Mmmbeats

Quick snippet from Griffin Hammond:
 

Quick snippet from Griffin Hammond:
 

I put together a Interview Lighting kit that fits all into a backpack including 3 light stands, batteries, chargers and umbrellas. Got to test it out Saturday night and its perfect for interviews when traveling and I believe everything should be safe to carry on a plane. The new Aputure Amaran AL-F7 on camera LED light' have a very good energy efficiency when set at 55k color temperature and along with the GH5S and A7S Mk ii low light capabilities got me thinking about making a very useful scaled down lighting kit for travel. 
I am using 4x Aputure Amaran AL-F7 LEDs with batteries. Each NP970 battery is getting little over 2.5hrs on a full charge. I have 10 in the kit giving me at least 5hrs of battery life plus 2 extra when running all 4 lights at 100%.
In the images below I have some screen grabs from the interview I did last Saturday. I got with my GH5S with the Metabones Speed Booster F2 at ISO 400 with V-Log. The close up shot was with the A7S MK II at ISO 2000 with F2.8 while being 1 stop over exposed for SLog.
I did a lot of looking around and for diffusing the key and fill and the best thing for being fast and compact enough to fit with in the backpack were Westcott Collapsible umbrella.
So even though I own a lot of lighting and grip gear I can find myself using this very often. Air Travel would be a big one. Cramped spaces like offices or small living rooms for interviews. But also when I do documentaries sometimes the subject being interviewed can be intimated by lots of lighting and grip gear. This would give me the freedom to make the subject feel comfortable. 
The kit with everything in the list below was $1050.
Let me know what you think, if you have any questions or suggestions for improvements. 
Here is the list of everything in the kit:
4X Aputure Amaran AL-F7 On-Camera Variable Color LED Light (3200 to 9500K)
https://www.bhphotovideo.com/c/product/1400467-REG/aputure_amaran_al_f7_on_camera_led.html?sts=pi
Lowepro S&F Transport Duffle Backpack (only backpack under 100 that fit the length of the light stands.)
https://www.bhphotovideo.com/c/product/736044-REG/Lowepro_LP36261_PAM_S_F_Transport_Duffle_Backpack.html
3x Kupo Handy Stand (7.4')
https://www.bhphotovideo.com/c/product/840712-REG/Kupo_KS041011_Steel_Baby_Boom.html?sts=pi
2x Westcott Optical White Satin Diffusion Umbrella  collapsible (43")
https://www.bhphotovideo.com/c/product/63314-REG/Westcott_2001_Collapsible_Umbrella_Optical.html
Westcott 43" White Umbrella, Collapsible
https://www.bhphotovideo.com/c/product/501164-REG/Westcott_2011_43_White_Umbrella_Collapsible.html
BUBM Electronic Organizer Travel Gear Bag(3pcs/Set/L,M,S), Cord Organizer(Black)
https://www.amazon.com/gp/product/B075Q58KCT/ref=ppx_yo_dt_b_asin_title_o00__o00_s00?ie=UTF8&psc=1
5x Wasabi Power Battery (2-Pack) and Charger NP-F970 (10 all together)
https://www.amazon.com/gp/product/B00FPZY0BK/ref=ppx_yo_dt_b_asin_title_o02__o00_s00?ie=UTF8&psc=1
3x NP-F970 USB Dual Digital Battery Charger
https://www.amazon.com/gp/product/B01GPEREXU/ref=ppx_yo_dt_b_asin_title_o02__o00_s01?ie=UTF8&psc=1
ChromLives Dual Flash Bracket Hot Shoe Speedlight Stand Umbrella Holder (Used this to double the LED panels as the key light)
https://www.amazon.com/gp/product/B07FYF8GXV/ref=ppx_yo_dt_b_asin_title_o03__o00_s00?ie=UTF8&psc=1
ChromLives Flash Bracket Hot Shoe Speedlight Stand Umbrella Holder 2 Pack
https://www.amazon.com/gp/product/B07317T52Q/ref=ppx_yo_dt_b_asin_title_o00__o00_s02?ie=UTF8&psc=1
3-Pack 3-Outlet Grounded Power Cube Wall Tap
https://www.amazon.com/gp/product/B01LY5WZVT/ref=ppx_yo_dt_b_asin_title_o03__o00_s01?ie=UTF8&psc=1
AmazonBasics 6-Outlet Surge Protector Power Strip
https://www.amazon.com/gp/product/B00TP1C51M/ref=ppx_yo_dt_b_asin_title_o00__o00_s02?ie=UTF8&psc=1
 
 
 
 
 
 
 
 
 

As @tweak said, it’s fairly simple. I also always have transcoded everything, so even turning the MLV files to CDNG was faster than turning h.265 files to ProResLT when I owned the NX500. There is also a filing system someone developed that installs on your Mac (don’t know if there’s a Windows version) that will instantly open the MLV files as if they were CDNGs in Resolve... from that point it works like any other codec except you have full Raw control. Honestly, there is probably more online support for ML than any other camera. There’s a bunch of apps that can work with the files directly and they can even output ProRes with a LogC curve. If you’re a low budget/no budget filmmaker and are looking for a way to have FF 14bit Raw in 1080p, there is no other option and if you are patient, you can get near Alexa quality results with it. IMO. 
To add, there’s also a level of craft and choice involved that got lost somewhere with consumer 4K. I feel, others’ mileage may vary, that I can get distinctly different looks with ML Raw just by using different lenses.
With consumer 4K cameras, I always felt that most lenses looked very similar... it was either modern lenses or vintage lenses unless you were using something really particular like a Helios or an Anamorphic on the GH series, otherwise there wasn’t much of a difference.
But I will add that the workflow and storage requirements aren’t for everyone... even though with MLVFS you could literally work off the card, color correct in Resolve, and export the footage as ProRes to a hard drive to save storage space but as I said, it isn’t for everybody. If you find you really love the Sharpness and resolution of a 4K image, you will probably be disappointed but if you really like a traditional film look, it could be an option for you. 

Thanks to all for the input!
After going back over some reviews, I realized that I might have been conflating Focus OLED reviews with the regular Focus, which has generally gotten very solid reviews (with some misgivings about the custom cable). Along with the recommendations here and a couple things I like about the available Focus kits (basically comes with everything I'd need, plus the Sony dummy battery that I can use for personal stuff with my RX10 IV), I decided to go the SmallHD route in the end. Should be here Monday.
Thanks to @Mmmbeats for the pointer on possible mount issues - I'll keep an eye on it.
Thanks also to @KnightsFan for the detailed response regarding the Lilliput A5 - I very nearly went that route, but since I've been able to get some good deals on the rest of my kit, I decided to splurge a bit on this piece.

SmallHD Focus, which is a very good monitor, I would recommend replacing the mount, which is very well designed apart from the cold shoe connector which has come loose on me a few times (and I'm reading, others as well).

SmallHD Focus, which is a very good monitor, I would recommend replacing the mount, which is very well designed apart from the cold shoe connector which has come loose on me a few times (and I'm reading, others as well).

EVA1 price dropped today - now $6495 US list price.

Recently got the EVA1 because it’s Christmas and cameras rule the world. 
Took it out for a spin first time on a major project in Amsterdam and Iceland. My entire kit was a right heavy bugger to carry around, silly me. GH5 came too. 
But will it service my creativity / ability or is this just a symptom of the camera “want, need” sickness? 
 
BRIEF GOOD THINGS
- Body is nice overall. I’d look twice ? 
- 4k image is super lovely. I could marry it.
- 2K 120fps better than competing cameras. Doesn’t look like an infected toe.
- Codecs. Lots. Same as GH5. Woo. Party! 
 
BRIEF BAD THINGS
- The LCD makes a good mirror. As a monitor? Get a hammer and smash it. 
- Switching sensor modes and HFR could make you feel unwell quickly. Slow. 
- The hand grip moves a bit when locked. Makes you sigh a lot and say “f*****g hell” under your breath. 
- More user error, but I had my IBIS hands on while shooting. Sort of forgot I’d be back to wobble club. 
 
Overall, it was robust and performed well. Images look lovely. Matches GH5 nicely. Looking forward to shooting more and not throwing it in the bin. 
Extra note - I used the new SWIT 55C as the Monitor which I also want to marry. Great deal! 
Here’s a photo from the shoot.... 
 

I prefer intermediate codec to proxy workflow myself. Never had any problems using CineForm.
Of course transcode is the pain in that workflow, but done and dusted at the start of the process, and surely less extra procedures than proxy anyway?
Of course proxy has its advantages, I just prefer inters.

I edit in Cineform rather than h.264, which I think really helps performance.
Media Encoder is also very good, I find.

Some other notes:

Dynamic link (Premiere <--> After Effects) is quite a system resource hog.  I tend to only use it if it's going to really benefit the project workflow.  For quick stuff I just use the old-fashioned render-out method, which is rock solid.
In addition to the above, I have had some render issues with complex projects.  I have had to mitigate this on occasion by rendering out in high-quality chunks (or layers), recombining on a timeline and then re-rendering.  So that's another big minus point - but that's only been occasional, when working with massive files on particularly complex timelines. 

I have had a pretty crash-free and bug-free experience with creative cloud personally.
After Effects is completely stable as far as I'm concerned.
I've had some minor niggles with premiere, and one serious problem - occasional hangs on using 'save as', which is annoying but can be mitigated with a workaround.
Audition roundtrip works a treat.
Photoshop and illustrator integration and stability are great.
All in all is a fantastic suite, though whether the pricing is fair, I'm not sure. Certainly as a professional the price is easily worth paying.

Ah, interesting.  I remember ProRes fondly from back in the day, but maybe I'll do a comparison with CineForm before making a decision.  Thanks for the heads-up.

I think you're misunderstanding my point. 
It is not that they MUST stand far away, of course the guests on the red carpet can come as close as they wish. 
But I'm sure there are also guests who stand at a sub optimal position an extra foot or two too far off, or just don't stop and only give a throw away comment as they pass by. 
That is what I was meaning. 
Yes, I do agree with you under those conditions. 

But for your average joe they'll get a much better result with a reporter's mic in shot than trying to handheld a shotgun correctly just out of frame. 

Been there... done that!
As I've done this for a laugh one friday night while drinking with a buddy.... we made this:


(he did all the directing/editing, and ALL THE ACTING! Both of them! And I did sound/lighting/camera all by myself. And did twice the amount of drinking to make up for the lack of his drinking)

I imagine that will depend on whether you are shooting all-I or not.

Good news for Windows users: https://theblog.adobe.com/adobe-pro-video-apps-now-support-prores-export-on-windows/

With respect, I really wouldn't recommend that approach. With your brain trying to simultaneously balance two objects, and monitor both picture and sound, and meaningfully engage with another human being - trust me - something's gonna give!
P.s - I retract 1 or 2 mins. Lav mics often take a little longer than that to get set up right.

@Mmmbeats @leslie
 
Thanks a lot, guys for your help and for all your very nice and fast answers, this helped me a lot in my projects, will do 24fps timeline with 24fps content. And will mix with 60fps content for slow motion.
This is more clear for me, I can see 30 to 24fps is very bad and not smooth.

That's an unusual workflow, and one which I can't see any advantage to.
It's customary to edit on a timeline that matches your output file, so in your case you would use a 24p timeline.
Shooting at higher frame rates for sports action will give you either slow mo (which you seem to be achieving fine with your 60p footage) or smoother playback. But this last option only works if your output remains high frame rate.
You basically have a choice - shooting at 24p for a 24p timeline, which will give you that nice filmic quality, or shooting 30p for a 30p timeline (and output render) which will give you a smooth video-like quality that might help to portray the sports movement more accurately. The choice is an aesthetic one.
Shooting 30p then rendering 24p doesn't seem to make any sense to me. You don't get any significant slow mo, and you throw away all the frame that would have made the motion feel smoother. Unless I'm missing some technique here.

There's a kind of compression called interlace (as an alternative to the more common progressive scan).  It's highly likely that you are not using it, and it would have probably been better if I hadn't mentioned it - just passed through my head briefly.  Probably best to forget about (or research it at another time if you're curious). 
I added a vid link to my comment btw.

You're likely to get stuttering with your 30fps footage on a 24fps timeline.  In future you should shoot 24p for this.
If you are stuck with 30p and 60p footage (I'm assuming progressive scan?) then you should probably export for 30p I would have thought. 
Here's a basic vid on the topic:
 

A good write up on m4/3 Macro.
https://www.bhphotovideo.com/explora/photography/hands-review/macro-imaging-panasonic-and-olympus-micro-four-thirds-cameras
 

Are you mastering to 30fps on the timeline because you prefer a smoother playback, rather than a film-look 24p?  Or are you shooting 30fps to put on a 24p timeline (which seems pointless as far as I can figure)?
60fps --> 24p timeline should work fine (for slow-mo).  Perhaps you are having playback issues on your edit machine.  Try rendering the timeline.