GH1 My 2.6k documentary kit

D

DevonH

Well-known member
Around a month ago I posted about a documentary I was about to begin shooting with a gear budget of 10k. Members in the hardware section helped me to lay out a kit with the HMC150, and I was set to purchase it. Sadly, our fundraising cut as short, and I was faced with a situation where I had to make some major budget cuts. I'd read about DSLR videography (mainly Canon's), and the time limits and overheating issues really turned me off, the rest I felt I could work with. When I discovered the GH1 I realized I had a good contender for our needs, so I set out to build a much cheaper kit. Here's how it turned out...


GH1 ($399)
Set of Canon FD lenses (100-300,35-70,24,55), + Hoya Filters ($120)
FD lens adapter ($30)
2 16GB Transcend class 10s ($50)
3rd party batteries ($75)

Pearstone Fluid Head Tripod ($69.99)
Cowboy Studio Shoulder Rig ($37)

This 2K, ephoto light kit ($169)

Zoom H4N ($190 shipped)
G3 Wireless Kit (To be ordered :$600)
AT 4053b small condenser (to be ordered $499)
Deadcat ($50)
Assorted Cables ($200)
Stands ($150)

My documentary is mainly Q&A in very controlled environments, though I am confident that the GH1 will hold up in more movement oriented shots if I'm careful.

At this point, if I could add more it'd be a second GH1 (1 man band, so I'd like to be able to setup another camera angle, focus it in, and hit record), and mix pre-d mixer, and another light for fill.
 
If you are going to have long clips of talking-head interviews then I would highly recommend a 2nd camera. Leaving one on sticks to roll the wide shot lets you roam handheld with the second cam to get mediums and closeups that you can cut to later. The downside is that if you are also the interviewer, you pretty much need to sit next to the camera to keep the conversation going and to keep the subject's eyes looking where you want.

I wouldn't bother with a third light for a one-man band setup. Use whatever available light there is for your fill and use your 2 lights for key and backlight. You can switch that up any way you want depending on the strength and quality of the brightest available light. This works well for documentary shoots as you are working with what's available in the subject's natural setting which (imo) helps to set the scene and tell the story. As compared to completely overpowering any natural or available light sources and creating your own artificial setting. Another alternative you should consider, is to purchase a 5-in-1 reflector. This can replace a 3rd light and act as fill as well as assist in modulating available light sources. It's much cheaper and more importantly, lighter and more compact.
 
I'm putting together a similar kit for a (personal rather than professional) very mobile documentary, so I'll be eager to see how this holds up for you. My sound budget is slightly tighter than yours, so I'll be going for wired lavs. I'll likely get a smaller recorder as well so that I can just slip it into the pocket of whoever is talking, but the H4N is pretty darn tempting if I could find it for 190. Where did you get that?

I'd be eager to hear your feedback on how the individual parts of the kit worked out for you as you go along.
 
TheFarmer said:
I'm sorry this really doesn't have much pertaining to your question, but where did you get the GH1 for $399?
Click to expand...

The GH1 can be bought pretty cheap now on ebay. I bought my second body a few weeks ago for about $400.

If I were setting up an interview rig, I'd try to find some primes. Since you've added lights, I'm assuming you'll have some time to set up the shots, so you can move your camera to get the framing. Zooms tend to be slower, bigger, and not quite as sharp. But FD primes will be sharper and more consistent (if you decide to buy a second body) and much faster. You should be able to snag a 50 1.4 for under $100, and you could use it for a wide range of shots.
 
I'm a one-man band with my GH2 and have a similar setup. I have a GH1 as backup.

I agree with Averan regarding not needing a third light. I've got a little 126-LED panel in the bag but rarely use it.

I will say this about CFL - my multi-bulb Interfit Super Cool-Lite 5 throws nice light but it's a PITA to setup in the field. It literally doubles my setup time. My fill is a Flashpoint (Adorama) softbox with a single giant 75w CFL. Setup is sooo much easier - 1 minute to setup the sofbox and screw in the light. The Interfit, with 5 CFLs, takes 10-15 minutes by comparison. If I'm in a real rush and the ambient is ok, I end up using the Flashpoint as the key and the LED panel as the fill.

Regarding the use of a second camera, I don't think that I can operate two cameras AND be a good interviewer. If you can, great, but I prefer to spend 90% of my time connecting with the subject and 10% monitoring the camera. Setting up and monitoring a second may be too much for me at the moment, but maybe I'll try that with more time under my belt...
 
There really isn't anything to monitor for interviews once you've locked off the shot. I shot this video with 4 cameras (3 on sticks, 1 handheld) all by myself:
 
I would also recommend a second camera, even if you're not shooting the interviewer. BUT if you want to keep the budget low, you could stick to one camera and when you've gotten the whole interview done go back and get a different angle and have then start a few sentences for lead in. or even better if it's a high end interviewee just get their whole angle, then let them leave, and get the interviewer to restate each question for their angle.

as for lights, 2 should be just fine, i do that as well, on diagonals. one light off axis from the front, the second across from it over the shoulder for hair light.
 
reply to averan video post "books that matter" :

multiple cameras definitely add a good rythm to the interview , but i notice the image quality is very "video" (colors very saturated), what kind of lens and lights did you use ?
 
that was back before DSLRs. each camera was different: Canon HG10, HV10, HV20, and Panasonic HMC150. color saturation has nothing to do with the cameras or a 'video' or 'film' look, and everything to do with my personal preference. lights were 3 X 4-bulb CFL heads. one was positioned directly overhead between the two subjects as the key. the other two were just out of frame to either side and acting as fill for the person farther away and as a back/rimlight for the closer person.

the multiple cameras saved my butt and let me cut the interview up into something usable. unfortunately, Alicia was pretty exhausted from travelling and her performance was not quite up to par that night.
 
You must log in or register to reply here.
Back
Top