M Carter

Thanks, it was a lot of fun though post really was a beat-down time wise. Still kinda torn about the Z6 or the Fuji X-T3 with its 60p/4K 10 bit and H265 bit rates, but my guess is I'll grab one by spring and still keep the Z6. Already having some Nikon glass made the Z attractive though, but if I keep getting music video bookings, the Fuji would really be handy for cleaner slowmo and efx shots.
My next purchase will likely be the little native kit zoom in the Z mount, the 16-50 - looks like that would be a great gimbal lens with the camera set to APS-C.

Thanks - it was shot 24p greenscreen, in my tiny studio space. I shot it 24 to synch the vocals, when we shot it I just had a rough visual idea and had done zero tests for style, in fact I didn't decide to posterize the time for a "stop-motion" ish look until I was well into it. I edited/delivered 1080, since I relied on slow mo for most of the girl's scenes. If I'd had more time, I would have worked more on the time effects to see if I could get a better sense of synching, but this went from "can you shoot a video??" to delivered in like 9 days, much of which was spent trying to find a model for the budget!
The post work was really immense, every character shot got a color pass for the final animation color-look, a pass to make footage that then got more of a "line art" pass, and a mask pass (just keylight - the Z6 keys REALLY nicely, even right off the card - I have the Ninja but I skipped it for the girl since the Z won't send 120fps via HDMI, even for monitoring). I shot most of it with a Kessler crane with the 5' setup, on wheels, just to quickly configure shots - it's a really fast way to work.
Most of the elements were photoshop, I had a few images left in my monthly shutterstock account, and I have a big library of skies and textures, and then image-search-swiping to the rescue! Some photos, some just digital paintings, some a mix. The gears and picture frames were done in Daz Carrara, a POS aging 3D software that I've used for like 12 years. It has zero AE integration, but since this was mostly static shots using the 3D camera in AE, I just did a pass with camera trackers pasted onto planes to get track data for camera moves, which were all just simple pull-outs. (I really really have to learn some basic Cinema 4D, don't I???) (Imagine what we could accomplish if we didn't need sleep!)
Anyway, it was supposed to be "just shoot the guy and, I dunno, float some pictures in or something", but I feel like most rock covers are "why did ya even bother", but I felt this was a nice take, gave a different angle to the song, and the singer's become a good friend over a few shoots. Overall pleased with it, The Cure songs to me are sort of "dark fairy tales" and I wanted something that felt almost like children's book illustration. Hope it gets a zillion views!

Thanks - it was shot 24p greenscreen, in my tiny studio space. I shot it 24 to synch the vocals, when we shot it I just had a rough visual idea and had done zero tests for style, in fact I didn't decide to posterize the time for a "stop-motion" ish look until I was well into it. I edited/delivered 1080, since I relied on slow mo for most of the girl's scenes. If I'd had more time, I would have worked more on the time effects to see if I could get a better sense of synching, but this went from "can you shoot a video??" to delivered in like 9 days, much of which was spent trying to find a model for the budget!
The post work was really immense, every character shot got a color pass for the final animation color-look, a pass to make footage that then got more of a "line art" pass, and a mask pass (just keylight - the Z6 keys REALLY nicely, even right off the card - I have the Ninja but I skipped it for the girl since the Z won't send 120fps via HDMI, even for monitoring). I shot most of it with a Kessler crane with the 5' setup, on wheels, just to quickly configure shots - it's a really fast way to work.
Most of the elements were photoshop, I had a few images left in my monthly shutterstock account, and I have a big library of skies and textures, and then image-search-swiping to the rescue! Some photos, some just digital paintings, some a mix. The gears and picture frames were done in Daz Carrara, a POS aging 3D software that I've used for like 12 years. It has zero AE integration, but since this was mostly static shots using the 3D camera in AE, I just did a pass with camera trackers pasted onto planes to get track data for camera moves, which were all just simple pull-outs. (I really really have to learn some basic Cinema 4D, don't I???) (Imagine what we could accomplish if we didn't need sleep!)
Anyway, it was supposed to be "just shoot the guy and, I dunno, float some pictures in or something", but I feel like most rock covers are "why did ya even bother", but I felt this was a nice take, gave a different angle to the song, and the singer's become a good friend over a few shoots. Overall pleased with it, The Cure songs to me are sort of "dark fairy tales" and I wanted something that felt almost like children's book illustration. Hope it gets a zillion views!

(OK, I could have shot this with about any 4K camera, but... it was a shit-ton of post...)
 
 

(OK, I could have shot this with about any 4K camera, but... it was a shit-ton of post...)
 
 

Yeah, overall I'm pleased, but man, the simplicity of working with the NX1 will be MISSED. I'd go on about what the NX2 coulda been, but I'd just sound like a grumpy old man. And for 80% of what I do, it kicks ass, but I need to streamline my stuff and I worry about a 3 year old body (though it's functionally and aesthetically like-new at least). I did find how to set the shutter for video, so I'll get a wired remote for rigs.
For me, the most kickass thing about the NX1? Stick it on a gimbal with that $150 kit zoom (16-50 OIS), turn on the AF, and just run around a factory or shoot a music video - the AF really rocked. But then, shooting NX1 in an industrial setting at 1600 ISO could be a tad rough, but I used to drag an 8' Kessler crane to those shoots and, no more. I could get 5 to 10 shots in with the time I'd do one with the Kessler, just an astounding combo. It's the only NX native lens I got. F me but I hope the 50 can compare.
This is one of the last "cool" things I shot with the NX1; no budget, no time, just show up and throw something together... got a couple hours, did takes with the gimbal and then shoulder mount with a big Nikkor 28-70. Had no "concept" ideas so I did takes with shitty magnifying glasses taped to the lenses, hung a big velvet drape and 2 lights, and a lot of just running up to the subjects - like running - with the gimbal. I grabbed a couple props when I was running out the door (a chair and a big book). Effin' nuts, and you can see the issues with 8-bit and blown highs, but looks kinda harsh and cool. Yeah, I'll miss ya, kickass little camera!
 
 

Well, I did it, NX gear will be up for sale before long.
I've shot Nikon since the mid-90's (man, I still have film bodies with forscher Polaroid backs on 'em)... so felt like a good choice, and I'll likely dump the DSLRs when I get some time. But the NX1 as a video cam has been a fantastic camera for my work, commercial & nonprofit marketing stuff. Looks amazing with all my old and new Nikkors. I even shot it with 1960's Canon FL glass which was really pretty.
Did a green screen shoot about 2 days after I got it - just enough time to figure out the menus and customize things up. I ordered a Ninja V but it's just arriving today. So some thoughts for those on the fence...
For the same $$ as a Z6 with adapter, there are deals with a 32GB QXD card, adapter and a decent little bag you'll end up using for something... Adorama's deal has the nicer bag, a rectangular Lowepro 160 (seems like a nice one for storing the Ninja, drives, batteries and cables actually) vs. BH's consumer-ey oddball bag with weird flaps and shapes. Basically you get a $130 card and a (quite nice for the size) $50 bag in the deal.
I may return this Z6 - the card is VERY hard to get out, it takes several pops in-and-out to free it up. if I do, I'll probably get the kit with the 24-70 F4, it knocks $500 off the lens price.
Overall it's quick to make the change, and doing a for-realz gig is a good way to make yourself adjust to a new setup.
IQ right off the card, tweaked FLAT profile  - I'd say it beats the NX when you get the sharpening dialed in. A more "organic" look, but the NX1 had a really nice look as well.
Flat-card footage converted to ProRes HQ keys like a mofo - really nice. I've been keying 6K RED footage for the last few weeks and man, the Z MOVs are keying quite well. Psyched to see what the Ninja will do. The jump from 1080 to 4K with the NX1 upped my keying considerably, but the sharpening/compression made it difficult, always a funky border to deal with. I'm really impressed with the Nikon for very clean keys at ISO 800.
Basically no video AF with the adapter and a huge 28-70 2.8 "S" lens; photo AF is good with it. Don't need AF except for gimbal work, but thinking a Z50 and the little zoom will be a better choice for that. Next purchase for me.
I've never liked Nikon's custom white balance setup - too many steps to remember, you have to activate a saved WB, etc. The NX got this smashingly fast and right. Hell, I have shoulder-mount Panasonics where you just press a dedicated button and you're done. No idea why Nikon still makes this more hassle than it should be.
If the HDMI is setup for the Ninja, a non-recording external monitor works but you can't record to camera. So stick the HDMI setup in your custom menu if you shoot to card with a monitor often. It's probably the 10-bit setting doing that, but if you record to card with an external, MAKE SURE YOU SEE THE RED DOT!!!
Why can't I delete all those bullshit color setting like "pastel" and "fantasy" and, I dunno, "German Schiester Porn Brown"??? I have to scroll through all that crap to get to my settings.
For stills, I love the mirrorless - shoot and see the pic in the VF without looking down at the screen. Loved that on the NX - on the Nikon, there's a delay before the still is displayed. Pretty sucky, the NX was instantaneous and it was easy to get in the rhythm of half-press to dismiss or shoot fast enough where it's not an issue. The Nikon is a big step down there.
The video image on the LCD is kind of soft compared to the NX1. Two shots in and I had to run the card to the computer and verify it was tight. I'll get used to it I suppose. And I like shooting MOV for quick viewing on the desktop, but I miss the big bit rates of the NX's H265. Well, the Ninja will help...
Nikon has ditched the "trigger video with shutter button" menu item, which was a huge help for cranes and rigs; simple wired remote vs. messing with devices and bluetooth or whatever, easy to solder up a long remote for ceiling rigs and long cranes. Another big suck.
For video, it's either peaking or zebras - can't have both. And while I like that the i-menu has video and stills versions, there's some glitches - editing the menu doesn't always take.
The Z rejects my aftermarket batteries that worked on DSLRs; looks like the Asians have caught up with that though. I guess I'll be selling a pile of batteries with my DSLR...
Other than that, IQ is that very nice Nikon look with lots of control in the camera when you want it, and the flat profile is really fine for most corporate-style grading you'll do in post - the Ninja doesn't seem really 100% necessary other than you'll come home with ProRes (unless it's the corner-office shoot with the windows blowing out... bring the Ninja and some HMIs...) I'm happy with it, and the introduction of the Z50 really makes sense for a 2nd camera, too.

So later this year, it's time to replace my NX1 with… what??
I do lots of industrial/business/medical stuff, talking heads in the office, then manufacturing or process in the big facility - a music vid every month or two. One-man-band. It's a great gig, I'm happy as a clam.
The big NX1 game changer for me has been video AF on a gimbal. Never thought video AF would mean jack to me, but the NX1 with the cheap little OIS kit lens is the biggest game changer I've encountered in a decade of doing this. I can literally run around a factory and get killer shots. Clients think it's drone video. My killer-shot-count has gone through the roof - hardly ever bring the Kessler crane any more. I can try a dozen angles and moves in the time it takes to set up one crane shot. I can play that rig like a guitar.
On a tripod I use Nikkors, the footage is beautiful. But the NX1 has its cons: no Prores, no RAW, blown highs, noise at higher ISOs. 4K@ 60p would be nice. I have tons of lights for interviews/planned shots, but too much of my work is in dimmer environments.
The Nikon Z6 sounds like a no-brainer - but it sounds like I'd take a big step down in the AF I rely on for motion shots.
So what would you do? What's the best in mirrorless AF these days? (I love the NX1 EVF for shoulder rigs and no fiddling with an external - I'll never go back to a DSLR). I'm really happy with APS-C, full frame would be fine for me though, not thrilled with smaller sensors, but for my AF shots I'm usually pretty wide, so I could go smaller sensor with a native lens.
What's out now, what's coming down the pipeline? Thanks for any ideas.

So later this year, it's time to replace my NX1 with… what??
I do lots of industrial/business/medical stuff, talking heads in the office, then manufacturing or process in the big facility - a music vid every month or two. One-man-band. It's a great gig, I'm happy as a clam.
The big NX1 game changer for me has been video AF on a gimbal. Never thought video AF would mean jack to me, but the NX1 with the cheap little OIS kit lens is the biggest game changer I've encountered in a decade of doing this. I can literally run around a factory and get killer shots. Clients think it's drone video. My killer-shot-count has gone through the roof - hardly ever bring the Kessler crane any more. I can try a dozen angles and moves in the time it takes to set up one crane shot. I can play that rig like a guitar.
On a tripod I use Nikkors, the footage is beautiful. But the NX1 has its cons: no Prores, no RAW, blown highs, noise at higher ISOs. 4K@ 60p would be nice. I have tons of lights for interviews/planned shots, but too much of my work is in dimmer environments.
The Nikon Z6 sounds like a no-brainer - but it sounds like I'd take a big step down in the AF I rely on for motion shots.
So what would you do? What's the best in mirrorless AF these days? (I love the NX1 EVF for shoulder rigs and no fiddling with an external - I'll never go back to a DSLR). I'm really happy with APS-C, full frame would be fine for me though, not thrilled with smaller sensors, but for my AF shots I'm usually pretty wide, so I could go smaller sensor with a native lens.
What's out now, what's coming down the pipeline? Thanks for any ideas.

Flags can be very handy in a studio setup - often much quicker to adjust or attach a flag then get a flag on a stand and position it. If I'm shooting in a setup where there are lots of light sources potentially visible, I stick all the flags on. And keep in mind, just because light isn't hitting the sensor, it can still be hitting the lens (esp, say, a full-frame lens on a small sensor camera). Sometimes you don't even know you're getting some flare until you see the same shot flagged.
A variable ND isn't an ND at all - it's two polarizers. So yes, it can jack up a shot pretty badly, particularly skies or expanses of solid color, or long camera moves. And for close ups with skin, it can really deaden the skin. And they can be hard to match from shot to shot.
A matte box with a rotating stage is really handy for ND grads and polarizers. You'll stop thinking of a grad as "just for the sky" and use them to, say, knock down a  bright sidewalk or wall. And with pola's, it makes it easy to kill (or enhance) reflections. A pola in a rotating stage eats a lot less light than a circular pola, which is 2 stacked polarizers.
If you're 100% "run and gun", a matte box could be a hassle (but then, you should be shooting with a camera made for run & gun, with switchable ND and a good EVF and so on). (I see a lot of newbies say their "style" is "run n' gun", when in reality run & gun is a situation).
I don't find 4x4's slow me down significantly. If I were shooting an event, I'd use my big "video" camera. Most other situations, you have a few minutes to frame a shot and work out the DOF and exposure you want. 
I'd say the minimum to look for is 2 stages, at least one rotates - adjustable height; flags that attach securely and can be removed and adjusted without tools; and flags with no open slots at the mount, as you'll get reflections of your FF gears in your footage!

If I had to wager, I'd put my money on that. But even our service economy has businesses with tens of thousands of employees; look at Wal Mart's history of fighting unions, yet they seem to be a prime case where a union could be meaningful. Will it happen? Who knows. But we're talking unionizing pretty crappy, low-pay jobs, not middle-class-creating industries. My kids get it - work hard, avoid debt, live simply and portably. They know how tough it will be to have a good career. Well, my oldest is a paramedic and she may end up with a free education to become an RN… one of the last middle class career paths it seems. My son the animator? He's getting used to a suitcase and a laptop!

Man. To me, this was the most Kubrick film since Kubrick. Not as far as lighting or shot design, but a film where subtext and symbolism seemed far more important than the story - almost at if the story was an afterthought, a face to stick over a very different skeleton. I spent most of the movie marveling that europeans were able to eventually conquer north America, and found the juxtaposition of nature vs. human nature to be the real story; from nature itself and its power (storms, rivers, bears), to the native people who seem one step removed from nature and can be as viscous as nature, to the trappers who are almost proto-humans by today's standards, up to the guy at the fort trying to enforce notions of honor and law when surrounded by people reduced to a near-animal status. And how this played out against human desires - the trapper and the chief both on journeys based on the breaking of familial bonds (recall a bear and her cubs put the story in motion), how tenuous the more evolved ideas of morality and character become in the face of greed, vengeance, and self-preservation, the size of the stakes (from starvation to freezing to a pretty awful death at the hands of the natives) and how different people respond to those fears.
I don't go into movies seeking this stuff (I usually just wanna see shit get blowed up, and some boobies) but was very surprised that those thoughts kept me more rapt than the plot. Not trying to sound all intellectual and I don't have the vocabulary to express some of this - but in novels and films "tone" and language, rhythm, symbolism - they hold my attention much more than plot does. For me, one of the absolutely best films I've seen in years. (But as you can tell, I'm weird).

Flags can be very handy in a studio setup - often much quicker to adjust or attach a flag then get a flag on a stand and position it. If I'm shooting in a setup where there are lots of light sources potentially visible, I stick all the flags on. And keep in mind, just because light isn't hitting the sensor, it can still be hitting the lens (esp, say, a full-frame lens on a small sensor camera). Sometimes you don't even know you're getting some flare until you see the same shot flagged.
A variable ND isn't an ND at all - it's two polarizers. So yes, it can jack up a shot pretty badly, particularly skies or expanses of solid color, or long camera moves. And for close ups with skin, it can really deaden the skin. And they can be hard to match from shot to shot.
A matte box with a rotating stage is really handy for ND grads and polarizers. You'll stop thinking of a grad as "just for the sky" and use them to, say, knock down a  bright sidewalk or wall. And with pola's, it makes it easy to kill (or enhance) reflections. A pola in a rotating stage eats a lot less light than a circular pola, which is 2 stacked polarizers.
If you're 100% "run and gun", a matte box could be a hassle (but then, you should be shooting with a camera made for run & gun, with switchable ND and a good EVF and so on). (I see a lot of newbies say their "style" is "run n' gun", when in reality run & gun is a situation).
I don't find 4x4's slow me down significantly. If I were shooting an event, I'd use my big "video" camera. Most other situations, you have a few minutes to frame a shot and work out the DOF and exposure you want. 
I'd say the minimum to look for is 2 stages, at least one rotates - adjustable height; flags that attach securely and can be removed and adjusted without tools; and flags with no open slots at the mount, as you'll get reflections of your FF gears in your footage!

This. The NX1 showed what could be done. Yeah, it's flawed in some ways, but for a first time outing, it's one badass camera. 
I actually own a Nikon Super-8 camera. For the era and the media, it's pretty badass. Great mix of value and features. Nikon could easily do a sub-$2k cinema camera. Not holding my breath. 

This. The NX1 showed what could be done. Yeah, it's flawed in some ways, but for a first time outing, it's one badass camera. 
I actually own a Nikon Super-8 camera. For the era and the media, it's pretty badass. Great mix of value and features. Nikon could easily do a sub-$2k cinema camera. Not holding my breath. 

This. The NX1 showed what could be done. Yeah, it's flawed in some ways, but for a first time outing, it's one badass camera. 
I actually own a Nikon Super-8 camera. For the era and the media, it's pretty badass. Great mix of value and features. Nikon could easily do a sub-$2k cinema camera. Not holding my breath. 

Man - so how does one synch in that case? The Canon sends just the video to the recorder. So you need an external recorder for audio. But the footage has no audio. So - time code? Clapper boards and prayer? Or can you record to the camera card as well, synch that, and then replace with the recorder footage?
And is sending a 4-2-0 signal to a 4-2-2 recorder worth all that hassle (sure, it can record 4-2-2 but it ain't getting 4-2-2)? Can the average viewer even see a difference? Or is your goal to leave the set with ProRes ready to go?
And I gotta agree, plugging a 1/8 mic into a DSLR, yet thinking an HDMI recorder is your next upgrade? I'd look into an audio recorder first if you want to upgrade what you're doing. And maybe look into a "shotgun or lapel" that uses XLRs too. I've found the camera out of my audio recorder (which has its own output level) into my camera via 1/8, often saves me from synching if all the gain is staged correctly. The preamps in the recorder really make the difference (and using quality phantom powered mics and good cables - this has been true for Nikon and NX1 cameras). I still have the recorder card if I need it, and the -6DB safeties, but I don't always need to synch. (Though I usually just throw everything into PluralEyes and go make some coffee or a cocktail. The Tascam recorders have been shipping with a free copy of Pluraleyes, nice bonus and PE now outputs ProRes).

Man - so how does one synch in that case? The Canon sends just the video to the recorder. So you need an external recorder for audio. But the footage has no audio. So - time code? Clapper boards and prayer? Or can you record to the camera card as well, synch that, and then replace with the recorder footage?
And is sending a 4-2-0 signal to a 4-2-2 recorder worth all that hassle (sure, it can record 4-2-2 but it ain't getting 4-2-2)? Can the average viewer even see a difference? Or is your goal to leave the set with ProRes ready to go?
And I gotta agree, plugging a 1/8 mic into a DSLR, yet thinking an HDMI recorder is your next upgrade? I'd look into an audio recorder first if you want to upgrade what you're doing. And maybe look into a "shotgun or lapel" that uses XLRs too. I've found the camera out of my audio recorder (which has its own output level) into my camera via 1/8, often saves me from synching if all the gain is staged correctly. The preamps in the recorder really make the difference (and using quality phantom powered mics and good cables - this has been true for Nikon and NX1 cameras). I still have the recorder card if I need it, and the -6DB safeties, but I don't always need to synch. (Though I usually just throw everything into PluralEyes and go make some coffee or a cocktail. The Tascam recorders have been shipping with a free copy of Pluraleyes, nice bonus and PE now outputs ProRes).

As the sticky end of the stick recipient of location sound (and after many years swinging a boom and recording on 2 track DAT,  broadcast and film sets) I'd just love the operators to point it in the right direction lol. Saves me calling ADR, saves us placating artists returning 2 films later and a year later to recapture "the moment" and asking why, it's not impossible - requires balls on set and proving your talent to the director and 1st AD etc (no boom in calls!) and mostly taking the lighting dept out for beers so they'll chuck a flag in for you   
No excuse for not getting a boom inches away from artists or asking crew to move chokes, lights, turn off fridges etc etc. Personals were an absolute last resort, should always be, and lazy - if your sound guy turns up and wires everyone up, records to an 8 track and depends on post to ISO unpick the scene IMHO then you've gone low.
No-one leaves a cinema or viewing whistle-ing a two shot, but shit sound ruins the best of films.
August brings a raft of picture makers (aiming for competition submissions) who've spent everything on cameras, lenses and booze, and want ADR foley track-lay and mix for bugger all, may be the effects of schooling, but will become very apparent you can't skip audio, you can - but the viewer will withdraw from the picture and story far faster than a dodgy shot instantly with cack sound. 
Hire a great boom swinger, and post is piss easy.
Just my 2 pence
 
 
 
 

I generally use a small monitor and for critical setups, I use the camera's LCD for framing and color, and use the montior at 1:1 with peaking on, and look for eyelashes/eye catchlights/pores/ to get best focus. Most people seem to have found that even if a recorder can do 422, if it's getting 420, the benefits aren't always worth the extra gear and cost and hassle. Metaphor alert: I can record a tiny AM radio into ProTools with an Apogee preamp and killer mic - it's still gonna sound like a tiny AM radio. The recorder isn't getting a raw signal, it's getting a visually-compressed feed that hasn't been compressed data-wise.
Yep, NX1; it's on a set of rails I cobbled together out of various bits - I really want two risers from tripod-to-rails and two risers from rails to baseplate - I find heavy lenses cause the whole rig to sag with just one riser, which is a nightmare. It has a Manfrotto 577 QR on top - everything's manfrotto QR so I can pull the camera from the rails (steadicam) or stick the whole rig on a crane or slider. The rig itself is 577 and the camera is 577'd as well. I can stick front handles and shoulder mount on it in a second, too.
Decent 2-stage matte box without the flags that day (that Matthews flag in the shot was blocking the LED hair light from hitting the lens); Fotga DPII follow focus (amazing value, that thing!!) with whip, Nikkor 28-70 2.8 (known as "the beast" in some circles) with a rubber hood - I use rubber hoods vs donuts or knickers, very fast to squish 'em against the matte box. if I'm doing focus pulls, I add a lens support and "lift" the front of the lens enough to kill any play - DSLR lenses tend to jump up when you start a follow focus pull.
I use a 90° rail block and an extra piece of rod to mount the DR60 next to the camera, found a 1/4-20 adjustable rail piece on eBay that lets me tilt the recorder. The recorder has a 90° headphone jack extender to get the headphone cable clear of the recorder controls. That's an Anker USB battery which powers the DR all day.
The monitor is a Marshall 5", has 1:1, peaking, and blue-only to check color with a source of bars. The mic is an AT 4053b in a Rode blimp. Killer mic, really detailed and worth every penny vs. a Rode or cheapie. Tons of presence. I use an XLR on-off barrel switch to get the mic right to the front and gain a couple inches (the blimp is expecting a shotgun...)
I don't use a cage, don't really need to bolt the kitchen sink to my camera and I like to be able to go from tripod to crane to steadicam very quickly. I have a simple railblock cable lock that holds a short HDMI cable and a short 1/8 headphone extension, so I plug the monitor and camera-synch-audio into those vs hunting for tiny ports with a flashlight, less cycles on the ports, protects from snagging, etc. I really try to minimize change-up time.
Tripod is a Manfrotto with 503 (no panning at this gig) - it's taken a hell of a beating from sticking an 8' Kessler on it for years and will someday likely explode in a pile of springs and oil, but a decent head. I have a couple smaller tripods as well, nothing super-pricey (I got my film-school son one of those "fancier" fluid tripods... and then got myself one, amazing for $150 or so. Still want to get a sachtler or something...)
Cases are ever-changing and I pack per-gig to try for the "one cart in" thing - pelicans, eBay pelican knockoffs (saves some bucks!), and I got an amazing deal on a used 4x5 view camera custom case that the entire rig can go in, completely assembled, with room for 4x4's and lenses and so on - AWESOME to just lift the rig out and click it onto a tripod and roll. It's a very big case though so only goes to bigger gigs. I have a wheeled case from Cool-Lights that was the only thing I've found to reasonably pack two quad biax units, or one and a bunch of stuff. Generally takes one quad and also the HID softbox and ballast stuff, I know when I walk in if I need the bigger kick of the HID. But the quads are just the shit when 1k will do, I use metal binder clips and stick a sheet or two of diffusion across the barn doors, instant softbox - in fact, the barn doors will fold up with diffusion clipped on, talk about fast! it's not a "real" kino and needs 1/4 CTB and 1/8 minus green to hit clean 5200k or so, I just leave that on.
Lately I've been thinking more about popping faces from backgrounds - if there's a window with greenery, say, I'll put more magenta on the key and manually WB - the camera kicks up the green, and since the BG isn't affected by the gelled light, it gets greener and more saturated in the greens. You'll blow the gag if your key hits other visible stuff in the shot, but overall, I've been working on cooling down backgrounds more, since faces are warm-toned - gets more pop, more 3D look, and our brains tend to say "warmer=closer, cooler=distant". If someone is really pale, I might go the opposite, bluer key and the BG gets warm. Sometimes I manually white balance through1/4 or 1/8 CTB (actually I have an old 77mm camera filer that's very mild cooling and use that) which slightly warms the whole scene. Kind of feel like that's me "next step" for some of this stuff.
Whew, hope that helps!
 
 

I do a ton of corporate interviews, musing about some doc projects if I get some free time...
The #1, by-god awesome, holy-cow thing for me as an interview shooter and editor: freaking 4K. If you have a feel for narrative, human nature, drama, etc, you can guide and cut a great interview. But reframing has changed the game for me. You can hide cuts, and tighten up the shot for the most dramatic or impactful statements. When I come in tight, I can do subtle camera moves/pans which really just "work" subconsciously. I can shoot a little wider than usual for lower thirds or graphics and still have plenty of pixels for a wide range of shot changes, without moving the camera. That's my #1. I use the NX1 for all interviews now (the 4k footage is pretty astounding), with a Nikkor 28-70 2.8 zoom generally - that zoom looks fab and it allows me to adjust framing quickly, like I setup with a stand-in and then the subject is 7' tall. 
(#1-a? A morphing plugin for your NLE. When they work, they're lifesavers - get every f*cking UMM and pause and stutter OUT of your edit!!)(Unless those express the personality - for corporate stuff they're goners).
Other MASSIVE thing for interviews - if it's not "to the camera" (which I generally dislike) - who is the subject talking to? If it's me, I'm in a chair with a monitor on my lap, but I HATE looking down to check focus - people instantly feel like you've got something more important on your mind. So I have to go deeper with the DOF and if the subject is really active or excited - you'll lose focus. So I try to get someone to be an eye line. I QUIETLY whisper questions to that person - if you're behind the camera and you ask the question, even if you say "tell her...", their eyes will shift back and forth and it looks shifty. I'd much rather be riding focus behind the camera. With a follow focus and a 12" whip, so no jitters. I only wear headphones for initial setup and first roll with the subject, they are too "distancing" for me, unless I'm not the interviewer.
IF THE INTERVIEWER IS NOT IN THE EDIT - make sure they answer IN CONTEXT so the question is not needed. Most people understand this, and understand if you stop them and say "context, please" or lead them - "I'm sorry, could you start that with 'the reason I love what I do'..."
#3 major thing for a great interview - a third person with an eye for detail and grooming - most any lady or your gay buddy will do - (not trying to be sexist, just my hard experience) - even the receptionist - to keep an eye on hair, collars, lint, wrinkles, etc. There's too damn much to be focused on (for my tiny brain anyway) - most ladies like to be asked to be the grooming police and watch for that lock of hair that pops up halfway through, to watch for makeup issues on female subjects that guys don't even SEE. Have them look through the monitor for issues like shining skin, too. (I KNOW this sounds sexist and generalized, but I've found it to be true!!! If a lady looks decent in her clothes, she'll see what needs fixing.)
So for a doc, I'd think about your assistant - someone that can watch for those details, help setup and pack and carry, and either be an eyeline or can babysit focus.
I also use the NX for steadicam b-roll, I just stick the cheap little 16-50 OIS kit lens on it, very small and light on a Came steadicam, and I use the same QR on everything so I can be on the steadicam in seconds. From there, b-roll, establishing shots, whatever you need... lenses, tripod, jib, sliders, shoulder mount, etc. Have an ND solution if you'll be moving in and outdoors.
Good audio is a must, the DR60 is a great piece of gear, and the camera-out with its own level control means you can use it as a preamp and not need to synch (I use the NX1 and when gain is staged properly, no difference between the DR card or the camera). But you have the recorder files as a safety if you get an over (and the DR records a 2nd track at -6DB which can save your ass). Get some closed-back headphones (even cheap ones). You need a great mic, or at least a good one - Oktava, AT 4053, or at the least a Rode, but get a hyper, not a shotgun. For about $200 you can get one of the OST lav mics AND the XLR barrel converter, which converts phantom power to mic power. So you can use a lav and not mess with wireless and be all-XLR, no monkey-business 1/8 crap in the chain. There's a small OST that hides great in a tie knot.
LIGHTING - for a big window office where you want to hold the exterior, you generally need a 575 or 1.2k HMI par. And with many angles, your diffusion frame will reflect in the window, so you need strategies for that. Often a polarizer will knock down lesser reflections. Or you can ND the whole window if you have all day.
I keep a 575 in the truck, but I have a "one-rock-n-roller-cart" setup to make one trip in for most gigs. I TRY to use a quad biax - they're usually under $200, and I clip diffusion across the barn doors, instant softbox that's the right size for faces, small and easy to move, no cold-start issues, etc. I also bring an Aputure 672 LED for rim/hair, or background (probably will get another sometime)... usually a small 300 fresnel if I want warm BG light... I also have a 400 HID setup that works with all the photoflex softboxes, but that's a DIY grow light thing (it kicks ass and looks legit, about 1200 watts of nice daylight). I also have a 2" daylight fresnel with a 150 HID globe and ballast, again DIY but looks like actual gear, about 500 watt equivalent) handy little problem solver. And a bunch of CTB and CTO gels cut to size and ready in a big ziplock. Usually doesn't take many lights to get a nice looking interview setup. In a pinch I can be setup and ready to roll in 20 minutes, though that's kinda stressy!
For overhead mic, I use a steel roller stand - it's heavy enough to not need sandbags but easy to tweak the position. Those are pricey, $180 or so, but worth it. I don't bring c-stands to most interview gigs, too hard to pack, too heavy. Use good quality folding stands though, the Matthews steel kit stands are good. Find a good solution to pack all your stands in.
I generally bring the steel roller w/ arm - decent stands for key, LED, fresnel - I bring a couple black flags (18x24) for spill or if the hair light is hitting the lens as a flag; a cookie and grip stuff; a couple extra boom arms and heads. Usually 5-7 stands in a bag. An 18" and 22" popup reflector/diffusor, gaff tape, spring clamps, and A LINT ROLLER!!!
There are LEDs that would make a suitable key (the Aperture doesn't have the kick except for very dark setups), but they're a grand and up, the biax quad is still a trouper for me.
All of that on one cart - I use two motorcycle tie-down ratchets to hold it on the cart.
That's my business interview setup, but I'd likely use the same for a doc interview.
Last week, basic setup:
 
 

I generally use a small monitor and for critical setups, I use the camera's LCD for framing and color, and use the montior at 1:1 with peaking on, and look for eyelashes/eye catchlights/pores/ to get best focus. Most people seem to have found that even if a recorder can do 422, if it's getting 420, the benefits aren't always worth the extra gear and cost and hassle. Metaphor alert: I can record a tiny AM radio into ProTools with an Apogee preamp and killer mic - it's still gonna sound like a tiny AM radio. The recorder isn't getting a raw signal, it's getting a visually-compressed feed that hasn't been compressed data-wise.
Yep, NX1; it's on a set of rails I cobbled together out of various bits - I really want two risers from tripod-to-rails and two risers from rails to baseplate - I find heavy lenses cause the whole rig to sag with just one riser, which is a nightmare. It has a Manfrotto 577 QR on top - everything's manfrotto QR so I can pull the camera from the rails (steadicam) or stick the whole rig on a crane or slider. The rig itself is 577 and the camera is 577'd as well. I can stick front handles and shoulder mount on it in a second, too.
Decent 2-stage matte box without the flags that day (that Matthews flag in the shot was blocking the LED hair light from hitting the lens); Fotga DPII follow focus (amazing value, that thing!!) with whip, Nikkor 28-70 2.8 (known as "the beast" in some circles) with a rubber hood - I use rubber hoods vs donuts or knickers, very fast to squish 'em against the matte box. if I'm doing focus pulls, I add a lens support and "lift" the front of the lens enough to kill any play - DSLR lenses tend to jump up when you start a follow focus pull.
I use a 90° rail block and an extra piece of rod to mount the DR60 next to the camera, found a 1/4-20 adjustable rail piece on eBay that lets me tilt the recorder. The recorder has a 90° headphone jack extender to get the headphone cable clear of the recorder controls. That's an Anker USB battery which powers the DR all day.
The monitor is a Marshall 5", has 1:1, peaking, and blue-only to check color with a source of bars. The mic is an AT 4053b in a Rode blimp. Killer mic, really detailed and worth every penny vs. a Rode or cheapie. Tons of presence. I use an XLR on-off barrel switch to get the mic right to the front and gain a couple inches (the blimp is expecting a shotgun...)
I don't use a cage, don't really need to bolt the kitchen sink to my camera and I like to be able to go from tripod to crane to steadicam very quickly. I have a simple railblock cable lock that holds a short HDMI cable and a short 1/8 headphone extension, so I plug the monitor and camera-synch-audio into those vs hunting for tiny ports with a flashlight, less cycles on the ports, protects from snagging, etc. I really try to minimize change-up time.
Tripod is a Manfrotto with 503 (no panning at this gig) - it's taken a hell of a beating from sticking an 8' Kessler on it for years and will someday likely explode in a pile of springs and oil, but a decent head. I have a couple smaller tripods as well, nothing super-pricey (I got my film-school son one of those "fancier" fluid tripods... and then got myself one, amazing for $150 or so. Still want to get a sachtler or something...)
Cases are ever-changing and I pack per-gig to try for the "one cart in" thing - pelicans, eBay pelican knockoffs (saves some bucks!), and I got an amazing deal on a used 4x5 view camera custom case that the entire rig can go in, completely assembled, with room for 4x4's and lenses and so on - AWESOME to just lift the rig out and click it onto a tripod and roll. It's a very big case though so only goes to bigger gigs. I have a wheeled case from Cool-Lights that was the only thing I've found to reasonably pack two quad biax units, or one and a bunch of stuff. Generally takes one quad and also the HID softbox and ballast stuff, I know when I walk in if I need the bigger kick of the HID. But the quads are just the shit when 1k will do, I use metal binder clips and stick a sheet or two of diffusion across the barn doors, instant softbox - in fact, the barn doors will fold up with diffusion clipped on, talk about fast! it's not a "real" kino and needs 1/4 CTB and 1/8 minus green to hit clean 5200k or so, I just leave that on.
Lately I've been thinking more about popping faces from backgrounds - if there's a window with greenery, say, I'll put more magenta on the key and manually WB - the camera kicks up the green, and since the BG isn't affected by the gelled light, it gets greener and more saturated in the greens. You'll blow the gag if your key hits other visible stuff in the shot, but overall, I've been working on cooling down backgrounds more, since faces are warm-toned - gets more pop, more 3D look, and our brains tend to say "warmer=closer, cooler=distant". If someone is really pale, I might go the opposite, bluer key and the BG gets warm. Sometimes I manually white balance through1/4 or 1/8 CTB (actually I have an old 77mm camera filer that's very mild cooling and use that) which slightly warms the whole scene. Kind of feel like that's me "next step" for some of this stuff.
Whew, hope that helps!
 
 

I do a ton of corporate interviews, musing about some doc projects if I get some free time...
The #1, by-god awesome, holy-cow thing for me as an interview shooter and editor: freaking 4K. If you have a feel for narrative, human nature, drama, etc, you can guide and cut a great interview. But reframing has changed the game for me. You can hide cuts, and tighten up the shot for the most dramatic or impactful statements. When I come in tight, I can do subtle camera moves/pans which really just "work" subconsciously. I can shoot a little wider than usual for lower thirds or graphics and still have plenty of pixels for a wide range of shot changes, without moving the camera. That's my #1. I use the NX1 for all interviews now (the 4k footage is pretty astounding), with a Nikkor 28-70 2.8 zoom generally - that zoom looks fab and it allows me to adjust framing quickly, like I setup with a stand-in and then the subject is 7' tall. 
(#1-a? A morphing plugin for your NLE. When they work, they're lifesavers - get every f*cking UMM and pause and stutter OUT of your edit!!)(Unless those express the personality - for corporate stuff they're goners).
Other MASSIVE thing for interviews - if it's not "to the camera" (which I generally dislike) - who is the subject talking to? If it's me, I'm in a chair with a monitor on my lap, but I HATE looking down to check focus - people instantly feel like you've got something more important on your mind. So I have to go deeper with the DOF and if the subject is really active or excited - you'll lose focus. So I try to get someone to be an eye line. I QUIETLY whisper questions to that person - if you're behind the camera and you ask the question, even if you say "tell her...", their eyes will shift back and forth and it looks shifty. I'd much rather be riding focus behind the camera. With a follow focus and a 12" whip, so no jitters. I only wear headphones for initial setup and first roll with the subject, they are too "distancing" for me, unless I'm not the interviewer.
IF THE INTERVIEWER IS NOT IN THE EDIT - make sure they answer IN CONTEXT so the question is not needed. Most people understand this, and understand if you stop them and say "context, please" or lead them - "I'm sorry, could you start that with 'the reason I love what I do'..."
#3 major thing for a great interview - a third person with an eye for detail and grooming - most any lady or your gay buddy will do - (not trying to be sexist, just my hard experience) - even the receptionist - to keep an eye on hair, collars, lint, wrinkles, etc. There's too damn much to be focused on (for my tiny brain anyway) - most ladies like to be asked to be the grooming police and watch for that lock of hair that pops up halfway through, to watch for makeup issues on female subjects that guys don't even SEE. Have them look through the monitor for issues like shining skin, too. (I KNOW this sounds sexist and generalized, but I've found it to be true!!! If a lady looks decent in her clothes, she'll see what needs fixing.)
So for a doc, I'd think about your assistant - someone that can watch for those details, help setup and pack and carry, and either be an eyeline or can babysit focus.
I also use the NX for steadicam b-roll, I just stick the cheap little 16-50 OIS kit lens on it, very small and light on a Came steadicam, and I use the same QR on everything so I can be on the steadicam in seconds. From there, b-roll, establishing shots, whatever you need... lenses, tripod, jib, sliders, shoulder mount, etc. Have an ND solution if you'll be moving in and outdoors.
Good audio is a must, the DR60 is a great piece of gear, and the camera-out with its own level control means you can use it as a preamp and not need to synch (I use the NX1 and when gain is staged properly, no difference between the DR card or the camera). But you have the recorder files as a safety if you get an over (and the DR records a 2nd track at -6DB which can save your ass). Get some closed-back headphones (even cheap ones). You need a great mic, or at least a good one - Oktava, AT 4053, or at the least a Rode, but get a hyper, not a shotgun. For about $200 you can get one of the OST lav mics AND the XLR barrel converter, which converts phantom power to mic power. So you can use a lav and not mess with wireless and be all-XLR, no monkey-business 1/8 crap in the chain. There's a small OST that hides great in a tie knot.
LIGHTING - for a big window office where you want to hold the exterior, you generally need a 575 or 1.2k HMI par. And with many angles, your diffusion frame will reflect in the window, so you need strategies for that. Often a polarizer will knock down lesser reflections. Or you can ND the whole window if you have all day.
I keep a 575 in the truck, but I have a "one-rock-n-roller-cart" setup to make one trip in for most gigs. I TRY to use a quad biax - they're usually under $200, and I clip diffusion across the barn doors, instant softbox that's the right size for faces, small and easy to move, no cold-start issues, etc. I also bring an Aputure 672 LED for rim/hair, or background (probably will get another sometime)... usually a small 300 fresnel if I want warm BG light... I also have a 400 HID setup that works with all the photoflex softboxes, but that's a DIY grow light thing (it kicks ass and looks legit, about 1200 watts of nice daylight). I also have a 2" daylight fresnel with a 150 HID globe and ballast, again DIY but looks like actual gear, about 500 watt equivalent) handy little problem solver. And a bunch of CTB and CTO gels cut to size and ready in a big ziplock. Usually doesn't take many lights to get a nice looking interview setup. In a pinch I can be setup and ready to roll in 20 minutes, though that's kinda stressy!
For overhead mic, I use a steel roller stand - it's heavy enough to not need sandbags but easy to tweak the position. Those are pricey, $180 or so, but worth it. I don't bring c-stands to most interview gigs, too hard to pack, too heavy. Use good quality folding stands though, the Matthews steel kit stands are good. Find a good solution to pack all your stands in.
I generally bring the steel roller w/ arm - decent stands for key, LED, fresnel - I bring a couple black flags (18x24) for spill or if the hair light is hitting the lens as a flag; a cookie and grip stuff; a couple extra boom arms and heads. Usually 5-7 stands in a bag. An 18" and 22" popup reflector/diffusor, gaff tape, spring clamps, and A LINT ROLLER!!!
There are LEDs that would make a suitable key (the Aperture doesn't have the kick except for very dark setups), but they're a grand and up, the biax quad is still a trouper for me.
All of that on one cart - I use two motorcycle tie-down ratchets to hold it on the cart.
That's my business interview setup, but I'd likely use the same for a doc interview.
Last week, basic setup:
 
 

I do a ton of corporate interviews, musing about some doc projects if I get some free time...
The #1, by-god awesome, holy-cow thing for me as an interview shooter and editor: freaking 4K. If you have a feel for narrative, human nature, drama, etc, you can guide and cut a great interview. But reframing has changed the game for me. You can hide cuts, and tighten up the shot for the most dramatic or impactful statements. When I come in tight, I can do subtle camera moves/pans which really just "work" subconsciously. I can shoot a little wider than usual for lower thirds or graphics and still have plenty of pixels for a wide range of shot changes, without moving the camera. That's my #1. I use the NX1 for all interviews now (the 4k footage is pretty astounding), with a Nikkor 28-70 2.8 zoom generally - that zoom looks fab and it allows me to adjust framing quickly, like I setup with a stand-in and then the subject is 7' tall. 
(#1-a? A morphing plugin for your NLE. When they work, they're lifesavers - get every f*cking UMM and pause and stutter OUT of your edit!!)(Unless those express the personality - for corporate stuff they're goners).
Other MASSIVE thing for interviews - if it's not "to the camera" (which I generally dislike) - who is the subject talking to? If it's me, I'm in a chair with a monitor on my lap, but I HATE looking down to check focus - people instantly feel like you've got something more important on your mind. So I have to go deeper with the DOF and if the subject is really active or excited - you'll lose focus. So I try to get someone to be an eye line. I QUIETLY whisper questions to that person - if you're behind the camera and you ask the question, even if you say "tell her...", their eyes will shift back and forth and it looks shifty. I'd much rather be riding focus behind the camera. With a follow focus and a 12" whip, so no jitters. I only wear headphones for initial setup and first roll with the subject, they are too "distancing" for me, unless I'm not the interviewer.
IF THE INTERVIEWER IS NOT IN THE EDIT - make sure they answer IN CONTEXT so the question is not needed. Most people understand this, and understand if you stop them and say "context, please" or lead them - "I'm sorry, could you start that with 'the reason I love what I do'..."
#3 major thing for a great interview - a third person with an eye for detail and grooming - most any lady or your gay buddy will do - (not trying to be sexist, just my hard experience) - even the receptionist - to keep an eye on hair, collars, lint, wrinkles, etc. There's too damn much to be focused on (for my tiny brain anyway) - most ladies like to be asked to be the grooming police and watch for that lock of hair that pops up halfway through, to watch for makeup issues on female subjects that guys don't even SEE. Have them look through the monitor for issues like shining skin, too. (I KNOW this sounds sexist and generalized, but I've found it to be true!!! If a lady looks decent in her clothes, she'll see what needs fixing.)
So for a doc, I'd think about your assistant - someone that can watch for those details, help setup and pack and carry, and either be an eyeline or can babysit focus.
I also use the NX for steadicam b-roll, I just stick the cheap little 16-50 OIS kit lens on it, very small and light on a Came steadicam, and I use the same QR on everything so I can be on the steadicam in seconds. From there, b-roll, establishing shots, whatever you need... lenses, tripod, jib, sliders, shoulder mount, etc. Have an ND solution if you'll be moving in and outdoors.
Good audio is a must, the DR60 is a great piece of gear, and the camera-out with its own level control means you can use it as a preamp and not need to synch (I use the NX1 and when gain is staged properly, no difference between the DR card or the camera). But you have the recorder files as a safety if you get an over (and the DR records a 2nd track at -6DB which can save your ass). Get some closed-back headphones (even cheap ones). You need a great mic, or at least a good one - Oktava, AT 4053, or at the least a Rode, but get a hyper, not a shotgun. For about $200 you can get one of the OST lav mics AND the XLR barrel converter, which converts phantom power to mic power. So you can use a lav and not mess with wireless and be all-XLR, no monkey-business 1/8 crap in the chain. There's a small OST that hides great in a tie knot.
LIGHTING - for a big window office where you want to hold the exterior, you generally need a 575 or 1.2k HMI par. And with many angles, your diffusion frame will reflect in the window, so you need strategies for that. Often a polarizer will knock down lesser reflections. Or you can ND the whole window if you have all day.
I keep a 575 in the truck, but I have a "one-rock-n-roller-cart" setup to make one trip in for most gigs. I TRY to use a quad biax - they're usually under $200, and I clip diffusion across the barn doors, instant softbox that's the right size for faces, small and easy to move, no cold-start issues, etc. I also bring an Aputure 672 LED for rim/hair, or background (probably will get another sometime)... usually a small 300 fresnel if I want warm BG light... I also have a 400 HID setup that works with all the photoflex softboxes, but that's a DIY grow light thing (it kicks ass and looks legit, about 1200 watts of nice daylight). I also have a 2" daylight fresnel with a 150 HID globe and ballast, again DIY but looks like actual gear, about 500 watt equivalent) handy little problem solver. And a bunch of CTB and CTO gels cut to size and ready in a big ziplock. Usually doesn't take many lights to get a nice looking interview setup. In a pinch I can be setup and ready to roll in 20 minutes, though that's kinda stressy!
For overhead mic, I use a steel roller stand - it's heavy enough to not need sandbags but easy to tweak the position. Those are pricey, $180 or so, but worth it. I don't bring c-stands to most interview gigs, too hard to pack, too heavy. Use good quality folding stands though, the Matthews steel kit stands are good. Find a good solution to pack all your stands in.
I generally bring the steel roller w/ arm - decent stands for key, LED, fresnel - I bring a couple black flags (18x24) for spill or if the hair light is hitting the lens as a flag; a cookie and grip stuff; a couple extra boom arms and heads. Usually 5-7 stands in a bag. An 18" and 22" popup reflector/diffusor, gaff tape, spring clamps, and A LINT ROLLER!!!
There are LEDs that would make a suitable key (the Aperture doesn't have the kick except for very dark setups), but they're a grand and up, the biax quad is still a trouper for me.
All of that on one cart - I use two motorcycle tie-down ratchets to hold it on the cart.
That's my business interview setup, but I'd likely use the same for a doc interview.
Last week, basic setup:
 
 

I do a ton of corporate interviews, musing about some doc projects if I get some free time...
The #1, by-god awesome, holy-cow thing for me as an interview shooter and editor: freaking 4K. If you have a feel for narrative, human nature, drama, etc, you can guide and cut a great interview. But reframing has changed the game for me. You can hide cuts, and tighten up the shot for the most dramatic or impactful statements. When I come in tight, I can do subtle camera moves/pans which really just "work" subconsciously. I can shoot a little wider than usual for lower thirds or graphics and still have plenty of pixels for a wide range of shot changes, without moving the camera. That's my #1. I use the NX1 for all interviews now (the 4k footage is pretty astounding), with a Nikkor 28-70 2.8 zoom generally - that zoom looks fab and it allows me to adjust framing quickly, like I setup with a stand-in and then the subject is 7' tall. 
(#1-a? A morphing plugin for your NLE. When they work, they're lifesavers - get every f*cking UMM and pause and stutter OUT of your edit!!)(Unless those express the personality - for corporate stuff they're goners).
Other MASSIVE thing for interviews - if it's not "to the camera" (which I generally dislike) - who is the subject talking to? If it's me, I'm in a chair with a monitor on my lap, but I HATE looking down to check focus - people instantly feel like you've got something more important on your mind. So I have to go deeper with the DOF and if the subject is really active or excited - you'll lose focus. So I try to get someone to be an eye line. I QUIETLY whisper questions to that person - if you're behind the camera and you ask the question, even if you say "tell her...", their eyes will shift back and forth and it looks shifty. I'd much rather be riding focus behind the camera. With a follow focus and a 12" whip, so no jitters. I only wear headphones for initial setup and first roll with the subject, they are too "distancing" for me, unless I'm not the interviewer.
IF THE INTERVIEWER IS NOT IN THE EDIT - make sure they answer IN CONTEXT so the question is not needed. Most people understand this, and understand if you stop them and say "context, please" or lead them - "I'm sorry, could you start that with 'the reason I love what I do'..."
#3 major thing for a great interview - a third person with an eye for detail and grooming - most any lady or your gay buddy will do - (not trying to be sexist, just my hard experience) - even the receptionist - to keep an eye on hair, collars, lint, wrinkles, etc. There's too damn much to be focused on (for my tiny brain anyway) - most ladies like to be asked to be the grooming police and watch for that lock of hair that pops up halfway through, to watch for makeup issues on female subjects that guys don't even SEE. Have them look through the monitor for issues like shining skin, too. (I KNOW this sounds sexist and generalized, but I've found it to be true!!! If a lady looks decent in her clothes, she'll see what needs fixing.)
So for a doc, I'd think about your assistant - someone that can watch for those details, help setup and pack and carry, and either be an eyeline or can babysit focus.
I also use the NX for steadicam b-roll, I just stick the cheap little 16-50 OIS kit lens on it, very small and light on a Came steadicam, and I use the same QR on everything so I can be on the steadicam in seconds. From there, b-roll, establishing shots, whatever you need... lenses, tripod, jib, sliders, shoulder mount, etc. Have an ND solution if you'll be moving in and outdoors.
Good audio is a must, the DR60 is a great piece of gear, and the camera-out with its own level control means you can use it as a preamp and not need to synch (I use the NX1 and when gain is staged properly, no difference between the DR card or the camera). But you have the recorder files as a safety if you get an over (and the DR records a 2nd track at -6DB which can save your ass). Get some closed-back headphones (even cheap ones). You need a great mic, or at least a good one - Oktava, AT 4053, or at the least a Rode, but get a hyper, not a shotgun. For about $200 you can get one of the OST lav mics AND the XLR barrel converter, which converts phantom power to mic power. So you can use a lav and not mess with wireless and be all-XLR, no monkey-business 1/8 crap in the chain. There's a small OST that hides great in a tie knot.
LIGHTING - for a big window office where you want to hold the exterior, you generally need a 575 or 1.2k HMI par. And with many angles, your diffusion frame will reflect in the window, so you need strategies for that. Often a polarizer will knock down lesser reflections. Or you can ND the whole window if you have all day.
I keep a 575 in the truck, but I have a "one-rock-n-roller-cart" setup to make one trip in for most gigs. I TRY to use a quad biax - they're usually under $200, and I clip diffusion across the barn doors, instant softbox that's the right size for faces, small and easy to move, no cold-start issues, etc. I also bring an Aputure 672 LED for rim/hair, or background (probably will get another sometime)... usually a small 300 fresnel if I want warm BG light... I also have a 400 HID setup that works with all the photoflex softboxes, but that's a DIY grow light thing (it kicks ass and looks legit, about 1200 watts of nice daylight). I also have a 2" daylight fresnel with a 150 HID globe and ballast, again DIY but looks like actual gear, about 500 watt equivalent) handy little problem solver. And a bunch of CTB and CTO gels cut to size and ready in a big ziplock. Usually doesn't take many lights to get a nice looking interview setup. In a pinch I can be setup and ready to roll in 20 minutes, though that's kinda stressy!
For overhead mic, I use a steel roller stand - it's heavy enough to not need sandbags but easy to tweak the position. Those are pricey, $180 or so, but worth it. I don't bring c-stands to most interview gigs, too hard to pack, too heavy. Use good quality folding stands though, the Matthews steel kit stands are good. Find a good solution to pack all your stands in.
I generally bring the steel roller w/ arm - decent stands for key, LED, fresnel - I bring a couple black flags (18x24) for spill or if the hair light is hitting the lens as a flag; a cookie and grip stuff; a couple extra boom arms and heads. Usually 5-7 stands in a bag. An 18" and 22" popup reflector/diffusor, gaff tape, spring clamps, and A LINT ROLLER!!!
There are LEDs that would make a suitable key (the Aperture doesn't have the kick except for very dark setups), but they're a grand and up, the biax quad is still a trouper for me.
All of that on one cart - I use two motorcycle tie-down ratchets to hold it on the cart.
That's my business interview setup, but I'd likely use the same for a doc interview.
Last week, basic setup: