Searching For Soft

Video has rekindled some old techniques, both generally and with me specifically.

One that I feel is important, but not one I want to necessarily follow the current trends with, is diffusion or softening at capture using filters.

In the early days of film, a wide mesh black stocking was often stretched across a lens to create a sharp/soft, semi glow. This was called a “black net” filter and became the standard for film and stills portraiture for half a century.

Black was chosen for its slightly stronger and more precise nature, white generally avoided as being too “glowy” until the ‘60’s and 70’s when it became the filter “dreams” were made of.

With video, specifically digital video, one of the worst kept secrets is the use of filtering to de-sharpen, reduce contrast and create gentle (or not so gentle) blooming in highlights. Bad is good all of a sudden. The all too perfect didgital look is going so far the other way, it is touching on what we would have once called rubbish (technical term there).

Video is good, but has its weaknesses and dynamic range is one of them. Under exposure, exposing for the highlights and generally avoiding too wide a range of lighting are all modern realities, and filtering it seems is one of them.

My issue is the over use or use of over strength filters on trend at the moment. If you look at the portraiture of the masters over the last 50 odd years, you will see (if you look) a gentleness and slight glow to their work. A favourite is a portrait of Michelle Pfeiffer taken by Joe McNally in 1995 among many, but generally, going against the trend in almost any other style of photography, soft was worshipped. Good soft that is.

Having pretty much turned my back on the idea of buying an expensive Pro-Mist filter or similar, as nothing I have seen has been anything other than heavy handed, I have turned to DIY.

Trials 1 through - well, lots came up empty with mesh bags, half my wife’s stocking drawer and a few other, often goofy ideas tried. One of my favourites was a dense mesh bag from my Lowe Pro backpack, but it was soo thick you could “feel” the lines in the image.

Below are a set using a white fine mesh fruit and veg shopping bag. Far too obvious, but the best so far. Maybe something black and 2/3rds the gauge would be fine.

Next I went back to an old (old) friend, the 25mm antique Pen 25mm at f2.8. This lens is pleasantly sharp at all apertures, but suffers from very strong veiling flare wide open. Below; a comparison at f4 then 2.8 then 2.8 slightly de-hazed. A great tool and probably the only soft filter I have seen that is actually reversible (the veiling haze cleans up well), so this very easy and natural technique will be included in my tool kit.

My next idea was to make my own black net, not with hair spray or paint etc, but an actual black grid drawn on a filter! Note; draw on the back so it does not smear.

The ink did not take, but for experimental purposes, it will do (maybe two filters with the ink between?). This looks like a few older black net filters we used to sell back in the day and I can add more lines if needed. Cokin did a nice set of very mild to quite strong ones (and could stack) and I remember at the time, against all my usual habits, quite liking the generous and subtle effect of the milder ones. To me the look of medium format was soft/smooth but clear and relatively grainless. These filters added that to 35mm.

First look and subtle (good), but there, as is maybe a little extra CA.

It really is subtle (un-filtered on the left), but I am after a filter that does a little when conditions suit and is otherwise effectively invisible. Really just something that changes lens character to gentler, more film like, not forces a specific “Netflix” look on the footage. The Bokeh and slight drop in contrast (right) are signs maybe something is happening, but hardly scientific processes.

I may go looking for the old Cokin style filters or make something more permanent (maybe some reinforced dooor mesh?). Maybe even a pen that writes on anything.

The other option is to go lens hunting. There are lots out there old and new, even ancient Helios 58mm’s found in the basement, just the other day!

Sound Choices

So far, and I am a long way from being an expert, I am happy with my sound choices.

Starting with the little Zoom H1n and Neewer and Boya mini shotgun mics, I found three, mighty for the money performers (the mistakenly purchased Rode Videomic micro helped bare this out, so I guess not all perfect choices).

I guess I could have stopped there with decent options for candid interviews and general shooting. Directionality is covered, as is wide area coverage and as these little dynamos have shown, they can within reason, get the job done.

The Zoom H5 lifted my interfacing options and added a bit of grunt, but as was, the H1n probably was enough.

The true strength of the H5 was opened with the purchase of the SSH-6 mid/side shotgun capsule, which, as long as you own an H5/6/8 is a great value, mid-pro shotgun with controllable left/right pickup.

So far each purchase, researched as they were, have been based only on reviews and heresay, but have been good choices and are relevant to my needs. A few top end sound techs recommend lower noise amps for genuine field recording (Zoom F6), but there are plenty of serious pros from many fields, who are more than happy with the H5 or similar, especially with the XY5 and SSH-6 capsules.

The next step, possibly one too far, but I am sure I will use them, are a pair of Lewitt 040 Match pencil condenser mics, which again, seem to be class leaders. Budget but well liked XLR cables have not let them down and the H5 offers good control for them from up to 20 metres away, so balance and relevance are well intact.

I have options, probably too many, but options.

Some repetition, but also depth, several problem solving paths and apart from XLR cables, it all fits in two small cases, brackets and all.

To fix possible issues I have not covered yet, I grabbed an excellent Boya LAV. These are good, cheap and reliable, but 20mtr cable connected. The H1n can be used as a separate recorder, making it effectively cordless.

So, what could be around the corner that may trip up a new recordist, especially when they are also trying to get the video side right?

Big choirs, bands, school concerts can hopefully all be handled by the H5 with SSH-6 and the condensers placed to suit. There is also the possibilty of interfacing with the schools sound gear. This is all a bit speculative, but I have no bar to reach, just turn up and don’t mess up. I am aiming to surprise, but should probably just be aiming to succeed, so having several otions and backups gives me confidence.

Group discussions, debates and team talks will be either handled by the H5 X/Y or the condensers used as left right side overheads/desk tops. I guess a pro outfit would run a mass of LAV’s, but that is above my pay grade and for my level of output, totally over the top (we have people).

Musical recitals, are surely the province of the condensers and SSH-6 or X/Y alone depending on instrument or ensemble. The Lewitts rate very highly for drum overhead and acoustic guitar mics, so why fight it.

Running around stuff will be either the H1n for area sound or as pre-amp for a mini shotgun. I have toyed with a better shotgun, but the SSH-6 is that unless size is an issue, then the minis are prefferred anyway. The reality is, distance to subject is the main quality consideration and plenty of good reviews have the little Neewer and the Boya/Movo neck and neck with many dearer mics if used well. It seems to be more of a matter of taste than of sheer quality.

The Boya and its dead kitten are great in the wind, the Neewer not as much, but the Neewer has argue-ably nicer, more open sound and better range for booming.

If I need better reach, I have options.

Whats In The Bag (Video)

Starting a new year, I am going to look at and share my kits (various), just to “think out loud”, but also to help others with ideas etc. When I was younger I used to love these, feverishly buying magazines or books just to get a glimpse, not only of someone else’s gear, but a little look into their life as a pro shooter.

Video first, just because it is the new shiny.

My video kit goes into a back pack so I can take a stills shoulder or heavy kit bag as well.

The big Neewer backpack I bought for sports has turned out to be oversized, so it has become my video kit bag and in a way my kit limiter. If it does not fit in here (unless lighting or stands etc), then it is not needed. It only just fits!

In the bag above are the 4 semi hard XCD brand cases, which have been invaluable. The camera fits minus monitor, but with all other rig attachments on. There are 3 prime lenses (17, 25 old, 45) and 3/5/7/10 stop ND filters for my 12-40 only (the primes are for low light or alternative looks).

The 2 smaller cases on the right go in the large outside pocket along with any other bits that fit.

Each case serves a task, so I can grab just what I need.

Clockwise from top left;

The Zoom H1n, Boya LAV and shotgun, Neewer shotgun, 10/3/1’ cables, shock mounts, mini phones, dead animals (various) and batteries etc.

Zoom H5 with XY and SSH-6 mics, dead cat, XLR to H1n cable, mounts batteries etc.

The Feelworld 759 7” monitor and mounts, hood, cables, batteries and counter weight.

The OSMO Pocket, various brackets, waterproof cover and 10’ phone connection cable. There is more to come here including a full body go-pro mount case.

The back pocket bags and XLR cables.

The top 2 small cases (originally for a game console), seen in the first image, hold my 2 Lewitt 040 match condenser mics and 176 LED light. Both are optional as one is my pointy end for sound solutions, the other a nice background light (or desperation measure). These fit with a third full case of tools etc in the back pocket of the backpack. A laptop and hard drive can also fit there, but will rarely be taken.

The cables go in my kit bag with light panels, stands etc, but are relevant to the Lewitts so I added them here. The cables are only needed with the H5 and Lewitts or other mics, so full on stuff.

The phones fit in as needed. I am happy I have good “cans”, but to be honest, the little sound blocking corded ones I started with are pretty good, so I will likely leave these for H5 and Lewitt use.

Not shown, because it varies and is a bit boring to shoot are the two LED panels (Neewer 660 bi-colour and 480 rgb), the stands I may need, tripod, slider and the boom pole and bracket.

Miracle Find

Scrounging around down in the basement, I came across something that made my day.

Lamenting selling off all my old glass before discovering the joys of video, including a mint Zenit with Helios 58mm f2, I consoled myself with a new found usefulness for my 1960’s 25mm half frame Pen lens.

In an old box of bits, not sure where or when I got it, I found among other things a nice condition Praktica camera with a screw mount Helios 58 f2. It is very old, like first series, but the aperture works, both with the clicky ring and the handy step-less one and it looks quite clear of haze.

$8.00 adapter ordered and away I go. Of course it is quite a long lens on M43 (120mm), but I have the shorter 25 and the character filled Oly 17 for wider again.

Bit of fun.

Final Control Layout For G9 Video

This is the final layout for the G9 for video (he says).

I am not going to go into the exhaustive touch screen or quality setting, just the “working” buttons that will be used always and during shooting.

Starting with the front buttons.

The top one is Peaking, the bottom switches Stabiliser mode from moving to lock.

The top panel.

The shutter button is the master Record.

The main wheel does Shutter (rarely touched).

The three buttons behind it, which cannot be changed, are as marked, but will rarely be used.

The record button is nearly impossible to reach which is good as it stops accidental recording.

The all important rear panel.

The top thumb dial is Aperture, which will be used regularly. I like how the cage covers it to reduce bumping.

AF/AE lock button is set to fast C-AF acquire when in MF on camera (not lens) for rare occasions I will use AF.

The nubbin below is for activating and controlling manual White Balance. This is one of the two key exposure controls and my favourite use for it.

Fn1 is the lossless digital Tele Converter.

The big master wheel around the menu button changes ISO, the other master exposure control.

Fn2 turns the Histogram on/off, something I like more with the big screen as it takes up so little space.

Display is left as that.

The Fn3 button assigned as a second Record button has been a revelation. With four contact points for the camera, being able to use either hand for recording is a real plus.

The main control dial is left on creative movie. I like to call that Custom-0. This is Natural colour, 1080p 25 frames 1/50th for my basic dump and run work needs. My standard Natural settings are -2 contrast, -5 sharpness, +0 NR and -2 colour.

C1 is Variable Frame Rate 160/50 frame for 33% slow-mo out of camera, again for work.

C2 is the same as C-0, but 4k. In 4k I shift my Natural settings to NR -2 and contrast -5 for grading.

C-3/1 is 4k 60/120 for slo-mo and movement.

C-3/2 is a slightly different set of 4k night shooting settings (more NR, less contrast)

C-3/3 is Cine-V 4k for creative projects and always subject to change.

It is important tome to get the important controls close to hand, single action and tactile. The touch screen is too small and poorly placed on my rig for fast use, so it’s a button or nothing. I reserve the touch screen for pre-shoot set-up controls, not on-the-go’s.

More Thoughts On Movement In Video

Looking at good film footage, I am more convinced than ever, that good still image framing is the best way to start a video clip. If you could honestly take a good still from your footage, then it will lift your videos a step above the average.

So framing and other basics like lighting make good practice.

Does this mean movements are irrelevant?

No, movement, when used well is a powerful tool. When over used or used badly or inappropriately, it reduces the strength of footage.

Movement in video, is generally best used when the subject is static. If the subject is moving, a static angle of view or at least one that is moving sympathetically with the subject if often best. Too much movement is on trend, but when you look at the best work out there, the really moving stuff, movement is balanced and restrained. It is invisible allowing the more important elements, light, subject, framing and atmosphere to shine through.

Which movements would I use and why?

The Pan (limited)

Panning is often over used and is also often too long and/or too fast. Technically, judder and flickering are often the result of overly fast panning (7 second for an object to travel from frame edge to frame edge is apparently the standard), so technically it is limiting. Going slow can also mean it goes too long. The other reality is, unless used as an establishing shot, it is often boring.

Panning from frame left to this would make a good entry shot, with the subject then entering from the tunnel.

Pans generally should be short, motivated* and interesting. They should be a seamless part of a sequence, not the hero shot and are often best used as an introduction to a subject. Following someone or something moving through the scene is often their best use, but remember, a still camera can serve a moving subject just as well.

This is a scene that could support panning, but I would prefer a still shot with the subject moving through or from back to front.

Pushing In (some)

A well respected way of increasing intimacy and character relevance, or cutting through the setting to the most important element, pushing in is a good movement, used sparingly. Even slight spiralling or angle changes work here and are for the most part invisible** to the viewer if done slowly enough.

Pulling Out (some)

The same as pushing in, but pulling out reduces character importance, introduces the environment as an equal or senior partner in the scene, so it can be used to change the mood of a scene. It is a good end scene tool. Again, if used sparingly and technically well, pulling out has its uses and feels natural.

If you push in on this man, tension is heightened, intimacy is increased and a feeling of entering his story, his current state comes through. If you pull back, it is a leaving statement, placing the man back into his environment, increasing the feeling of loneliness and detachment.

Arching Around (often)

This is where the main subject stays relatively central, but the camera moves around them. I like arching. It can be pushed pretty hard, sometimes completely circling the subject(s) changing their perspective, but generally is best used for changing the background relative to the subject or following them through the scene. This seems to be used commonly with modern sliders to create more dynamic B-roll at interviews, but too much can be irritating.

Remember with all movements, the stopping point is short of audience over-awareness.

I can see myself being drawn to scenes like this with arching or dolly moves (OSMO hand held).

Slider Move (some)

This is when the camera moves across the frame, generally without the subject moving with it. This is a great move for school or work environments along with pushing/pulling. The OSMO or my simple mechanical slider will get a bit of work here.

Trucking (some)

Trucking is the same as above, but moving paralell to the subject. Trucking is a very natural looking movement and powerful, but hard to pull off. Gimbals can be used, but top notch results usually involve a rail or wheeled camera rig. My OSMO will be the one option here unless the obvious hand held look is wanted.

Who to follow? This would have been a dynamic scene following one person as others move through the frame.

Tracking or Following (some)

Tracking follows the subject as they move through their environment. It should therefore always be motivated*. Again, like trucking, it is a good solid movement and a good balance between creativity and process invisibility. This and Trucking are movements that lend themselves to extended scenes. OSMO time again for me.

Tracking/trucking/arching subject nirvana.

Focus Shifts (regularly)

Focus shifts are good for natural establishing shots or drifting through a scene. When used as part of a more aggressive movement, they add an element of uncontrolled immersion, chaos even. This is a decent way to start or finish a story.

Hand Held Random (some)

The currently well established trend of semi-gimballed movement is fine for what it is and can be the only real way of capturing the right mood and feel of a story, but personally I see far too much “loose” movement as an ends in itself. Documentary style or high action are ideal here, but too much can be gimmicky. I doubt I can avoid it, but intend to keep it controlled and limited.

If done well, hand holding gives the viewer a feeling of being there in person, but if not controlled, it is distracting..

Zooming (never)

Noooooo! Ok, too much, but no movement telegraphs “process” more than zooming. Zooming is not something a human eye can do, so it never looks natural. Few can pull it off, and often only after establishing a “breaking the fourth wall” vibe in their films, but unless you are a Tarantino or Wes Anderson aspirant, probably best avoid this one. Moving in/out and zooming can be really effective, but beoyond my skill set.

Dolly Move (very rarely)

The true Dolly move is a move and zoom going in opposite directions to keep the subject the same size. It looks cool and for some reason is more acceptable than just zooming, but it is tricky and needs the right gear so probably out of my league at the moment.

Overhead and Booming (often)

Overheads are more an angle than a movement, but are part of the booming move. Basically booming is arching or tracking/trucking using an up/down move rather than side to side. The OSMO was bought with this in mind and I will use it as able. One of the great strengths of the OSMO is its ability to be a Dolly, Boom or Gimbal rig all on its own, something that often costs thousands and looks very pro when done well.

Of course the best of creativity often comes from the breaking rules, but be careful. Rule breaking can go both ways.

*

The importance of slo-motion cannot be overstated when it comes to movements. Apart from making movements smoother, slo-mo can also help justify a movement. The slower delivery helps the viewer take in the changing scene and somehow makes the movement seem more natural*** and poignant. You do lose sound, but this is a perfect time to add a fitting sound track, narration or simply silence.

*

*Motivated (I like to call it “Justified”) movement is the same as motivated lighting or sound. It literally means making the move/light/sound a natural, logical part of the scene. People should move from somewhere, to somewhere, just as light and sound should come from a natural source (even if given a little help).

**One of the most important things a film maker must decide on is the balance they want to strike for their techniques being visible or invisible to their audience. Breaking “the fourth wall” is a big choice and can define the films mood and story relevance. If you want to keep the process invisible, generally aggressive, unnatural or ungainly movements should be avoided.

***Slo-motion is the one exception where process helps to make movements look more natural without breaking the illusion of viewer detachment.

Thoughts On Movements In Cinematography And Style

I started my video journey to a better kit, unhappy with my results from one of my very first shoots last year, with a strong emphasis on controlling movement. I was obsessed with panning, dolly moves, spirals to Dutch angles, Atlanta moves, steady cam look, indeed anything that allowed for a move to add structure to my movie making.

The push to perfect movement came from several directions.

We have traditionally used a lot movement for the schools in-house video in an attempt to………..follow the leader maybe?

When researching gimbals etc, you are saturated with tons of smooth glides and in-out transitions, so it becomes normalised.

So I thought I needed to as well.

Really, I am not sure which was the strongest push, but pushed I was.

My instinct when asked in my pre-video awareness period, was to advise people to keep things simple. If asked at the camera shop (rare as most of the other staff were videographers) my idvice was to stick to one thing at a time. Zoom, focus shift, move, pan? Sure, why not, but surely one only at a time. Anything more is trite, difficult to pull off and heroes the process over the subject. How quickly I forgot my own advice, naive as it was.

I have switched from videos on gimbal technique and slider use to studying the work of many of the top film makers of the past and present. I have watched countless videos on their techniques with examples of the best cinema has to offer and I have discovered that less is most definitely more when it comes to movement both in frame and of the frame.

“And…action”. Isn’t all still imaging simply a single frame of a story? The drama and tension of a still image is directly related to its place in the moving world and a single frames interpretation of it, played against your awareness of the time just before and just after.

The most moving and dramatic scenes in movie history, rarely come down to cinematography tricks, just good technique. They are almost always the very best processes wedded to strong vision, then executed with restraint and skill.

“Reservoir Dogs” Osaka style. Movement is strongly inferred, so adding it would be seamless. The main effect would be to lose this frozen moment in time, but each version has its merits.

Steve McQueen (not the actor) is one example of a film maker who can hold you spellbound for over three minutes with nothing but a struggling, hanging man.

As a still this could be used for a title sequence. As moving stock, it can hold tension and allow a voice-over to be emphasised or with a subtle movement, transition into another scene.

The thing that has hit home like a big nerf bat of happiness, is that the best of still imaging and the best of cinematography, have a lot in common.

It occurs to me that I would likely frame this identically as part of a film (just in 16:9).

Mise en scene or the art of “setting the scene” is in effect the same as composition of a still image, but with the anticipation of movement within its boundaries. For me personally, this realisation has flipped video from a monster so different to the comfort zone of my years of stills experience, to an old friend wearing different clothes.

I need to start thinking like a stills shooter more. If an image makes a compelling still, it is surely also the foundation of a decent moving scene.

Everyone, when starting a new creative endeavour, needs to find their voice. I hope that mine when it comes to video, grows from my long love of still photography, laying a strong base for my new found love.

So, revisiting the pre-amble, I for one see no need to add extra movement into a scene when it is not needed. One thing that movement does, that can be subtle or not, is make the viewer aware of the process. When done well, this can be brilliant (Tarantino, Wes Anderson). When done poorly, it rarely adds anything good to the experience. A bit like super wide angle or telephoto lenses in photography, over using extreme processes can be obvious, tedious, even damaging to your end result.

More Evolutions (Revolutions !?)

So, I think I prefer the 1446b handle on the cage.

My main issue with it was simply a practical one. I could not fit it in my bag without dis-assembly and that was difficult with a screw mounted one. The 2094c could simple unscrew and slide off the cold-shoe mount, the 1446b needed a key and more fiddling time, but when on it is better balanced with the monitor*, lower in profile (due in part to the cold shoe adapter the 2094 needs) and more comfortable.

Turns out I can actually fit it in the big backpack I have assigned to video duties. Its extra height is impact protected by the small, semi-rigid cases I use for my mics etc (big post coming about all my current kit(s) when I have everything sorted out).

This handle has the best dynamic with a monitor.

The 2905 basic tilt head slips into the same cold shoe adapter the 2094c would have used, but is mounted on the front of the 1446b handle and low. This puts the monitor itself low and forward, where I prefer it (picture coming when I have everything together). On the 2094 it was angled, higher and closer to the hand.

My main issue with the 2094 as bought was the weight it was expected to take through the hot-shoe of the G9 camera with zoom lens on etc. I got the serious jitters with 1kg+ being taken through that mount.

The cage that solved that issue then opened the door to monitors, big mics etc, so all good, but the 2094c was a bit off for that rig. The 1446b fits it more securely and without any a-into-b-into-c shenanigans and has better balance. The main benefit was quick removal.

So, what do I do with the second most expensive single item I have for my video cage setup?

I tried it on the EM1 mk2 as a possible B or C camera when the 26mm on the OSMO is not ideal or it is already being used.

The EM1, especially with a small prime, is light as a feather compared to the G9. I have no fear of using this kit like this and the handle adds cold shoe options for rigging it up. Taking into account the much lower work load this camera will have for video, I am happy with the combo.

The EM1 has great 4k, the better stabiliser and different contrast and colour, but is limited to 4k for best quality (even if down sampled to 1080) and not ideally set up for video shooting. There is always a call for more options and angles on a big job. Matched to the ancient 25mm Pen lens, it has genuinely antique looking colour.

Having said that though, just a short play with it reminded me why I bought the G9. Apart from better OOC 1080p and more 4k options, the G9 has quickly become second nature to me for video. The ability to set any feature to any button (well 95%), then assign them to 5 custom settings, makes the G9 ideal.

*Balance is not something many talk about when rigging up their cameras, but I feel it is important. I have several weights left over from my Gimbal, so I have screwed one into the base of the cage (left side), which balances out the camera left/right and can add one to the rear of the 1446b handle helping front/back. The handle is long enough to take it without it getting in the way and the slight back heavy balance then evens up the monitor at the other end. I can rest the whole rig on my pointer finger with near perfect balance. It is heavy, but that is desirable with hand holding (and nothing like the weight of many pro cameras). If I switch to any of the primes, the weight comes off and things stay centred.

Some More Evolutions.

My handle of choice for my rig is the 2094c, because I need to be able to remove it quickly for transporting.The 1446b is comfortable and neat, but a little long and being a screw-in model, too hard to remove. The 2094c also has an angled Arri connection point for a cold shoe mount (ordered) or a safety cold shoe foot itself, which will in turn take my 2905 tilt monitor head (ordered).

The cold shoe mount is also being upgraded to a two screw safety lock model, just for the added sense of security (ordered). I had already ordered the two screw basic version, which I will find a use somewhere I am sure.

The mini magic arms and ball heads will be reserved for other uses. The 2905 tilt head has been ordered to do the job right (mainly it allows for one handed operation).

The other change is a proper re-assigning of the White Balance function to the toggle switch on the G9 (it was originally assigned to switching the top dial functions to WB, but that was double handling).

I cannot explain why I made this so hard, but on revisiting my settings with some more focussed purpose, I have assigned WB to the toggle as the push-in function (you need to assign Fn to the toggle first), then it instantly allows you the maximum range of WB controls.

This means;

• WB is on the toggle (WB is critical to image look),

• ISO is on the main rear dial (main exposure control),

• Aperture is on the rear top dial (secondary exposure and main depth of field control),

• Shutter is on the front top dial (rarely used, but cannot be turned off)*,

• Peaking is on the upper front function button (set to blue and on most of the time-looks good own the bigger screen)*,

• Stabiliser lock is on the lower front function button (toggling between active and locked is often necessary)*,

• Tele-converter is on the upper rear Fn1 button (free zoom),

• Record is on the main shutter button and the Fn3 button, top left rear (for left/right handed actuation),

• Histogram is on Fn2 (my main exposure control and so much more useful on the bigger, less crowded screen).

These are all the important “on the go” settings, with all others like Zebras etc, on the less easily reached buttons or touch screen.

I used my Olympus stills cameras for a job the other day and any fears or forgetting how to use them after a longish period immersed in G9 video settings were unfounded. After a few minutes shedding my “rust”, old habits kicked in. Hopefully this will extend back again to the G9, with a “different hat” dynamic taking over when I switch.

*The cage actually makes these and the three buttons on the top harder to bump which helps a lot.

Attitudes Change With Circumstances

I am a RAW shooter. For stills shooting I have often longed for the neat simplicity of a jpeg work flow and nearly achieved one with Fuji cameras, but at the end of the day, the latitude, creative freedom and safety of RAW has always won out.

My images are processed to have a distinctive (and evolving) look, as any long term photographer will develop and that look is based on my processing work flow more than any other factor.

It is absolutely possible to get the image you want in jpeg mode, but when the subject is tricky and the end result requires some caressing, then RAW is the logical starting point and it is easily available to all of us. This image is influenced as much by Lightroom, my programme of choice at the time, as any other factor.

In video though, I intend to be the equivalent of a jpeg shooter, predominantly using the Natural colour profile, with modified settings* on my G9.

There are several reasons for this;.

Video requires more attention pre-shoot. This must be done, so control at capture becomes the mantra and is the main reason I have a dedicated video camera rig. My needs for video are so very different to my stills processes. Consistency is key, not image by image manipulation. This means that with only a little extra effort, most things can be signed off on, then processing is a matter of story creation, not applying needed fixes or aggressive creative changes.

The RAW-like options in most pro-sumer video cameras are only a shadow of the capabilities of true RAW for stills. The best I can potentially do is V-LOG-L which is still not RAW and requires a paid firmware update, otherwise I have the relatively new Cinelike-D, or twitchy and needy HLG, which are only semi Log styles. V-LOG, like many other LOG or semi Log formats is a saturation/contrast reduced look that can take aggressive processing, but also needs consideration at capture and has restrictive software needs, but it is still not RAW. It does however have RAW’s reality of needing to be processed, so shooting V-LOG, Cine-D or any other LOG like format is a liability if you are not skilled in processing them.

With RAW I predominantly fix straightening, cropping, exposure, contrast and colour in my stills, but these should all be already fairly controlled in video, so the effort required to process LOG files is mostly unwarranted for me (at this point).

I am a content creator for my employer not a movie maker. My workflow is not going to allow extended processing times. I may sometimes have to shoot and drop the SD card directly to my boss for immediate use. I need to give them something that is close to done, to reduce the need for on the go fixes while they are making the footage into something useful, often same day. I need to be consistent and predictable.

Natural or the punchier and more distinctive Cine-V on the Panas are pretty much where I want to get and they still provide a little processing room for my own projects. When researching the G9 (or any Panasonic), I was amazed how many serious shooters are more than happy with these “baked in” colour styles for their client, or even their own work. Olympus on the other hand has less of a following for anything pre-set, with only a FLAT profile to extract better results.

By comparison, Jpegs in still photography are rarely close to my ideal.

Lastly, there is something very cool and satisfying about getting the job done and “in the can” as a single process. It feels very “directory” or something.

*For most jobs, I will used -3 Contrast and Sharpness, -0 Noise Reduction and Saturation, switching to -5/-2 for more hard core work when processing will be assumed.

Rig Assembly Started

Lots of little things to come, but the main cage arrived today and I bought an HDMI cable, allowing me to test my theories.

The Cage fits! This should not be in doubt, but I had read a few reviews on the older Niceyrig GH5 cage, that said you needed to shave a little off or wiggle and force it. The newer cage says clearly G9 as well, so I assumed (hoped) they had slightly modified it and after a little gentle caressing it fits like a real one :).

You have to make sure the camera is pushed fully to the front, or the cage top depresses the WB button, but once you have it properly seated everything feels nice and secure.

Top handle.

I started with the 1446b handle as I only have one cold shoe adapter and I need that at the moment for the monitor (all to be fixed soon). Good fit, well balanced and comfortable. The only issue is it will not fit in my bag, which at the moment just takes the whole kit.

Since the images taken for the side handle examples (see photos below), I have switched to the 2094c, which gives me a quick release option for packing down quickly and centres the handle better. I did mistakenly buy the single screw cold shoe plate, which twists occasionally, but have a double coming.

What about the 1446b? It was super cheap anyway, but may still come in handy when a longer, more securely screw mounted or soft handle is needed for long jobs (or the 2094c is needed for another camera). An alternate use for the 2094c is for accessories, mounted on a side cold shoe plate, so maybe a second handle for monitor mounting in the middle would also help.

The final set-up. A quick twist and the top handle can be removed and packed away.

Side Handle.

My alternative take on side handles (2821 mini top handle) has works with only one small issue. The HDMI cable I have is a straight out one with a thick reinforced cable, so the handle blocks it from going in (without taking the handle off), but again, bits coming to fix that (angled HDMI adapters). Alternately, I could just fix it at right angles, which would likely be fine (is, but not as comfortable). Alternatively the Smallrig ultra thin HDMI cable will fix all these issues. The angled HDMI adapters may also help with fitting the cable, leaving them in as the mounting point and holding back the cantankerous rubber flap and protecting the connections from damage.

Otherwise all is good.

(Thanks to my lovely assistant); The little side handle allows for behind, below or above support while staying small enough to stay out of the way and it allows cables etc to do their thing unobstructed (when they fit that is). It also (not pictured) rests on the forearm when focusing, giving you a support point independent of the lens. This setup is especially comfortable when panning from the waist or if held from above.

Handily it also gives me a handle to grab when getting the rig out of the snug bag compartment.

Other Stuff.

I have added a gimbal weight to the left under side, next to the tripod plate, which balances the kit perfectly and gives just enough extra dead weight to help feel stable. The two also provide a balanced base for the now front heavy rig when I put it down.

There is a soft hand strap coming so the whole thing can rest better on my right hand and the HDMI phone adapter to try, meaning undoubtedly more ideas to come.

The monitor, which sits well enough now, should settle better with the little magic arms and cable adapters.

So a quick summary;

• Monitor; Win

• Cage; Win

• Handles; Win with options

• Cables etc; Work in progress.

More Good Stuff

The Monitor (Feelworld FW 759) arrived today.

Initial impressions (I do not have the right cable for it yet);

Smaller than I had imagined, which is good. In my head it was getting bigger and bigger, in reality it is only slightly bigger than my bigger than average phone.

Mini ipad, Monitor, A12 Samsung phone. It is the lightest of the three, coming in under the iPad with a 550 battery.

It feels fine. I was expecting plastic and I got it, but it is not bad feeling. The buttons are “clicky”, but seem solid enough.

The screen itself is bright and clear. For future reference, no screen shown on another screen is done any justice. On the standard setting it is fine, on vivid it is super crispy and for possibly better reference, the mild setting is semi soft.

It comes with a protector/slim hood (pictured) and a velcro on deep hood, a ball head identical to the Smallrig base model and a HDMI-C to mini HDMI cable, which unfortunately is too small for the Pana and too big for the Olympus cameras, so I am yet to see it in action.

For mounting, I have ordered a couple of the Smallrig 2163 mini magic arms. For less than $10 each, these hold 1kg or more and have good movement options. The ball head thing was ok, but worked best from a cold shoe. I think I would prefer the screen at an angle coming out from the front of my handle(s), not sticking up from the top. We will see.

Enter The Third

I arrived home today to the smallest of Smallrig handles, the 2821 mini top handle.

This one will hopefully be the side handle for my cage. The Niceyrig has a double row of off-set 1/4” holes on the left side of the Pana cage, so my plan is to mount this handle in the normal orientation, but angled slightly down on the back end to make a very handy, but small profile side handle-bar usable from any angle* and rest it on my wrist while focussing. Sans camera, it feels very nice.

I have avoided a standard side handle, because they are really only good for holding to the front, not low or high.

The whole foot is a floating 35mm long screw chamber, so finding suitable holes should not be an issue. if the angle does not work, I will mount it at right angles which will push it forward slightly.

Dwarfed by the current favourite for top handle duties the 1446b, the tiny 2821 seems almost pointless, but it comfortably fits my larger than average hands and is strong enough to take the weight of the whole rig when changing grips etc. The 1446b has one of the better ball heads mounted for screen duties.

The mounting point of this little handle is centred enough so the handle should not interfere with screen operation (ed. It does a little), but I have options on the cage, so I can be flexible here. The rear of the handle is actually closer to the centre than the front.

All just fairly pointless speculation at this point until the cage comes, but feeling good so far :).

*The idea is to have two contact points at all times.

1. Top handle and side from above.

2. Main and side handle/lens from behind or below.

3. Top and main handle from above.

Two Handles Compared

I now have two Smallrig handles, but no cage to mount them on.

Even though they serve the same purpose and are made by the same company, in direct comparison, they are quite different.

First up, the new one, the 1446b.

It is much nicer than I expected. Most images made it look grey and cheap looking. The reality is a nice, true black padded rubber grip on equally black metal. The thing is long, seemingly much longer than my 2094c from its mounting point (see below) and seems lower in profile, which are both party illusion. The lack of any screw mounts apart from at the handle ends, makes for a comfortable grip, but lacks versatility. This is all about comfortable handling.

The only achilles heel I can see apart from what you know when you go in is, the cold shoe slot is very shallow, only a little over half the depth of most cold shoes, so basically useless. Not sure why or to honest why they even bothered with one.

Something I really appreciate is the flexibility offered by the two screw holes. It looks like they have enough latitude to handle any combination of 2-3, 1/4” holes presented to them.

This was cheap at $29au, so the quality is a pleasant surprise, even if the near useless cold shoe is not. If I were to use this with my monitor, I would screw a mini head into the front (or back) of the handle, so the cold shoe would not be an issue.

The polar opposite in form, design and handling dynamic is the 2094c, shown below with the mini ball head I intend to use with the Feelworld monitor.

The much dearer 2094 has a plethora of holes of all sizes, two cold shoes (one locking) and sits higher than the 1446b. It screws into a cold shoe which was my bad call, but it can now go into the dinky little cold shoe adapter.

The biggest difference though is the mounting point in relation to the handle length (see above).

The 2094c can be mounted forwards or backwards with little difference as its centre is almost over the mounting point. This helps with attachment orientation and getting the best centre of gravity.

Possible applications for them, depending on the cage and the third handle I have coming (2821 mini), is for the 2094c to go on top, using the cold shoe attachment to help with fast mounting/dismounting and the 1446b on the side as a side handle-bar*/bumper. The 2821 was also bought with this in mind, so we will see on the day. The cage may determine this anyway.

Optionally, I may just use the 1446b on top, forward or reversed, with the monitor mounted on the end and the mini handle on the side. The 2094c may be used on a lighter camera or simply dumped as a bad idea. This will give a softer feeling handle with a lower (feeling) profile on a more secure, but less flexible screw mount.

*I much prefer the idea of a side handle-bar rather than vertical side handle as it can help at any shooting angle and act as a forearm rest when focussing.

Failure Of The Unknown

Well the little Veledge tilt head failed today, the second day I had it. I tried to tighten it to sit straight on my handle, but it stripped the tip of the thread, with was a little too short anyway, so now it will screw into itself dis-assembled, but not assembled.

Plan B.

I bought two sets of Smallrig ball heads a few weeks ago and now is the time to review them.

I must admit to being surprised that, after the way they were marketed, they are essentially the same size.

For $10au you get two heavy, strong little mini ball heads, that would likely hold a small mirrorless camera body with little fear.

For $25au you can also get a pair of “heavy duty” mini ball heads from the same brand. These do feel like they will hold more, especially off angle as the slightly matt finish feels more “grippy”.

The cheaper ones feel more “glossy”, the dearer ones more rugged, but otherwise, if weight is taken into account, the cheaper ones seem to be better value at 20% the price.

The cold shoe adapter on each can come off. On the cheaper unit, it just screws off, on the dearer, you have to undo the standard 1/4” screw and it has the tightening hole on the lock, not just a knurled thread.

The two ball heads with cold shoe feet on, the heavy duty on my handle (for the 7” Feelworld screen) and the re-purposed foot from a cheap one on a weight from my gimbal-ear marked for the cage.

The main difference between the two comes down to the release mechanism.

On the cheaper one, the release only releases the stem, so once aligned, the only way to tip it sideways is in the one direction the cut-out is pointing. This can be a pain if you are using it for a monitor or the like as you have to hope the cut-out faces the way you want. If on the cold shoe mount there is some control, but really it comes down to luck.

The dearer ones rotate fully on their own base (but only in cold shoe mode, not screwed directly in), independent of the mounting alignment. This means I may be using one for my monitor, either forward pointing as above or in the cold shoe slot.

Is the cheaper one better value? I think it is for normal use, but if a deeper angle is needed, the rotating body of the dearer one is ideal.

The Ulanzi/Veledge tilt head was a good idea, but poor design and manufacture let it down.

Screen Play

To monitor or not?

Focussing is the big thing. If you cannot see it, you cannot focus on it.

The blue peaking on the flip screen of the G9 is good at smaller apertures, but what about f1.8 on the go?

My likely get is the Freeworld FW 759 (aka Neewer 759 and others).

Look, a generic, but effective monitor mount, snuggly attached to my handle. Just sayin’.

This is an old monitor, lacking some sex appeal, features and niceties like rotation switching, touch screen menus, power sharing or internal recording, but it is big, reasonably bright and sharp and importantly, there are a library of reviews out there. Latency, which is an issue with most monitors seems to be ok (for the money) and I will learn to cope, or use the camera screen for very fast moving scenes.

After reading a lot of the good “for the money” reviews, it keeps coming up as a good, not just budget, but good option. One reviewer, (who was golden), compared the screen to his Atomos Ninja V, allowing me to actually compare apples to apples and the Freeworld was a bigger, slightly less crisp, but acceptably crunchy apple.

The most important features, the things I actually need are;

• accurate and clear focus peaking (old school B&W with red fringe) and general clarity,

• a histogram display, which unlike a screen, cannot be fooled,

• NP Battery and 12v compatibility (have heaps for my video lights),

• a sun shade, which fixes most brightness issues (the 759 has a shallow and deep one)

This has them all with a 7” screen for $129au.

This will allow me to use the camera screen for general info and comparison, the monitor for composition, focus and importantly, to let me get the cameras flip screen out of the way.

My other option is a hack suggested by Neon Airship on DIY Photography. This only needs a few cables and a cheap adapter (ordered) to re-purpose my A12 Samsung as a monitor, but when the adapter comes, I am expecting to have something not go as planned, so a real monitor is still seriously being looked at.

Little Big Rig

Video has some cool stuff.

Stills shooters use cameras (boooooring-just joking), videographers use very cool “Rigs”.

My “rig” has a few considerations that I think may be able to be balanced, at least I hope so.

• It needs to be small enough to be on most of the time (not keen to be assembling-disassembling it constantly),

• it needs to handle a non-rig feel, as well as the benefits of a rig when needed,

• it has to be versatile enough to take a variety of accessories.

The Cage

Smallrig makes a dedicated G9 cage, but for half the price and I think a more versatile option, I have gone with the Niceyrig. It takes any Panasonic (possibly even an Oly at a pinch), has a second cold-shoe and more real estate on the top and side bars. I may even employ this as a C-type cage using the right hand handle obstruction free, but that depends on cage stability.

Top Handle

You really need one. These add several angle options and centre the camera when shooting one handed. They also usually add cold shoe slots with some depth, which for me will help accommodate a bulky Zoom mic.

They are useless for high shots and make a rig quite tall, which may limit bag options, but otherwise, they tend to stay out of the way. I have the 2094c for hot-shoe mounting, but will now be cold-shoe adapter mounted on the cage (or used straight on a smaller camera). At first this was a pain, but on second thoughts, it provides a quicker mounting-dismounting dynamic than the usual screw in handle.

I also have the 1446 screw-in handle on the way (which was super cheap). This will give me the option of a lower profile, rubberised and securely screw mounted handle. I think this will feel safer for shooting from vehicles etc.

Side Handle

I do not see the point of a right hand handle, as the camera, designed by experts, comes with an excellent one and it is properly placed to reach all the buttons and dials!

The left hand gave me some trouble at first. The natural way to hold a camera when focussing on the actual lens is to cradle it underneath or reach down from above. The former is prone to becoming uncomfortable with a big, blocky side handle sticking out.

This type of handle is really only designed for forward holding at waist to chest height unless you get an adjustable Arri-rosette style (bulky and not instantly changeable). What if you want the camera lower or higher than that?

I may have a solution with the Smallrig 2821 mini handle, attached to the left side of the cage (which has 2 rows of off-set screw holes). This may be set at a 30-45 degree angle down and back or up and forward or just at 90 degrees straight on. I will experiment depending on the screens movements and how it feels on.

This should offer several benefits;

• a protective bumper for the left side and screen,

• a contact point on my left arm for passive stabilising while cradling the lens and focussing,

• something to hold when changing hands or using the right hand for other duties,

• a handle that can be held straight on, from above (stabilising the top handle) or from underneath for high shooting, providing something a little substantial.

This is a relatively small, smoothly rounded handle, not even providing a cold-shoe slot or a solid grip with a big camera, but for this application, it will hopefully be ideal.

Bottom Handle?

Bit out there, but I will explore the benefits, if there are any, of a long handle o n the bottom of the camera (1446). I have a spare and the bottom bumper-bar idea appeals, as does the hand rest while focussing, but it really just may not work and I have never seen it done!

Cold Shoes And Accessories

These are always handy. The rig has two, the 2094c has one up front and one back, the 1446 has one and the cheap Ulanzi T-Bar can make one into three. Depth can be an issue, so the slightly front of body top handle and rig ones are good to have.

My possible needs are;

• a Zoom H5 or H1n with their own mic capsules (one is a long shotgun),

• a Zoom H5 or H1n as pre-amp for a 3.5 mic (boomed or LAV),

• a Zoom H5 as XLR interface to up to 2 studio condensers and possibly a capsule or 3.5 (mics run out to stands or boomed),

• a small shotgun mic for run and gun (and backup sound),

• a light or two,

• a monitor (???).

The Zooms are mostly static options, so the Ulanzi will be fit on somewhere and handle what ever combination is needed, even mounting them sideways or reversed depending on the application.

The monitor thing is vexing.

Not sure I need one just for me. They impress clients, help with large production framing and give valuable breathing room for large stand-off or shoulder rigs, but the entire dynamic of my kit would change. This is one of those things that will have to earn its place in a minimalist kit and my gut thinks it will not. I have addressed the bright day issue with a soft hood for the existing screen and screen size does not bother me.

A camera mounted light would be a desperation move, but I may be desperate, and I have one at hand.

Part of the ever growing collection. The Neewer XLR cables are brilliant! All 6 are fine. I only need 2, but 6 give me potentially 21 meters a side. The little Lewitts are even smaller than I thought, weighing in at a little less than a mini shotgun mic and about the same length.

I figure two cold shoes will handle most needs (cage and top handle offer four), three to four when mounted on a tripod with more comprehensive sound needed (T-bar brings it up to six with three”up-front”).

Next week the bulk should be here, so a single image will answer my question, which is;

How big a rig is big enough, but not too big?

Getting A Grip

Looking at rig building for a video camera can be a hobby in itself.

Stills shooters have really only one choice. Add a battery grip or not? After that, straps, hand grips etc are a minor consideration, that seem to sort themselves out.

Video on the other hand is a whole different matter.

Handling

I started with an ill-advised hot shoe top handle. This looked to be the best basic addition and for some things it is, but after one serious use I discovered it was a sword with two edges and a dark secret.

My camera is not overly heavy (G9 with 12-40), but extended use of a hot shoe handle is likely problematic (read horrific when viewing some peoples 2kg+ kits). The reality is, hot shoes are not designed to take the weight of a camera and lens, only the weight of a flash on top, and that is with downward pressure on the joint, not from the joint down.

After using the top handle, I also found the whole thing a bit disorientating. If you use your left hand, then your right has to focus. If you use your right, the left has to start/stop shooting and control the bulk of features, which is not where the buttons sit. A third hand maybe?

Looking at the process I decided a left side handle could work.

Both hands holding the camera, both hands able to run functions as needed, both hands individually able to take the kits wait and the whole thing seems more stable especially when not moving.

The issues here are low angle shooting (handle), focus ring access (un-obstructed left side) and run-and-gun shooting (handle).

For run-and-gun and low angles the handle makes more sense and is an acceptable compromise when the shot is set up and only a movement needs to be controlled.

For focussing, a big left side handle becomes a handling inconvenience so I need a decent compromise (see below*).

A cage?

A cage allows for both the above as well as other options and some protection. The whole thing starts to get pretty full-on from here, but you can remove the bits you do not need.

For top handles, I have the existing Smallrig cold shoe 2165c with a $7 cold shoe foot adapter (handle easily removed) and a lower profile/more secure 1446 rubberised screw-in coming (very cheap for a Smallrig).

The cage is a Niceyrig. This is half the price of the G9 dedicated Smallrig, takes any Panasonic and has a slightly better design for the rig I am building.

Humble beginnings and plenty for tripod operation, but limited (unwise) for hand held work.

Focus

It struck me after ordering a Smallrig Gimbal handle “L” bracket as a flexible generic left side handle, that the handle may make focussing difficult, so I cancelled it. I like the current feel, so adding in a long and large side only handle might be a retrograde move.

Not feeling the need for a full blown follow focus control on a 15mm rail solves a lot of problems. The 12-40, 25 old Pen and 17mm lenses all have true linear manual focus and good throw (the 45 does not, but is a little long for subject chasing anyway). M43 gives the shooter a DOF edge also, so wide open focussing is not as hard.

This means reaching the lens barrel with my left hand and that hand acting as a camera cradle is still favoured, but how do I do a left side handle if needed?

I am going to try a Smallrig mini top handle 2821, set at an angle (exact angle to be decided when I actually get the gear, but I am thinking slightly forward at the top or bottom like a medium format camera handle), screwed into the side of the Niceyrig cage. This handle has two moveable screws allowing me to use the two rows of off-set 1/4” threads on the cage as I need. The handle is smooth, relatively small and quite tall for a top handle, hopefully allowing for a decent angle and enough clearance to be out of the way.

It will be strong enough to hold the camera left hand only and project out far enough to provide a little protection for the screen, while cradling the wrist, then act as the left hand stabiliser.

Bit random, but the only offering outside or a rosette handle for angled options.

Viewing

This needs addressing after my field trip the other day. The sub-3” screen on the camera is fine for most things except in strong light. I was tempted to get a decent monitor (Neewer or Freeworld 7”), but to be honest, it may be a misguided purchase. I am aware of my habit of going fully “belt and suspenders” (other wise known as “over the top”) with most things and I just don’t want to be that guy who “looks the business”, while not being able to actually “do the business” by overcomplicating things.

If I am using the camera in a fluid environment with a large screen, the dynamics of viewing, holding and focussing all change and not for the better. Suddenly you are talking unwieldy shoulder or monster hand rigs. There is also the issue of introducing a different screen to the one on the camera, so a new set of “interpretation parameters” would be required.

The camera eye piece is still most viable for bright light shooting, especially on a tripod, but only if the kit is kept to sensible dimensions. I may chase up a large, soft eye cup for the eye piece if used often, but they do get in the way of the the screen.

The only real issues I have with the small screen is viewing distance (top handles effectively push it away) and bright light. I have ordered a Niceyrig sun shade for the screen, which may fix the light issue for $13au and the distance thing is more a potential and avoidable problem than a real one. I would also prefer a flip back screen, but you get what you get.

Hoods

My lenses all have efficient hoods. The whole mat box thing would look fully lush, but is not practical for me (see monitors above) and my kit only just fits in my biggest bag as it is.

If my filters included more than the odd ND, I would likely go into a full mat box and filter holder rig, but that is unlikely at this point.

Lighting

I have a single on camera light, the Neewer 176 and it is fine. The T-Bar or rear cold shoe on the cage can do this. My slowest lens is f2.8, my fastest 1.8. This is plenty for most subjects.

All other lighting is self standing.

Sound

This gets more complicated.

The Zoom H1n and H5 are both cumbersome on a rig, but do-able.

The H5 will likely be mounted separately if XLR mics are fitted and these are always going to be used in a static setup.

The smaller H1n will be used for boomed/on camera mini shotgun and LAV mics or on its own.

If I use the H5 with its own shotgun, it will likely be on a tripod and any of the cage, unused handle or T-Bar cold shoes can take it. If I use it with the X/Y capsule on the move, than I will have the same options as above as needed.

*

So, where do we stand at this point, taking into account this is all mostly untried (most still coming);

• The Cage with mini top handle angled on the side provides two handed operation without blocking other functionality.

• The side handle may also add stability to focus handling and protection for the flip screen.

• The cold shoe or screw in top handles provide either a more secure, or easier to dis-assemble option or can be skipped all together.

• The handles, cage and T-Bar offer up to 6 cold shoes for accessory mounting while removing any strain on the camera.

• Most work with the G9 will be static, using the OSMO for Gimbal moves, so more than enough options, I hope.

It Will All Be Ok

Relevance is a driving factor for many.

Is my work/perspective/process/career choice relevant?

Photography has changed a lot over the years and I have had a tendency to assume that it is leaving me behind each time, but you know what? I think it as relevant today as it ever was and the true practitioner is also just as important as ever.

This is a fresh perspective for me. I will admit to reconciling myself to photography becoming an over saturated and therefore under appreciated art form, but I am willing to admit I am wrong here and happily so.

Many years ago, in one of my favourite magazines (Photo and Darkroom Techniques maybe?), a pro photographer attempted manfully to explaining the different processes involved in using 35mm, medium and large format cameras (at that time running more than one was serious business).

One image called “Redneck Rodeo” showed a young sunburned boy standing up in the bleachers at a rodeo with the action beyond him in the semi-blurred background. It was an image that worked because the photographer saw and balanced several elements in the blink of an eye, not because any element had merit beyond the expected.

“Nothing” photos with meaning only to those intent on interpreting it and only in context. In 2022 it is a snap, but taken with meaning and intent, in 2000 it may have been a fresh perspective on image making capability, in 1980 it may have graced a magazine if relevant to the story told.

That image was captured at a time and place with a 35mm Leica camera, nobly defining each element including the camera and lens. The photographer explained that the image would not have been possible with a larger format camera, so the argument was basically that the camera created the opportunity that he grabbed with both creative hands.

This was true to an extent as long as we assume that the person using the camera also had intent, skill and the right gear.

Today, it would be easy to argue that every person in those bleachers, sitting with or near the photographer could also take an image of similar quality using their phone. The reality is though, most will not.

The equipment has changed, but the driving forces needed to make a relevant and harmonious photograph have not. The gear is irrelevant, the intent and application are key.

What has changed is the process and subject matter in regards to the non-photographer. These are the majority of people taking images who are not and do not confess to be driven to create art, to document their world or capture newsworthy subjects beyond their own very defined universe. This majority have been empowered by entirely different forces over the last hundred or so years, constantly being better serviced and are now at their most powerful. The reality is though, the common image maker is not interested in much outside of what directly effects them (family, pets, places, food, events).

Where does this leave the professional image maker or artist?

Basically in the same place as always.

If you or I choose to go out and craft a series of black and white long exposure landscape images, something that has been done since photography started, then you have as much chance as ever of making an impact. Our work will not be judged for its relevance against the images taken by the masses or even those of the past. You still have a chance to impress. The only thing that matters is the quality of the work, not its attention to following “fashion” or technological limitations.

If you decide to do a series of food selfies, then sure, the competition will crush you by sheer weight of numbers, but if your intent is more artistically “noble” than that, then with some determined effort you stand more than a fair chance.

Never before has it been easier to reach strangers with your work, or cheaper. The restrictions of old, which were for many so constricting*, have effectively been removed. If you are disheartened that thousands do not follow you, be happy that dozens do, because in direct comparison to the work of many gifted, but obscure image makers of the past, you are socially wealthy.

What we have to be aware of is perception of scale. You can potentially reach millions, but be happy with thousands. There is a lot of work out there, so don’t expect to own this space. Just be grateful for your share, it may well be bigger than those that came before you.

The message buried in this verbose post is;

If you feel it, do it to the best of your ability.

Passion and focus are always worth more than the current technologies or fashions dictate, enable, or even attempt to overpower.

*For a long time I had to limit myself to 2 rolls of film per week, one slide, one black and white.

Naturally My Dear

Looking at some test footage and the work of others, I think in the short term m I will be concentrating on Natural and Cine-V for my film making.

If I use a LOG style, then post processing becomes the norm. This exposes my newbie frailties and makes my work flow slower than I need just for socials. Sure, if I am making a project film for myself, then a LOG format (Cine-D) is probably safer/smarter, but for run and gun stuff, Natural looks more than adequate. Cine-V offers a cinematic variant.

Natural is very popular with plenty of serious shooters. Undoubtedly more can be extracted from more LOG like styles (Cine-D, HLG, V-Log L), but for my modest needs, I will take a still shooters “jpegs are fine if you do them well” pathway. Video is much more methodical and hands on for me anyway so white balance, focus, exposure etc need to be far more pre-meditated, reducing the habit of shooting fast and loose and rely on RAW to fix misses.

The most common setting used is Sharpness at -5. This seems pretty universal except with a few younger shooters, who keep sharpness up, some to +0 on occasion. I am going to shoot my basic 1080p You-tube stock settings set at -3, so there is a slightly “poppy” post processed feel to my footage, but drop it to -5 for my more serious 4k stuff (it can apparently take a dialled down LUT).

Contrast is less cut and dried. Opinions range from -5 to +0, so for my stock work -3 and my 4k, -5.

Noise Reduction is a tough one. Most shooters leave it alone, but some reduce it for an even further un-sharpened, organic look. I will go +0 for my base, -3 for most 4k, but back to +0 for one 4k custom setting, used specifically for low light work. Natural apparently handles low better than most LOG styles.

Saturation will be treated like Contrast. For stock shooting +0, for my 4k reduced by -2.

So;

• C-0 or Creative Movie and C-1 x3 VFR 50/150. -3/-3/+0/+0 for basic 1080p stock . A little extra pop can be added painlessly, but this will suit shoot and drop jobs.

• C-2 25p, C3/1 50p. -5/-5/-3/-2 for my own or better work 4k. More processing room and even LUT’s can be used.

• C-3/2 -5/-5/+0/+0 as a special low light setting in 4k.

Finally Cine-V.

Cine-V appeals simply as a place to dump all of my moody cinematographer vibes.

• C-3/3. 4K/25p with -5 Sharpness, -5 Contrast, -3 NR and -2 Saturation.

If I had a GH5, I would also likely reduce Hue to -2 cooler. This is just for me and will likely be used exclusively with the ancient “cool” accented 25mm Pen half frame lens, and in winter….on gloomy days…at dusk…in a bleak mood ;). Character, character, character.

Nature and being natural. Both fit this low stress work flow.