Archive for ENG

Covering the ANSWER Anticorporate protest in Hollywood, CA

Posted in Audio, Captain's Personal Log, Photography, Photojournalism, Reviews, Video with tags , , , , , , , , , , , on September 12, 2015 by William Hooks

This afternoon, there was a protest march against corporate practices across the world held in Hollywood where I conducted several interviews with activists. These included  Navaho native American Paige Murphy representing Therednation.org, Hamid Assian from Food And Water Watch.org based in Wash, DC, and a Pasadena activist from Citizens Climate Lobby, James Waterhouse.

Doug, media coordinator for ANSWER event

Doug, media coordinator for ANSWER event

ANSWER Protest_2015_9 (5) ANSWER Protest_2015_9 (6) ANSWER Protest_2015_9 (7) ANSWER Protest_2015_9 (8) ANSWER Protest_2015_9 (10)For solo interview technique I like to use a dynamic microphone running to the Tascam DR-60D DAR unless I anticipate a lot of very loud noise, where the -20dB pads are nice on the Zoom H6. The 17-40mm f/4 L Canon zoom was my default lens, also used the 70-200 mm f/4 L. Love the AT Mx40 headphones for crowd work! They really help isolate the interviewee from the background and are very comfortable.

Page Murphy, co-founder of Therednation.org and Navaho I was using the 4K Panasonic GH4 and Benro S6 monopod for the day. Grateful for overcast weather! And thanks to Ed Flowers for some still shots—

Paige Murphy, co-founder of Therednation.org and Navaho

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Documentary filming in the heat of central California

Posted in Audio, Photography, Photojournalism, Reviews, Travel, Video with tags , , , , , , , , , , , , , , , on August 29, 2015 by William Hooks
At Lake Success, CA talking with Donna Johnson from East Portervillie

At Lake Success, CA talking with Donna Johnson from East Portervillie

Setting up to talk with Paul Boyer in west Visalia about the efforts of his company to help residents obtain water

Setting up to talk with Paul Boyer in west Visalia about the efforts of his company to help residents obtain water

I'm monitoring sound before beginning to interview Paul at his office

I’m monitoring sound before beginning to interview Paul at his office

Donna Johnson (16) Melissa Wichnell (8)

James Garrett monitoring video and Melinda Steffen checking audio at Visalia interview

James Garrett monitoring video and Melinda Steffen checking audio at Visalia interview

Melissa Wichnell discussing Visalia, CA emergency planning for water distribution

Melissa Wichnell discussing Visalia, CA emergency planning for water distribution

Melissa Wichnell (13) Melissa Wichnell (15)

Nonpotable water tank near the fire station in East Porterville, CA

Nonpotable water tank near the fire station in East Porterville, CA

We completed a series of interviews with local officials in Visalia, CA and talked with local resident Donna Johnson in East Porterville about what she was personally doing to help neighbors whose wells had gone dry (as was her own).

The level of poverty in East Porterville is intense. Housing prices, already low, are decreasing due to lack of water further burdening residents who might want to leave the area.

We shot with my Panasonic GH4 in 4K 30fps mode, using a Zoom H6 digital audio recorder as well as Audio Technica Pro70 wired lav’s an dRode NTG-4 shotgun in a Rode blimp.Also used a Zoom hypercardioid shotgun mic and when using the Zoom for field notes, the mid-side capsule mic. I was very pleased with the performance of my equipment in very hot conditions, wind and for interior shots with no problems encountered.

There is still much to be done before we begin cutting the documentary’s final look; a tentative title: WATER AND THE LIVES OF THOSE LESS FORTUNATE.

Some ENG setups with the GH4 and 2 digital audio recorders

Posted in Audio, Photojournalism, Reviews, Video with tags , , , , , , , , , , , , on August 11, 2015 by William Hooks

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DR-70D DAR below GH4 camera on tripod

DR-70D DAR below GH4 camera on tripod

MS (mid-side) microphone capsule option on Zoom H6 DAR

MS (mid-side) microphone capsule option on Zoom H6 DAR

side view showing connections for digital audio recorder positioned below camera

side view showing connections for digital audio recorder positioned below camera

above-camera setup for DR-70D using 12" rail on hot shoe, and 2 wireless Audio Technica mic receivers

above-camera setup for DR-70D using 12″ rail on hot shoe, and 2 wireless Audio Technica mic receivers

DSCN2364The idea here is to be able to record to one or more cameras and record audio separately =dual system audio, later aligning the sound and video files while editing. I use Red Giant Plural Eyes Express for this job, it’s easy and automated.

I’ve shown two audio options, one with wired lavalier mics into inputs 1-2 on the Tascam DR-70D DAR connected below the camera and the other with the DAR mounted on an adapter above the camera, connected to wireless mic receivers.

The other DAR (Zoom H6) is used here as a hand-held microphone close to the subject, recording backup tracks; one could easily add a shotgun mic track here, for example, or one of the lav tracks if desired. I sometimes use the MS mic capsule in this setup because it’s simple to pick up my interview questions and the corresponding answers with that mic, place close to my side and less than 2 feet from the subject out of frame.

I power the Tascam whenever possible with external sources- either AC or when not available, by use of a brick battery via USB port with 5v delivered to the 15′ extension cable, then to the dedicated recorder USB cable. This is due to the lackluster internal battery life from the DR-70D.

Be sure to download the Tascam ‘s reference manual online if you get this unit- the supplied documentation is pathetic.

Battery options for powering the GH4, lights, Zoom H6, and monitor

Posted in Captain's Personal Log, monitors, Photography, Photojournalism, Reviews, Travel, Video with tags , , , , , , , , , , on July 20, 2015 by William Hooks
Switronix P-tap to GH4 power cable

Switronix P-tap to GH4 power cable

Switronix P-tap to 4-pin power cable

Switronix P-tap to 4-pin power cable

LP90S battery as counterweight, connect to GH4 with power cable on shoulder rig

LP90S battery as counterweight, connect to GH4 with power cable on shoulder rig

closeup of battery, P-tap connection and second P-tap port located on mount plate

closeup of battery, P-tap connection and second P-tap port located on mount plate

The Zoom H6 digital audio recorder is powered from the accessory USB port on the battery, shown above.

It’s a good idea to not allow these batteries to be uncharged for long periods because of their self-discharge property; I mark them each time they’re charged, and aim at less than 6 months before recharging.

And double check to ensure that the terminals of the P-tap connector are properly aligned to the corresponding terminals of the battery plate- if not, there’s risk of short-circuiting the cable (I’ve done it – ONCE).

Lilliput 665 O/P 7″ monitor

Posted in monitors, Reviews, Video with tags , , , , , , on June 9, 2015 by William Hooks

DSCN2204 DSCN2205 DSCN2207 DSCN2212This monitor runs on Sony batteries, Canon LP6’s, AC with adapter,  and 14.8v Li ion brick batteries such as the Switronix L90S using an onboard V-mount or P-tap cable to 4-pin XLR. These batteries also allow powering of the GH4 camera, LED light panels and the Zoom H6 DAR, great for situations where AC sources are not available.

It loops allowing HDMI or SDI (serial digital interface) in and out. If employing SDI, there’s a required Composite/BNC adapter;  easy to interchange battery mounts.

Resolution is 1080p. There is an onboard speaker with audible audio.[No headphone jack]

At $250, it was a steal— and I only drove about 10 min from my garage to get it.

DLC MB-3 Matte Box added to GH4 system

Posted in Photojournalism, Reviews, Video with tags , , , , , , , , , , , , on May 31, 2015 by William Hooks
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One of the 2 included cowls is shown, interposed between lens and matte box to eliminate stray light

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Here 3 of the 4 provided flags are added to further eliminate stray light from the front of the rig

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The series-stacked filter holders are seen at the rear of the matte box; these are spring loaded, making for secure and easy use of glass or resin filters

DSCN2170 DSCN2171 This matte box is very inexpensive for its construction quality and feature set, lightweight, and flexible in use: the flags are optional as well as the light-protective cowls between the lens and box, and the filters can be rotated within their holders just as on my larger all-metal Benro matte box. I got mine for $140 at Samys Pasadena, CA.

I also configured a shoulder rig from additional components including an offset rail system, and can run the GH4 and one other item such as an on -camera LED light from P-taps on large Li ion batteries. I use a Switronix power cable to connect the camera.

This option provides additional power to run the camera where there’s no AC outlet available, and because the Switronix battery has USB out it’s convenient to run my Zoom H6 audio recorder from there.

One version of shoulder rig using JAG35V2 handles

One version of shoulder rig using JAG35V2 handles

Highly recommended - Switronix XP-L90S V mount battery

Highly recommended – Switronix XP-L90S V mount battery

Battery on rear V-plate attached to the rig via 15mm rods

Battery on rear V-plate attached to the rig via 15mm rods

Full cinema rig configuration with HDMI monitor, whip/follow focus, Zoom H6, AudioTechnica wireless lav system and rear brick battery with D -taps to camera, light, DAR or monitor

Full cinema rig configuration with HDMI monitor, whip/follow focus, Zoom H6, AudioTechnica wireless lav system and rear brick battery with D -taps to camera, light, DAR or monitor

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with 35mm T1.5 Rokinon EF cine lens

with 35mm T1.5 Rokinon EF cine lens

First followup review of Panasonic GH4 DSLM camera

Posted in backpacking, Captain's Personal Log, Photography, Photojournalism, Reviews, Travel, ultralight techniques, Video with tags , , , , , , , , , , , , , , , , , on May 11, 2015 by William Hooks

These are my observations after using the camera for a few weeks.

First, I found that operating the nonprotruding video actuation button was not optimal and ended up adding a $10 Vello 2 ft wired remote. This also allows use of very slow shutter speeds and facilitates macro imaging, and I use it for interviews so that I can stay where I’m interacting with the subject- the same as I already do with my H6 Zoom audio recorder.

With a 64GB U3 rated card I’m getting more than 80 minutes per clip at 4K resolution. No more interruptions to reset the camera for interviews…..

Second, after renting the 18-35mm f/1.8 EF Sigma I think this lens will be excellent for general use especially on a rig with follow focus, but too large and heavy for backpacking and [currently] doesn’t support AF; so I will most likely buy the Panasonic 12-35 f/2.8 and 35-100 f/2.8 eventually, and continue to rent this optic.

Third, I’ve settled on Custom settings for the main 3 dial positions= C1 for 4K DCI/24 ‘Cinematic’, C2 for 4K UHD/30 ‘Broadcast’, and C3-1/ C3-2/C3-3 for ‘highest quality ‘ 1080/60 moderate slow motion, ‘smoothest’ 1080/96 slow motion, and 1080/12 undercranked fast motion. NOTE: this camera allows 1080p in slow-motion 96 FPS whether in 30 or 24 cinema modes.

Fourth, as a walkaround lens I ‘m using the Pana/Zeiss Summicron 15mm f/1.7 – a tiny, ultralight lens simulating 30mm perspective in full frame terms. Sharp, easy to maintain relatively great DOF (nice for rapid event action), beautifully integrated with the camera’s capability, easy to carry long distances, and wide without distortion.

Fifth, the Metabones EF to MFT Speedbooster will be a keeper for me as I have 2 Canon FF lenses and it opens the entire Cine and still collection to the camera, as well as lenses from Rokinon /Zeiss/ Olympus/Voigtlander in particular. The ‘free’ additional stop from the adapter has been very welcome in keeping the ISO settings in the optimal range. I find that linking the baseplate/rail system onto the removable Metabones tripod mount provides the clearance I need for attaching the Rokinon 14mm T3.1 and 35mm T1.5 lenses, which have large front elements.

An added bonus is that as long as the adapter is attached, the camera sensor is completely shielded from damage while changing lenses.

Sixth, I’ve evolved a minirig for ENG and light EFP use consisting of an aluminum form-fitting cage, JAG 35 top handle/tripod base plate,carbon fiber 15mm rods, and RedRock Micro spuds/attachment points.

I will be using a $12 basic Nikon F to MFT adapter for AI-S Nikkors for the immediate future, and rent the F/G to MFT Speedbooster when needed.