Putting the final touches on a hard working, 4K, video system for commercial work.

Panasonic GH5 with Olympus 12-100mm f4.0 lens.

There are some parameters I need in my selection of tools if I am to feel comfortable offering video services to clients now. Those would include: a range of great codecs, solid 4K performance, unlimited recording time, solid battery performance, an easy to use audio interface, a selection of really good lenses, and well implemented image stabilization. Even before the recently announced firmware upgrade (v2.0) the GH5 system checked all those things off the list. In fact, it's the only hybrid (stills and video) camera I've found at any price to have everything I want for video production and a complete complement of photographic abilities as well. The only feature the camera lacks is an extremely high resolution mode. 

My immersion into the system has been gradual. As one insightful wag wrote, when I bought the Panasonic FZ2500, (and I paraphrase) "this (the FZ2500) will be the gateway drug into the GH5 system." And, to a certain extent, that is true. In concert with the Atomos Ninja Flame the FZ2500 allowed the use of 10 bit, 4:2:2 performance in 4K video. My recent experiences using the system to shoot green screen were eye-opening for me. The FZ also helped me get used to the color science of the Panasonic system.

After several very successful still shoots and much video testing with my first GH5 (using the Olympus 12-100mm f4.0 Pro lens) I felt ready to flesh out a cohesive video system around the GH5 camera body. I am certain that its advanced video features make it a good choice for the next two years without worries of technical obsolescence.

With the system in place I am confident that I can provide clients with sharp, clean video and audio that is on par with the technical deliverables of all mainstream video platforms commonly used for corporate and other commercial video uses. With the update to firmware 2.0 in the Fall we'll also add the ability to create files at 400 MB/s that will rival top systems. 

Here's what I've put together in order to provide my clients with great content and superior technical quality: 

Two GH5 camera bodies. Having two identical allows me to set up and shoot interviews from two angles/magnifications, to provide more editing options in interviews. On a fast moving project it allows me to use a second camera operator who will provide matching footage so we can two different scenes concurrently. The second camera always buys peace of mind on client shoots. If one camera goes down we have an identical back up. 

Leica/Panasonic 8-18mm wide angle zoom lens. I've always shied away from extreme wide angles but I'm finding more and more uses for focal lengths wider than the 24mm equivalent when shooting architecture (interior and exterior) as well as in cramped labs and clean rooms. The 8-18mm is extremely sharp, and, in conjunction with the in-camera corrections, doesn't exhibit much geometric distortion. The front of the lens has a familiar, 67mm filter ring which makes it easy to use polarizers and variable neutral density filters. The longer end of the lens gets into my comfort zone for everyday shooting. It's a nice overlap with the 12-100mm f4.0 lens.

Olympus 12-100mm f4.0 Pro zoom lens. This lens is insanely sharp and perfect for those times when I have to travel light, work fast and move around with the camera off tripod. The 24-200mm equivalent focal range all falls into my compositional comfort zones. The manual focus feature, with hard stops for close focus and infinity, is a desirable addition for anyone shooting video production. The only thing lacking, which can be useful in some situations, would be a power zoom... This is the lens I keep on the camera most often for interviews and general work. In dark interiors I wish it was one stop faster but I've never wished for it to be sharper...

Olympus 40-150mm f2.8 Pro zoom lens. I added this lens almost exclusively for shooting live theater at Zach Theatre (and perhaps the Lyric Theater in OKC and the Alley Theater in Houston....). With its fast and perfectly usable f2.8 and a focal length range that is equivalent of 80-300mm on a 35mm camera I can sit mid-house and grab endless shots that range from tight, one person compositions to small groups and ensembles. Being able to do so with the lens wide open at all focal lengths is a great thing. It's something I've done extensively with the Sony RX10 iii and the Panasonic FZ2500. If I need to go longer I can pick up a 1.4X extender which would get me to the equivalent of 420mm with an f-stop of f4.0. 

25mm f1.7. It's a reflex. Get a system and add the basic "normal" lens. Useful when smaller camera profiles are appreciated and, used wide open, a decent way to get more light on the sensor. 

While these are the primary lenses I'll be using for most commercial engagements I do find that the lure of my collection of Olympus Pen FT prime lenses also sways me to look to m4:3 cameras for video production use. They are a nice adjunct to the modern lenses, provide wider apertures and have a distinctive look. 

For convenience (and because the price is so much more reasonable than Sony's) I am also adding the GH5 Microphone adapter, the DMW-XLR1, to make audio easier when I am shooting solo. It fits into the hot shoe and has gotten good marks from all the reviewers I've read.

Everything else I need for the video I want to do is already resident in the studio. We've got all manner of cool lights, lots of light stands and C-Stands, endless modifiers, digital video recorders, meters, and cases. 

My aim is to provide "no excuses" video to good clients who value my particular "small footprint" approach to producing their work. We'll see if it's a market that's profitable. 

Wouldn't it be cool if someone made a really nice super wide angle to near normal zoom lens for the M4:3rd cameras?

Oh, I just remembered that there are three or four to choose from. Seriously though, I started looking around at wide angle lenses to pair with the GH5s as we're pitching an architectural firm on doing some dynamic video. The firm in question does lots of big spaces and there would be many opportunities to really stretch the spaces with the right lens.

When I last used the Olympus and Panasonic systems the primary choice in the super wide to wide niche was the Panasonic 7-14mm f4.0. I didn't own one but the consensus at the time was that it was pretty good but suffered from a magenta artifact in the middle of the frame if the lens didn't like the way light was coming in. The corners could be a bit soft, depending on the type of material you might be shooting...

The other choice was from Olympus and it was the 9-18mm f4-5.6 lens. It's build didn't inspire enough confidence in me to spend money on the lens but I'm told it's not a bad choice for the price. But that was then, in the age of noisy, 12 megapixel sensors and this is now, in the age of 20 megapixel sensors and the kind of ISO invariance that we've come to expect from new generation sensors.

But, voila! There are two recent lenses that seem to be the new contenders for the wide angle crown in the land of smaller sensor, interchangeable lens camera systems:  The Leica/Panasonic 8-18mm f2.8-4.0 and the Olympus Pro Series 7-14mm f2.8.

I'm pretty certain, having read numerous reviews and having played with each at my favorite bricks-and-mortar camera store, that both will provide the level of sharpness and detail that I require (but your mileage will surely vary). So, how to choose?

On paper the Olympus Pro lens is obviously the one to have; if you are wide-wide angle fan. It's got a full millimeter more wide angle capability and a constant aperture, f2.8 with which to suck in maximum   light across the range of focal lengths. Neither lens features (or really needs) built-in image stabilization so you don't lose anything there no matter which direction you take.

Of course one would always choose the Olympus --- after all, it even has "Pro" in the name...

But not so fast. What if you want to use it to shoot mostly video? Does the Olympus product win with its constant aperture lens? Well...maybe. But it does have one fatal flaw where my use parameters are concerned. It has a very bulbous front element; so bulbous that it doesn't allow for the use of screw in filters on the front of the lens. So, no polarizing filter can be used and, more importantly, no variable neutral density filters need (or can) apply.

The Panasonic/Leica loses that one millimeter of wide angle coverage but amply makes up for it with...a front of lens filter ring. A 67mm front filter ring. A quick test shows that my thin profile VND filters work without further darkening any corners. A clear win for the Panasonic/Leica for anyone interested in shooting good video.

In the end it wasn't a tough choice for me. The Panasonic/Leica seems like a perfect accompaniment for the GH5s and the filter ring was the critical consideration. I will confess that as a long time Leica R and M user I also loved the design and graphic elements of the lens. This particular win, for me, goes to the Panasonic/Leica.

How is it in actual use? Preliminary tests are promising but we'll know more after spending a few hours out and around shooting stuff. Coming soon to a blog near you.

Schooled again by the kid. Want more video jobs? Practice your craft instead of reading about it!

More and more I find that "wisdom" is not necessarily an outcome of the aging process. There is an old saying that always makes me smile. It goes like this: "With age comes wisdom. But sometimes age comes alone...." At times I can be a shining example of that disconnection.

We were in the car yesterday heading home to Austin after a quick trip to San Antonio to check on my nearly nonagenarian parents and, curious to hear Ben's opinion, I asked him in what ways did he think I might get assigned more video projects from clients. His first thought was, "do more marketing." but he stopped and did his usual long consideration before delivering his core advice...

"You know, you've probably read every book out there about video production, directing, lighting and audio, and you've probably watched every video on Lynda.com about video but you still come to get me when you're sitting in the studio editing. And mostly when you ask my opinions it's about aesthetic stuff like where to cut or what clips to  use. My advice is to stop learning from the books and the video and all the other stuff and start making fun, small videos."

"When I first started out Jack and Graham and Cade and I would sit around and come up with these zany little story lines and then we'd grab whatever video camera we could get our hands on and go out and act out our ideas. We'd make crappy props and try obvious special effects. And then we'd come back and edit the stuff together. When we did our edits we'd figure out that we needed a different angle or a whole different clip and we'd rush out the door and shoot some more and then come back and work it in. After a while it just becomes second nature to make sure you've got what you need while you are actually out shooting."

"I probably shot and edited 200 short, fun pieces before I was even out of high school. You learn best when you actually go out and apply all that stuff you think you know. You learn best when you screw up. But you really learn best when you are just having fun." 

"If you did more hands-on stuff you'd end up with a lot more stuff you'd want to share and the fun stuff is probably what prospective clients really want to see. They want to know that you can have fun with their stuff. And that the edits and stuff are natural and practiced." 

"There is such a thing as knowing too much....and doing too little." 

We were just passing the outlets malls in San Marcos, about a half hour from home when he summed up: "Write and shoot a few hundred projects just for fun and then start the marketing. That should work."

When he finished his mother (the source of all his intelligence genes) smiled her typical Mona Lisa smile and added, "Sweetie....it's like you've always told people, it's all about time in the water."

I drove on in silence. Ben was in the back seat zoning out to his trying to fall asleep in the car playlist on his phone while his mom turned her attention back to the novel she'd been reading. As the giant pickup trucks roared by in the left lane I was busy thinking about some of the fun stories I needed to start telling. It took my mind off the search for my next ultimate lens.

You may not believe me but I've found Ben's quotient of common sense to far exceed whatever meager supply I was given. When I follow his advice I am usually successful. When I rebuff it I generally have no one but myself to blame for the outcomes.

He's heading back to school on Saturday. I'm comforted to know I can always text him when I hit the next roadblock.

The Sun Came Out in Austin Today.

Rainy Day Camera.

High wind. Endless rain. Cabin fever. A combination that might lead one to exit their comfy and dry house and head out for another Sunday walk. As usual, the burning question is, "What camera to take?"
I wanted  today's camera to check several features on my list. I wanted it to have a wide ranging zoom, a weatherproof build, really good 4K video and a total price tag (camera and lens) so that I wouldn't feel dismayed if the driving rain tricked the weather sealing and bricked the whole system. So of course I reached for the Panasonic G85 with its companion lens, the 12-60mm f3.5 to f5.6. The combination cost me around $900 and since the lens and body work the image stabilization in concert the system is rock steady and perfect for handholding a camera for video and stills in 50 mile per hour wind gusts.

An umbrella is of little use in driving rain coupled with high winds. It will wiggle out of one's grasp with the first gusts. I came back to my car an hour later thoroughly soaked but happy to have had the exercise and adventure. 

While Austin has been subjected to nearly continuous wind gusts of 30, 40, and 50 mph the central and west parts of the city have seen less total rain than was expected. The people in Houston and between Houston and Corpus Christi have not been so lucky and are in a world of pain right now that just seems to get worse and worse. The storm is currently predicted to be circling around to hit them once again and drop even more rain. If you have the extra cash you might take a moment to send a donation to the Red Cross. I have a feeling people are going to need help for months or even years to come. 

We are safe and dry here at VSL. Our thoughts are with all those millions of people who are still in harm's way...

I read with great interest the 12th "thought piece" about the new Nikon D850 camera on DPReview. I started looking through my files to see what I've been missing all these years...

When the Sony A7Rii came out it was a revelation and a (mostly) finished product. Along with the A7R it was the first big jump up in useable, focusable resolution in a mirrorless camera platform. The Nikon D800 and D810 were the first big, dramatically increased resolution cameras in the DSLR space and they were also worthy of praise for the sheer technological leap they pulled off. Bravo to Nikon for elevating cameras from the 24 megapixel range to the 36+ megapixel range; a real plus for all those who needed (or thought they needed) a lot more detail in their files. As a bonus both Sony and Nikon users also benefitted from a huge jump in dynamic range in both sets of cameras. The winning point for the Nikon D810 was the ability to squeeze out the last shreds of insanely good dynamic range at the lowest ISO (64). The winning points for the Sony

A few quick program notes from the VSL H.Q. Re: Weather Prep.

Just a situational report from Austin about our weather event:

We're being told on the news reports to expect between ten and fifteen inches of rain in the next 72 hours as a result of Hurricane Harvey, which is now a category 4 storm event. The reach of this system is pretty massive. So, what does this mean for Austin, Texas?

Based on past events we'll see flooding in central parts of the city. We'll see a dramatic rise in the level of Lady Bird Lake, which is part of the Colorado River system and we'll see hundreds of roads closed because they have low water crossings at certain points. For people in low lying areas of Austin, such as Dove Springs, there will be wide spread flooding.

The VSL headquarters is located to the west of the city of Austin in a separate, small community called, Westlake Hills. As the name implies these are the western hills bordering Austin. Our semi-secret laboratories are on a property that's about 450 feet above sea level and about 430 feet higher than any flood level in the history of Austin. Our bigger concern in storms such as this is wind damage.

We may also experience some water on the floor in the main office because the studio sits a bit lower on the property and depends on a French drain to direct water away from our east wall. In previous storms like this we have gotten water on the floor. Our jumbo shopvac is standing by.

We have stocked the pantry with lots of low prep food items that keep well. The wine cellar and liquor cabinets are well and recently stocked. I've been charging batteries for LED panels all day and will stage the panels around the house in the event that we lose electrical power.

We have a library of several thousand books, some of which I have not yet read, so I don't think we'll succumb to boredom even if the event turns out to be protracted. We have had to cancel several weekend events and will sorely miss the income but I am certain my readers will avail themselves of some "must have" purchases from Amazon.com, using my links, and helping to salve the pain of my lost fees.

The gas tanks in the cars are filled and we seem ready. Please wish us luck.

I've heard from VSL friends in Calgary, Paris, Moscow and Saratoga Springs who inquired about our status and that is so nice. If we screw up and were unprepared we'll let you know.

Please remember in your thoughts and prayers all those folks who live in Corpus Christi, Houston and other coastal towns as they will bare the brunt of the storm's impact. And for months afterwards.

The perfect storm camera? That would be the GH5 with the 12-100mm. Both are weather sealed.

Hope everyone rides this one out successfully..... Thank you for the inquiries and good wishes. Kirk

Saturday morning update: Of course, swim practice was cancelled. Sad. The rain didn't start here until about 5 am today and most of it has been brief flurries of rain interspersed with wind gusts. Predications are that the bulk of the rain will start up after noon and go through Sunday. No leaks or incursions to note. I have two different sets of portraits to retouch today so cabin fever probably won't set in until tomorrow. We'll see just how long I can go without swim practice.....