for about 150-200 aren't bad either.
 
xenogears said:
Last year I thought about buying the Olympus 14-54mm thinking it was the best fast zoom i can get for my GH1, but them i ask myself, No fast autofocus, No OIS, need a expensive adapter, no constant aperture, noiser, the only good point is the electronic Iris control. So i decide to go for the Tamron 17-50mm f2.8(450$) SonyAlpha adapter with aperture control for 35$, no regret.
Click to expand...

This is exactly the type of lens I was thinking of buying. Do you miss the electronic info on screen? What are the downsides?
Do you have any footage of this lens?
 
lpowell said:
If you decide on the 14-54mm f2.8-3.5, Olympus made an inexpensive high-quality zoom that covers the rest of the handheld focal range: the 40-150mm f3.5-4.5 auto-focus zoom. (Note that there's a newer, slower version of this lens at f4-5.6.) The unusual thing about this lens is that it can be manually focused by directly twisting the bayonet-mounted lens hood. And unlike other Panasonic and Olympus Micro/Four Thirds lenses, it holds its focus while zooming. While f3.5-4.5 may not sound very fast, it's actually only a half-stop slower than the Oly 14-54mm.
Click to expand...

Where would I find this lens? Haven't seen it anywhere.
 
For interviews, I swear by my Nikkor 20mm f.2.8 AI Prime. It's really clean and just sharp enough, great short DOF. For audio, 1 lectro lav, one neumann shotgum, all into a sound devices 702t, which then gives me the master timecode to match all the GH1 footage. If you're doing interviews, you don't really need a zoom, just move the camera back or forward. I also have a 50 f1.2 for low light, and the 14-140 zoom for outdoor daytime run and gun. So far it's been a great combination. Add the requisite ND's, and you're good to go. I only want to add a 300mm 2.8, when budget permits.
 
Everybody who replied so far seem to have forgotten about the crop sensor function. If form factor is important for you and you want in-cam control of exposure and focus, consider using the Panasonic 14mm or 20mm pancake and use the crop sensor function for zooming. This is how I've been shooting a lot of stuff lately, I assinged the sensor crop to user button 1. The only downside is that you have to stop recording if you want to switch between full and cropped sensor, would be great if Panasonic would fix this in the next firmware update. Apart from this the function is great and as said a million times before, the crop sensor function is not the same as a digital zoom, so the picture quality is great, you'll only see the difference between crop and full sensor in ISO400 and higher; the cropped sensor is more grainy then. So this may be the solution for you Boncrek, and about audio, I agree that the Beachtek will mess up the form factor because it's almost bigger than the GH2 itself, still I ordered one to use with my second GH2 which usually is on a tripod, I use my main GH2 in a handheld frame and I'm considering getting the Rode pvm for that. I use that special GH1/2 Panasonic mike now and it's really noisy so better stay away from that one.
 
Also if electronic in-cam control of the lens isn't that important for you I can recommend the Tokina lenses with Nikon mount with Novoflex adapter with aperture control. Great combination and the Tokinas work great with follow focus systems because focussing is repeatable. And when there isn't much time to set your exposure right you can still chose a comfortable aperture and then use the auto ISO mode of the GH2, it works great and almost stepless. Damn do I love my GH2?
 
xenogears said:
Last year I thought about buying the Olympus 14-54mm thinking it was the best fast zoom i can get for my GH1, but them i ask myself, No fast autofocus, No OIS, need a expensive adapter, no constant aperture, noiser, the only good point is the electronic Iris control. So i decide to go for the Tamron 17-50mm f2.8(450$) SonyAlpha adapter with aperture control for 35$, no regret.
Click to expand...
The Olympus 14-54mm II is very fast to auto focus on the GH2 (not sure about GH1, but it should be close). Still no OIS, but you can use a tripod.
 
I like the Tokina. Having a constant aperture isn't really critical IMO. I used to think the OIS wasn't worth it if I had to give something else up. However, I've saved more shots with OIS than I have lost shots because of an inconstant aperture. (using the panny 14-50 2.8-3.5 with OIS) I still like the Tokina and Oly II though.

Yeah, I think the Beachtek DXA will fubar the form factor but so does strapping an H4n and a shotgun to the camera. Haven't tried the DXA so I don't really know--it just seems like there are many situations when it will be great to have.
 
I've been lens lusting after the Olympus 14-35 F2 lens for interview situations.
Crazy I know but...
I've been in some daaaaark places and struggled to get an exposure on my DVX.
The ability to have a zoom that is as bright as a prime is tempting not to mention not having to change lenses.
With ETC I can get even more range out of the lens without having to up the ISO much since it has F2 aperture.
The cost is a downside obviously but when I think about it, its basically the price of two Zeiss Primes so its not that bad.
Definately sharp wide open and communicates with the GH2, even more plusses.
Even the weight of the GH2+14-35mm+VMP (~3.5 pounds) is manageable as it is still lighter than my DVX100B+NTG2+WA Lens (~6 pounds)
Very tempting. I realize that a lot of people dont have it though (prob due to cost)

Buying into the 4/3 or m4/3 format isnt as terrifying as I once thought it would be in terms of futureproofing.
Its no different than buying Canon glass that can only be used on Canon bodies (except with the Birger adapter etc.)
 
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woodcarver said:
I like the Tokina. Having a constant aperture isn't really critical IMO. I used to think the OIS wasn't worth it if I had to give something else up. However, I've saved more shots with OIS than I have lost shots because of an inconstant aperture. (using the panny 14-50 2.8-3.5 with OIS) I still like the Tokina and Oly II though.

Yeah, I think the Beachtek DXA will fubar the form factor but so does strapping an H4n and a shotgun to the camera. Haven't tried the DXA so I don't really know--it just seems like there are many situations when it will be great to have.
Click to expand...

Yeah OIS is one thing I never thought about seriously before now.
I guess I was just planning on always using a monopod/glidecam/tripod for my stuff.
 
For audio it kind of depends how high your standards are. For close range interviews and ambient sound the quality from Videomic straight into the GH2 is acceptable for most purposes. I've shot lots of stuff for online and broadcast news that way. Running the mic through an external recorder or something like the Beachtek will give you better quality, but I don't find it's a huge difference. Either way, the main limitation to audio quality is that the mic is attached to the camera, not the way that it's attached. Then again, running the mic straight into the camera means you can't monitor sound.

I generally use an on-camera mic plus a lav mic that runs into an external recorder either wirelessly (which means you can monitor it) or straight into the recorder and held by the subject (which means no monitoring.) If I'm using it wirelessly then I keep the recorder in a hip pack rather than attached to the camera. This way you get an audio source you can monitor and two sources in case something goes wrong.

For lenses, I'd say you'd definitely want a zoom even if you're always on a monopod or tripod, unless you're really able to work at a deliberate pace. There's been tons of discussion about the best option for a zoom lens because none of them are perfect. The Panny kit zooms are slow. The Oly 14-54 doesn't have OIS. The 14-35 f2 is big and very expensive and doesn't have OIS. The PanaLeica 14-50 has a retarded autofocus system. The APS-C zooms are less wide and don't have OIS or autofocus. But they're all good lenses in their way so it's kind of a matter of picking the one whose weaknesses are least important to you. I find OIS very useful but I shoot a lot of run and gun. If you're going to be on a monopod shooting close up interviews at wide angles, you'll be fine without it. Or if you feel like you'll only very rarely need a stabilized lens you could pick up the 14-42 for $100 in addition to whatever other zoom you get.
 
mountainradio said:
For audio it kind of depends how high your standards are. For close range interviews and ambient sound the quality from Videomic straight into the GH2 is acceptable for most purposes. I've shot lots of stuff for online and broadcast news that way. Running the mic through an external recorder or something like the Beachtek will give you better quality, but I don't find it's a huge difference. Either way, the main limitation to audio quality is that the mic is attached to the camera, not the way that it's attached. Then again, running the mic straight into the camera means you can't monitor sound.

I generally use an on-camera mic plus a lav mic that runs into an external recorder either wirelessly (which means you can monitor it) or straight into the recorder and held by the subject (which means no monitoring.) If I'm using it wirelessly then I keep the recorder in a hip pack rather than attached to the camera. This way you get an audio source you can monitor and two sources in case something goes wrong.

For lenses, I'd say you'd definitely want a zoom even if you're always on a monopod or tripod, unless you're really able to work at a deliberate pace. There's been tons of discussion about the best option for a zoom lens because none of them are perfect. The Panny kit zooms are slow. The Oly 14-54 doesn't have OIS. The 14-35 f2 is big and very expensive and doesn't have OIS. The PanaLeica 14-50 has a retarded autofocus system. The APS-C zooms are less wide and don't have OIS or autofocus. But they're all good lenses in their way so it's kind of a matter of picking the one whose weaknesses are least important to you. I find OIS very useful but I shoot a lot of run and gun. If you're going to be on a monopod shooting close up interviews at wide angles, you'll be fine without it. Or if you feel like you'll only very rarely need a stabilized lens you could pick up the 14-42 for $100 in addition to whatever other zoom you get.
Click to expand...
Hmmm a wireless lav straight into somethign like a Tascam DR-05 sounds like a plan.
I would still get the 14-35mm with the Videomic Pro and then after a few jobs get a Sennheiser G3 with a Tascam DR-05.
That way you still have a one-man band audio kit when needed with room to add more people when budget allows.
Plus with the Sennheiser kit you can add a wireless boompole for those situations that require it since I already have a wired boompole and NTG-2.
 
For interviews my set up is:

GH2 w/ Nikon 50mm f1.8 prime
Senn G3 wireless lav going into Zoom H4n
If outdoors I use a VideoMic (the older version) going into the GH2. Because I find you need a better base track than the built in mic for syncing with Pluraleyes.

For run n' gun shots you will definitely need a lens with OIS, especially with the M43 2x crop most lenses begin to shake pretty bad past 50mm. As well with the small/light form factor of the camera itself you need a nice sturdy lens to weigh it down for smoother shots (at least handheld).
 
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