mercer

It’s always been that way. Back in the early 2000s, my friend was shooting a short film with a TRV-70, deep in the middle of a state forest. And we got stopped and told to leave because we needed permits. At that time we were young enough to say we were making a student film for school... he didn’t care. I’ve been shooting mostly B-Roll for my film in public thus far. But I usually will have my Olympus Recorder and the Rode Video Micro on camera to catch ambient sounds. And just having the dead cat of the small Video Micro has gotten me looks from cops. And passers by will stop to ask what I’m shooting. Hell, using a monopod draws unwanted attention. A tripod would probably get me stopped by cops. Hell, I bet a gimbal would even get me stopped. I specifically went out and bought the Canon 28mm 1.8 lens so I could go handheld with a neck strap for those scenes. Luckily I’ve designed the film/script in a way to take all of this into account so a body recorder will most likely be the safest option as I don’t have many scenes requiring dialogue in public. With that being said, I don’t have the budget to get a couple Tascam Lav Recorders and a field recorder, so I am trying to put together something that I can use with a regular mic on a mic stand or a boom when I have the privacy to shoot the longer dialogue scenes in private. I may be able to wrangle together enough for 2 Tascam Lav Recorders and maybe a DR-40, But is the DR-40 just a waste of money and it would be better getting a couple Zoom F1s? They seem to be getting pretty good reviews.

I will say that the Saramonic recorder may be worth a test. It seems super convenient. I’m sure it has its issues, but I have found that most issues I read about on forums are due to the operator expecting too much from a piece of equipment and their refusal to work around its limitations. For me, one man band filmmaking is about designing productions around limitations. Everything from the script to the cast to the lens choice is pre-conceived with the struggles of the production in mind. @IronFilm I think we just live in two different worlds. If I had a boom pole on the boardwalk, I’d be stopped in less than 5 minutes by a cop asking for a permit or just shutting me down. A DR60Mkii, even in a bag, with wires sticking out would get me an extra 3 minutes. @Don Kotlos thanks for the link to the dual XLR preamp... that’s definitely worth a test as well. In fact, it may be just what I’m looking for. I don’t love the size of the H6 but with all of the external controls, it seems like something I could grow into if necessary. But it was really going to be a last ditch option for me. I think I would just go for a DR-40 for a couple XLR inputs in a semi-small, self contained unit before I went with the H6. I just figured for a hundred more, the H6 could stay on the maybe list. Right now I’m leaning towards the Zoom F1. After I sell my Olympus recorders and a couple microphones I have lying around, I’ll just have enough for two units. I can then build upon those if I want to add the XLR module at a later date. Or if I want to use the F1 as a preamp for in camera audio.

Are you dumping the GH cameras and going back to Canon? Get a 5D Mark III and shoot ML Raw... you won’t look back. Of course if I could afford a C200, I’d be tempted.

Thanks to everyone for their replies. Definitely some good info. @IronFilm I appreciate your level of professionalism but I need a small footprint. The Tascam lav recorders could work and are essentially how I am using my two Olympus recorders now. But since I do have access to the Rode NTG mics, I am exploring a few other options to up my sound a little. So I know what Professional IronFilm would do, but let me ask you this. Hypothetically... if you had zero equipment and were given a $300-$500 budget to buy a couple recorders and some cheap lavalier microphones, what would you buy. Also remember the Tascam 60 is WAY too big for what I am shooting. I am shooting scenes in public. On beaches and the boardwalk. I need a busy background in my shots but I don’t want to draw attention and have people stop and stare and ruin a shot. Right now, I am most curious about the Zoom F1 and the Zoom H6. Even the H6 is bigger than I feel comfortable with but with all of the tracks and external knobs, it seems like it may be worth the extra size. Now I’ve also found this Saramonic XLR Recorder that seems interesting. It has phantom power and is tiny with no cords... definitely something I can handle when the camera is on a tripod and I boom a scene. https://www.bhphotovideo.com/c/product/1349307-REG/saramonic_sr_vrm1_compact_liner_pcm_recorder.html You have to remember that I am truly a one man band. 9 out of 10 times, I will have zero help. The ultimate option for me would be some kind of way to bypass my 5D3’s internal preamps with an external recorder. I really don’t care if it’s a $100 recorder or a $300 recorder. But I am also not against double sound and synching in post. As I said, the Zoom F1 seems interesting with it’s ability to send a line out to the camera and then also get an external recording. It’s small and inconspicuous size is also a plus. I also like the fact that it can double as an on talent recorder with lavaliers. I’ve read your article and it’s definitely interesting but you bypass the best low end options. It seems like that would be a great area for someone in your position to offer the most information to zero budget filmmakers like myself.

Isn’t the Tascam really big though? I think the H5 is less than 3” tall without the modules.

I know the Ursa Mini 4K supposedly has some issues, but damn... for the price, I am seeing some beautiful footage shot with it. I didn’t know it had a global shutter. @Django

@kidzrevil well said! I also think the desire to shoot with wide angle and ultra wide angle lenses hindered the lasting power of earlier cameras in the DSLR Revolution. I knew within minutes of shooting my first DSLR (t2i) that wide angle shots didn’t render detail very well, but with shallow depth of field, the image looked beautiful. I’ve been watching some a7ii videos lately and for close ups with shallow depth, it has a brilliant image... but anything wide angle with any pattern, the image turns fast. Point is, we’re not shooting with Alexas or Reds, so instead of complaining about the limitations of these older cameras, for a very cheap price, many could just work around those limitations and get beautiful imagery for next to nothing.

@TwoScoops bmOGcc... haha... love it. Lights Out was one of the reasons I first decided to shoot Raw with the Micro. I love the look of the BMCC.

Sorry, but you bought an Alexa so you could make your GH5 look more like the Alexa? Why not just use the Alexa?

Funnily enough, I’m only interested in 1080p as well. The show looks gorgeous and I can’t imagine it would look any better in 4K. Hell sometimes I see movies on my 1080p TV and it looks better than my eyes normally see the world. Btw, thanks for being so open about the production.

I never realized the Ursa was so small and ergonomic. Very interesting to learn a little about your process. The “football pass” seems like a great way to get some impromptu camera and acting moments that basic coverage doesn’t always allow. It’s a shame the original Pocket is EOL, a price reduction could keep that camera relevant for a few more years. Or I’d love to see BM release a mini Pocket that expands on the S16 original with multiple frame rate 1080p or 2.5K. At $750, that camera could be a huge success... but I guess we live in a 4K world now... ugh. Btw, are The Resident’s Ursa shots recorded in 4K and then downsized to match the Alexa? Or do you just shoot in 1080p on the Ursa?

So, I’m at the point where I am about to start shooting dialogue scenes for my film. Being a one man band, guerrilla shooter, I need my set up to be as quick and easy and inconspicuous as possible. I’ve used the H1 and the DR-05 but they’re both a little big for my set up. Right now, I have two Olympus LS-7 field recorders and I love the quality and how small they are. I can have one attached to the top of my camera with a small shotgun and then have another in my actor’s pocket with a lav. They will do fine if need be, but I figured I’d explore my options. I always liked the size of the Zoom H2/H2N... small but not tiny with external controls. And I’ve heard/seen some filmmakers use the whole recorder attached to a boom pole using only the onboard mic. But I know they’re pretty dated and assume there are better options out there. So I looked around last night and came across the Zoom H5. Anybody have any experience with it? I have acces to a couple Rode NTG mics, so the onboard XLR inputs seem interesting but as I understand it, the onboard mic unit is modular... will the recorder work without any of those modular units attached? Because it seems like the perfect size without it. I figured I could pick up one or two of their new pocket recorders for lav mics and then run an XLR shotgun and maybe an XLR lav from the other input on the H5. I know this isn’t ideal, @IronFilm but I NEED the small footprint, so is it usable? If not, any creative ideas out there to get good audio with a cheap and easy workflow that one person can operate? Also, does the old line in/out trick from external recorders really work to bypass DSLR preamps?

B&H still has the Pocket up for sale at its original price. Nice promo. It’s amazing how well these BM cameras intercut with an Alexa. So, it makes sense when you would use the Micro or the Pocket, but what makes you decide to use the Ursa over the Alexa? Is it a matter of crew size on the call sheet for certain days? Are you given carte blanche which camera you use, when you want to, or does the line producer have a say? Sorry for all the questions, but it isn’t often I get the opportunity to pick the brain of an established cinematographer. Btw, have you been able to use an Olympus on the show?

That’s a cool little set up... what’s that rig/handle you’re using with it? I’m hoping BM doesn’t discontinue the original Pocket or Micro but for the price of the Pocket2... it seems they may need a price decrease. Also since you posted it, I’m really enjoying your work on The Resident and it is pretty cool that you can use the Pocket in production... even if for close up/insert shots. What lens did you use?

I assume ProRes Raw will mature with future updates to Pro Codecs and FCPX. Re: Jon’s critique on that Pocket cam video... Obviously, being a fan of the camera and owning a couple of them over the years, I’ve seen that video, and although it has some IR pollution, I really like that look. It’s very analog and reminds me of a very distinct “indie film” look that was popular for a while. So for grabbing a camera and a lens, I think the kid was very successful. @John Brawley any chance BM is going to reduce the price of the Pocket or Micro... or maybe another Summer sale?

Yeah I’m pretty sure he used just ProRes HQ... he seems to have a colorist and obviously those super speeds didn’t hurt. I think Arri had some S16mm super speeds back in the day that can be adapted and they aren’t horribly priced.

Yeah it really is. And this was shot in ProRes... stunning. To be honest, I am a little bummed out by the Pocket II. It seems too mainstream to me. Like it’s neither here nor there. I much rather would have had them build on the original Pocket/Micro but with a 2.5K image. Until we see footage, it’s all conjecture, but I could see myself scooping up another Micro for cheap and be happy with FF Raw from my 5D3 and S16 ProRes from a BMMCC. With that being said, BM does have to be commended for the price point/features of the Pocket II.

I saw your samples from the Lenses section of the 105mm... and just as I suspected, they look great. Idk, I see everybody’s point with a new mount... I just don’t know if I completely agree. When you see how tiny the D3400 is, I just don’t know if I buy that the old mount would be too big for mirrorless. I guess the question for us is, will the F/G lenses be good enough for some sort of PDAF video focus. They seem to work fine for stills. Honestly, I don’t know why I did either. This is one of my problems with forums, sometimes I just enjoy the back and forth. 1. It’s entertaining 2. I enjoy learning through debate. 3. I need a hobby to distract me from my hobby.

I wanted to post this but since you originally found it, I didn’t want to step on your toes. As I said before, if someone had told me this was shot on an Alexa, I don’t know if I would have questioned it.

Ha, nice... you’ve been keeping that one in your pocket for a while.? But Idk if I agree about the mount. There is a huge legacy there... so many lenses that won’t sell due to a new mount with a kit lens and maybe a prime. Better yet... they can just revive the IX lenses. The one thing I’ve always liked about Nikon was that I was forced to use their lenses. For a vintage lens fan like myself, it kept my options to minimum. I just shot with my Nikkors... can I really complain?

If this is true, then it’s quite possible the entry level models may have this new X mount and the pro FF will retain the traditional F mount? I was waiting for my GF yesterday and had a minute or two to look at the camera section at Target... it was bleak, but they did have a Nikon D3400 on display. I was surprised to see it has the Flat Profile. And the kit lens’ VR was rock steady, with a great little zoom ring... seemed sharp and clean too. At $300, not a bad little pocket camera. The damn thing was TINY too. So if their entry level mirrorless cameras can offer the Flat Profile, zebras, and focus peaking on an aps-c sensor... even at 1080p... they’ll have a little winner in my books. Hell, I may go out and buy a D3400 for some inconspicuous shooting... it looks like a lot of fun.

I vaguely remember something about the 128GB Komputerbay causing some issues, the 64GB cards work fine though... so you may want to research that to verify. Otherwise, you look like you have a nice little set up. Have fun with it!!! @deatrier

@ntblowz any 4K samples or initial thoughts on the camera. I’ve already seen some decent grey market prices pop up on it, but I’m waiting until more footage shows up before I open the wallet.

Like the image or not, Jon... it’s way more cinematic than any comparably priced camera... especially if you got in on the $500 Sale. The obvious issue with this specific video is the lack of IR Filter and that he slapped on an M31 LUT on top of it. The beauty of the Pocket/Micro is that it can look however you like. Throw on one of those Veydras or Leicas you like so much and you can have a crisp modern look. Throw on a cheap lens and you can have a soft vintage look. It’s a different type of filmmaking... the entire process almost feels visceral. You really should go out and buy one, or a Micro... they’ll be selling for cheap real soon. I saw a barely used Micro go for less than $500. After you shoot a little Raw or ProRes HQ with it... you will be hooked.

She popped right up like a trooper and didn’t miss a beat though... good on her! So, I assume I have to load the picture profile before I change the firmware to ML, right? I used ML on the EOS-M years ago to test Raw, but wasn’t a fan of it on that camera. The bitrate hike may be perfect though. I think the EOS-M already had a slightly higher bitrate than the other Canon cameras of its time, anyway. Yeah, I’m really just looking for a little more wiggle room. The grades on your website show you can do a lot with it... more than enough. Cinestyle is a bit much, but I always liked Marvels. Definitely looking forward to testing them yours and Marvels... if my stupid job would slow down for a few minutes. Was that the C-Mount Tevidon 25mm or the M42 25mm? Either way, wicked look.