GH2 FAQ

Updated 7Mar12 to incorporate new gear and techniques.

Highlights

What services do you provide with the Panasonic GH2?
I offer a one-man crew doing videography and sound, appropriate for interviews and narration.

Why the GH2?
For producers who prefer a compact and mobile DSLR system for shallow depth-of-field and/or shooting in low light.

Do you have specialized gear to achieve shallow DOF?
Fast Lumix, Olympus, and Nikon lenses with optimal focal lengths, e.g., “portrait” and “normal”. Stellar bokeh!

Aren’t DSLRs troublesome for sound?
Troublesome is an understatement. Videographers who have at best rudimentary audio experience grapple with sound capture, and the DSLR increases the challenge. I don’t have such a snafu because I come from a sonics background.

What is your approach to sound?
To capture sound as close to the source as possible via shotgun mic or wireless/wired lav(s). Equipment includes Zoom H1 recorder, portable mixer, etc. Generally it’s a dual- or multi-audio arrangement. See equipment page for specs.

Is the GH2 compatible with your sound configuration?
Not initially. After much research and experimentation, I designed effective sound configurations for the GH2 in any situation.

What mixer do you use?
Sound Devices MixPre, which is a proven high-quality product that I’ve used on professional shoots since 2006 (before the invention of the DSLR camcorder). The overall quality exceeds Juicedlink and Beachtek. The MixPre mounts between the GH2 and tripod with or without cage; a special interface cable matches the GH2′s impedance. With a combiner cable, the MixPre expands from 2-channel to 3-channel (2-lavs, 1-boom).

Isn’t the GH2 AGC?
The GH2 has a quiet and effective user-selectable 4-level AGC (automatic gain control) audio circuit. Peaks are limited instead of distorted. The backup Zoom H1 recorder is non-limiter, non-compression for wide dynamic range. Hence, two audio source options in post-production.

How do you sync sound?
A clapper slate on set greatly helps syncing in post-production, either manually or with software. PluralEyes syncs multiple audio based on waveforms, FCPX syncs multiple audio and multicam via user-selectable parameters, and Amadeus can replace audio in MOV files manually by aligning waveforms. These options allow autonomy in both sound and video capture.

How about lighting?
I have an on-camera Litepanels Micro for fill-in and run-n-gun. If more lighting is required, such as a Kino-flo for corporate shoots, the producer should probably hire a gaffer with lighting gear. Unlike HD camcorders, the GH2 (and DSLRs in general) has better options for low- or no-light through prime lenses with f2.8 apertures or wider. Shooting with fast lenses and adjustable ISO is more natural and less cumbersome. The GH2 has flexible white balance options, including Kelvin adjustment.

What is your stabilization protocol?
The GH2 is fitted within a DSLR cage and mounted on a sturdy tripod with fluid head. Smooth panning is possible, and zooming if I use a zoom. The cage prevents Glidecam or slider use because of the unbalance. However, outside the cage, tripod, monopod, or handheld is possible with less elaborate but usable sonics.

Can you shoot anywhere?
Essentially yes, with a manageable amount of quality gear for swift setup, shooting, and breakdown whether in a pristine office or run-n-gun documentary. I use a combination of tripod, monopod, mixer, boom, wireless or wired lav, and windproof shotgun mic. I am not a DP per se, but a videographer, with a straight-ahead shooting style.

What’s your experience as a shooter/soundman?
I’ve done solo shoots with the Panasonic HVX200, Canon Vixia, GH2, and GF2. I have been on many chaotic shoots as solo or collaborative, where the producer was mostly grab with no storyboard, and the subject(s) were unpredictable, at least for news or doc. I can adapt to unpredictability and remain calm, but I prefer a proactive producer who assists in logistical arrangements.

What if the narration is non-English?
I listen to texture and not words while focusing and watching audio meters. Producers know this and I’ve had gigs in Spanish, Hindi, Tagalog, Chinese, etc., usually not even informed beforehand. Language doesn’t matter during production unless I’m hired to do post-production as well. In that case, the session must be in English, although I’ve worked with translators who told me where to cut.

Why only narratives?
In the sound world of documentaries, narratives are crucial. Recording the human voice seems easy for the unknowing, but is very challenging. The human brain is discrete. We (and producers and DPs) hear the voice and discard noise, but microphones pick up everything. Furthermore, ignoring or grappling with audio levels often results in distortion. My gear and techniques allow me to capture usable sound, so that is my specialty. Narrative-driven docs are often first-take, one-chance encounters. Thus, my task is to assure clean audio and headshot with subdued aural and visual background, notably with a tripod-mounted DSLR and essential peripherals.

What are the frame rates of the GH2?
1080p24 native or 1080p30 at 24Mbps AVCHD, or 1080i60 at 17Mbps AVCHD. 24p is common among filmmakers, but I will adhere to project requirements. 60i looks excellent de-interlaced and I have seen my footage projected onto a large screen. I will find a workable combination of aperture, shutter speed, and ISO, according to conditions. Can shoot up to 3 hours non-stop with 32gb SDHC card and AC adapter, unlike Canon and Nikon with 12 or 29 minute limits.

Do you have a backup DSLR?
Yes, the Panasonic Lumix GF2. It’s a tiny pocket-sized camera with viewfinder that shoots two hours non-stop 1080i60 at 32Mbps AVCHD and matches the GH2′s 1080i60 footage which of course has the same Micro 4/3rds mount to interchange lenses. The Lumix system is minuscule but powerful and carrying a backup assures a successful session.

Do you edit?
I have the capability to do a technical video edit, but the producer can do a better job editing content to their own needs and use their preferred NLE. Because there is no industry standard video editing software, compatibility between systems is precarious. Hence, if I’m requested to edit, the client will only see the finished clip.

How much do you charge?
Prices are variable, according to your budget. I don’t want to be steadfast on a precise across-the-board quote. Naturally, I’d like to get as much as I can. Talk to me. I will honestly inform you if I can logistically and financially do the project or not. Bear in mind that a one-man crew has to meticulously pack and transport video, sound, and accessories, plus assess security concerns.

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