By Jonah Kessel

As a video journalist I’m frequently approached by people asking me to come film — whatever it is they have that’s going on. A Chinese rock band, a new brand or some really exciting business conference are the usual suspects. These people often think their event would be so fun to film, that I would love to do it — for free.

Sadly these people are mistaken and generally speaking whatever guest speaker is at the “Annual Chinese Conference of Bilateral Business” is not actually that interesting.

However, last week while at a small bar in Beijing, a Québécoise approached me and told me he had built a device out of a tricycle that could paint Chinese characters on the ground with water droplets as it was peddled. I stopped for a second and thought about it and my first question was — why?

And his answer was … “because!”

Meet French Canadian Media Artist Nicholas Hanna. This guy decided to build a device for no reason, that doesn’t really serve a clear purpose. So, I decided, this would also be a good time to create a video just “because.”

I wanted to keep it short, sweet and corky. An afternoon filming, a weird soundtrack with an upright bass and a didgeridoo and some editing and we had this fun device on film.

Just Because: Tricycle Calligraphy 水书法器 from Jonah Kessel on Vimeo.

Ironically, I found the best way to film this strange contraption — was on another tricycle, peddled by the days assistant Annie Sallaberry. Now picture both of these tricycles peddling through the old streets of Beijing and you can imagine we were quite the spectacle. As we filmed, people would actually just start following us down the street as if we were the Pied Piper of Chinese people.

As working visual journalists I think its a really great exercise do go out and shoot stuff for fun. Its really easy to get in the habit of only shooting when working. But this two day project was a lot of fun and helped me get back to my roots a bit. It reminded me why we do this in the first place — because its fun.

So — for no reason at all, enjoy.

Kit List for this Project:

• Canon EOS 5D Mark II
• Canon EOS 60D
• Canon EF 14mm f/2.8L II USM
• Canon EF 24mm f/1.4L II USM
• Canon EF 50mm f/1.2L USM
• Canon MP-E 65mm f/2.8 1-5x Macro
• Canon EF 70-200mm f/2.8L IS USM
• Franken-Rig made from Ikan, Genus, Jag35 and Zacuto parts.
• Kessler Krane Pocket Dolly v2.0, Traveler Size
• Kessler Crane All Terrain Outrigger Feat
• Rhode NTG Shotgun Condenser Microphone
• Pearlstone Universal Shock Mount
• Sony UHF Wireless Lavalier System
• Zoom H4n Mobile Handycam Audio Recorder
• (2x) Manfrotto 190Cx Carbon Fibre Q90 4-section Tripod
• F-Stop Satori Expedition Pack
• F-Stop Tilopa Expedition Pack
• (3x) F-Stop ICU (small, medium, large)
• Blackrapids RS-7 R-Strap

– Jonah M. Kessel is a Beijing-based freelance visual journalist working with photography, video, print and web design. Follow Jonah on Twitter here and see his web site here.

By Matt Allard

Sony's S-log upgrade comes on a 32GB SXS card

Like me you probably hadn’t heard of Sony S-log or even had the faintest idea about what it is or what it does.

S-log was originally only available on super high end Cine cameras like the Sony F35. Now that it’s available for the Sony F3 I thought I’d do some research and try and explain it in as simple language as possible. Now before I do I’m not some super tekkie guy or an engineer so i’m not even going to try and explain why it does what it does from a technical perspective. I’m just going to explain what it does to an image in the real world. I have researched by reading various articles and I’ve tried to not make this article too technical. I am also happy to be corrected on anything I have gotten wrong.

S-log For Dummies from Matthew Allard on Vimeo.

The short video I have made is just some test shots to try and show you what S-log does and looks like. It’s not a scientific test, it’s just me using the camera. It hasn’t been recorded on an external recorder – its all been recorded straight onto the internal SxS cards. All comparison shots were done using the exact same lenses and settings unless otherwise noted.  I’ve shot comparisons between S-log/non S-log, graded S-log/ungraded S-log and graded non S-log/graded S-log. There are also comparisons between a Canon 7D using the Technicolor Cinestyle profile and the F3 with and without S-log.

In action with the Sony PMW-F3

In a nutshell, S-log is supposed to offer you exceptional tonal reproduction in both the high-lights and low-lights. In other words it can help expose the brightest part of your scene while still keeping the detail in the shadows. We have all shot something when, to expose for the brightest part of a scene, we have had to stop the camera down. This usually means losing all the detail in the shadows. S-log helps you to keep some of that information you would normally lose.

The human eye can see around a 14 stop range of light but it works in the reverse way of a camera sensor. We see only small changes in dark conditions but very big changes in bright ones. With a cameras sensor it sees big changes in dark conditions but only small changes in bright ones. What this means is our eyes see most things that are dark as being dark, but when it comes to things that are bright like say the sky, we can make out very gradual changes in brightness. Thats why a camera struggles when you try and shoot a bright sky while trying to expose the foreground correctly – it can’t easily recognize the gradual steps in bright scenes like your eye can.

Straight from a camera’s sensor an image appears very dark if it doesn’t have a gamma curve added to it. Almost all HD video cameras process video with a gamma curve so when it is viewed on your TV it  looks correct . This viewing method is referred to as REC709. What REC709 can’t do though is display the entire range of what your cameras sensor can capture. The F3 has a 16 bit sensor but without S-log you can’t capture all that information into a 10 bit signal. Here’s where S-log earns its money. It bends the range of the sensor to fit all the information into the allowable 10 bit space. It loses some information in this process but it now allows the camera to mimick the changes in brightness that are visable to our eyes. So remember earlier when I talked about why a camera struggles with replicating bright scenes? Well this is what S-log is helping correct.

The conventional way to combat the bright skies would be with a ND grad filter in front of the lens, but I found when using Sony F3 these filters dont tend to look as good as on say my Sony PMW-350 XDCAM. With the F3 you can see a noticeable graininess where my filters are graduated and I imagine that unless you are using the highest possible quality filters you will still be able to see the change in quality. S-log benefits you greatly by allowing you to do without filters in some cases because it handles the highlights so much better.

The S-log menu

S-log does have to be color corrected in post though. A non color corrected S-log image looks washed out, lacks color and contrast. You don’t have to record S-log to a 4.4.4 external recorder like a Convergent Designs Gemini or even to a 4.2.2 recorder like a AJA KiPro Mini. It can be recorded straight to SxS cards but this not the best way to use it as S-log benefits in the color correction process from recording to a much higher bitrate codec and broader color space. When shooting S-log you can only choose either 5600k or 3200k and you can only shoot in progressive and not interlaced (I couldn’t find an explanation as to why).

Are there any negatives to S-log? From my experiences so far you don’t need to use it for everything and it’s not a quick fix miracle that will magically make all your material look wonderful. It does add increased noise to the image so you have to be careful when using it.

The positives? It is fantastic when you have to shoot scenes that has a high level of contrast. I have been able to shoot a lot of high contrast scenes I would never even attempt without S-log. It is also quite remarkable in low light. Turning on S-log is like turning on extra lights in a room. It also provides an amazing reproduction of detail that you normally never see. At 18db with the S-log enabled the F3 can literally see in the dark. My eyes can’t see what this camera can with a fast lens.

My over all impression of S-log is “wow!” It is however a $3800US upgrade and is not for everyone. I do however thoroughly recommend it as it really does take your F3 and put it on steroids.

About Matthew Allard, Aljazeera Senior Field Cameraman, Kuala Lumpur:
Matt has been a Camera/Editor in TV news for more 20 years, previously working for both Channel 9 and Channel 10 in Australia. Twice Network Ten Australia’s cameraman of the year as well as being a Walkley Finalist for outstanding camerawork in 2006 (for coverage of the Cronulla Race Riots) and a Logie Finalist for outstanding news coverage 2006 (Bali 9). He is a multiple ACS (Australian Cinematographers Society) award winner. His Sword Maker story that was shot on a 7D won the prestigious Neil Davis International News Golden Tripod at the 2011 ACS Awards. He has covered news events in more than 35 countries, from major sporting events to terrorist bombings. Based out of the Kuala Lumpur broadcast centre in Malaysia he is an avid user and follower of new technology, shooting stories on HD broadcast cameras, the Sony F3 as well as new Canon DSLRs.

You can follow him on Twitter @mattaljazeera

By Dan Chung

Redrockmicro have beaten Birger Engineering and MTF services to be the first to actually offer for sale an adapter which offers active aperture control for Canon EOS lenses on Micro 4/3 cameras like the Panasonic AF100 and GH2. Passive mechanical adapters which are commonly available have no way to control the aperture of Canon glass so the lens aperture is stuck wide open.

Based on the company’s original Livelens adapter for their Encore 35mm adapters it offers simple push button aperture adjustments in 1/3 stops- but none of the extra features like AF and Image stabilization that Birger engineering are promising (although their adapter still has no release date). The adapter requires 9V power in order to work but the company claim 20 hours operation with a single cell. There are a few limitations and compatibility issues so please read the tech specs properly.

For a limited time it is available at US $442.50, normally US $487.50 from the Redrockmicro webstore. There is no word from Redrockmicro about possible future versions for cameras like the Sony F3 or Nex range.

Here’s is a rip from the Redrockmicro site:

How does LiveLens mft work?
The LiveLens mft is a lens adapter that fits onto any micro four-thirds camera body, and provides a Canon EF lens mount on the other side for attaching any EF-compatible lens. an on board computer and electronics power a small control panel that allow you to adjust the aperture of the lens, open or closed, in 1/3 stop increments.

How does this differ from the LiveLens for the M3?
The underlying control technology of the LiveLens MFT and LiveLens for M3 is identical. Where the LiveLens MFT differs is it’s custom-built flange that attaches the unit to the Micro Four Thirds lens mount. LiveLens for the M3 has been proven to work for over three years in production environments and gives LiveLens mft this proven reliability.

By Dan Chung

Sony A65 rigged with Cineroid EVF Metal and LED

Dslrnewsshooter contributor Johnnie Behiri has been shooting with Sony’s new Alpha A65 SLT camera recently. Whilst we wouldn’t normally feature a music video it is interesting to see what Sony’s new mid level stills camera is capable of. This footage was originally published over on Cinema5D.

The A65 along with the A77 are Sony’s first video capable mid range stills cameras with full manual control of the video mode – the previous models only had automatic video modes. There is also an external 3.5mm mic jack but audio control it is still auto only apparently. SLT cameras also use a high resolution EVF and not a conventional viewfinder for both stills and video.

The major advance for video use on the A65 and A77 is the addition of fast autofocus in video mode as well as for stills. This is possible thanks to the single lens translucent (SLT) mirror system which remains in place directing light to it’s fast AF sensors the whole time. Other DSLRs like the Canon 5DmkII are forced to use the sluggish contrast detection system in video mode because the faster AF system behind the mirror that it uses for stills is disabled when filming.

Whether you think this is significant depends on how you shoot. Personally I still manual focus everything but I can see the point of being able to use a quick AF system for fast paced news events where just getting the shot in focus quickly is a priority. AF tracking of moving subjects is also offered on the new Sony’s – but it looks like this is limited to automatic exposure only.

For now I am seeing little that would tempt me to use Sony SLTs rather than Canon DSLRs for video – but it’s interesting to see where the technology is going.

“forever-a while”- Shot with Sony A-65 from Johnnie Behiri on Vimeo.

This is what Johnnie had to say -

“There is not much info about on the video quality of the new Sony cameras which are not out yet, so I felt it is time to make the effort and see what the A65 can do to start with. I had the Sony Alpha A65 for a day and I’m happy to share the footage with the community.

Music:
“forever- a while” by Angel of Sona
www.sonaofficial .com

Johnnie with Angel of Sona

Johnnie Behiri is a BBC freelance cameraman operating from Vienna, Austria.
When not working for the BBC, Johnnie films documentaries, commercials, music videos, and testimonial/marketing videos for other broadcasters and clients.

By Matt Allard

I have spent more than 100 days so far this year in Japan covering a range of stories. Most of them have been related to the Earthquake and Tsunami that devastated the country on the 11th March. I’ve already posted some of the stories from there but wanted to take the opportunity to talk about a few more which were shot on my Sony PMW-F3.

My Sony F3 now has the S-log upgrade. Other pieces of kit recently acquired are the Small HD DP6 monitor, Zacuto EVF Flip, Lectrosonics 400 series radio mic kit, Genus F3 baseplate, Berkley Systems top plate and a set of Zeiss ZF 2′s (21mm f2.8, 35mm f1.4, 50mm f1.4 and 85mm f1.4. I also purchased a Manfrotto 509HD tripod, a set of mini tripod legs and a Blackmagic Hyperdeck Shuttle. I know – a lot of new kit! I won’t go through it all in this article but I hope to review some of the equipment in future articles. I’m also aiming to write a more comprehensive review about using S-log on a F3.

The first story I want to talk about was done only a week before the Tsunami happened. It is a story about the high level of judo deaths in Japan and the controversy surrounding making it compulsory in schools.  This is one of the first stories I ever shot on the F3 and I was still getting used to the camera and settings. I am blown away by this camera every time I use it. A lot of the judo shots were shot in very contrasty light which would test any cameras – the F3 performed admirably. I used a variety of tripod and hand held shots as well as one shot with a GoPro HD.

The Fall Of Judo from Matthew Allard on Vimeo.

The next story is a story about how people are coping 6 months on from the Tsunami – and what has changed . It features a man who has continued to search for his wife every day since the disaster. I wanted to shoot this in a way that not only showed his struggle but also the passing of time and the solitude of his search. I shot this story almost entirely using Zeiss ZF2 lenses (apart from the first two shots). I absolutely can not rave enough about Zeiss glass. They provide a beautiful image with fantastic color and contrast. I was lucky enough to have fairly good mid morning light. There was not much left where this man lived so I needed to be creative and set a mood that matched the story. There are a couple of slider shots in this story (I hardly ever use a slider) but I think they worked well in this piece. Natural sound also plays a big part for me in stories. It helps the story flow and it allows you to hear the sounds that surround the pictures. I left an Electrosionics 400 series radio mic on the talent for the entire time I filmed with him. I wanted people to hear the sound that was around him, not the sound from near my camera. I shot most of this story on the Abel Cine Normal picture Profile and a few shots on the Abel Cine Highlight profile. Minimal color correction was done.

The Search For Solace from Matthew Allard on Vimeo.

The next story is on the mounting concerns of radiation levels in Japan. Six months on, the nuclear crisis is still on going and the government and TEPCO (operators of the nuclear power plant) haven’t been open about the real amount of radiation that has been released.

Steve Chow and myself on location

This was a story that was going to be visually hard to tell and potentially boring. I tried to add slight movement, nice lighting conditions and some abstract shots to help the story visually. There are quite a few shots with very shallow depth of field from using Zeiss f1.4 lenses wide open. The interview with the the government radiation expert was shot straight back into a window with very harsh afternoon light. You can see how well the F3 handles these conditions. It was also shot wide open as the room the interview was in was no longer than 3 meters.

Japan’s Radiation Fears from Matthew Allard on Vimeo.

The stand up was recorded on the Black magic Hyperdeck Shuttle. This records 422 10Bit Uncompressed Quicktime files and requires a super fast SSD drive to capture at a bit rate of more than 1000Mb/s! A 250GB drive will last you 25 minutes! The level of detail and the cleanness of the image is remarkable. It is not something you would use all the time as the file sizes it generates are enormous. I’ll review it further at a later date.

I also used Sony S-log (a paid for upgrade) on a few of the shots in the story – the shot of the Tokyo skyline and the people walking across the bridge as well as the woman sitting against a window in the late afternoon where the outside light was extremely bright. There were no lights used inside the room and the amount of detail you can see in the shadows while still holding the background window is something that can’t be done without S-log. I will also do a long article on using S-log at a later date.

Having spent so much time in Japan this year I have learned and seen so much. The Japanese peoples approach to dealing with this disaster is nothing short of amazing. Even through unimaginable sadness and loss they continue to display a dignity and strong resolve. I have seen and heard first hand people whose stories grip your heart and fill your eyes with tears. The way they have welcomed us into their homes and lives in such traumatic circumstances still amazes me. Going into evacuation centers where people have very little – they still want to cook for you or give you food or water. It is this sense of community and looking after your fellow man that has stayed with me. The devastation is still there in a lot of places as a constant reminder of what happened. Every time I see it it still moves me. The amount of destruction and loss of life cannot be viewed lightly. It is hard as a cameraman to not become involved in what you shoot. I try my best to convey what I see and experience through my pictures without trying to get too emotionally involved. This is not always possible – it becomes more than just a story because you meet incredible people along the way who become your friends.

About Matthew Allard, Aljazeera Senior Field Cameraman, Kuala Lumpur:
Matt has been a Camera/Editor in TV news for more 20 years, previously working for both Channel 9 and Channel 10 in Australia. Twice Network Ten Australia’s cameraman of the year as well as being a Walkley Finalist for outstanding camerawork in 2006 (for coverage of the Cronulla Race Riots) and a Logie Finalist for outstanding news coverage 2006 (Bali 9). He is a multiple ACS (Australian Cinematographers Society) award winner. His Sword Maker story that was shot on a 7D won the prestigious Neil Davis International News Golden Tripod at the 2011 ACS Awards. He has covered news events in more than 35 countries, from major sporting events to terrorist bombings. Based out of the Kuala Lumpur broadcast centre in Malaysia he is an avid user and follower of new technology, shooting stories on HD broadcast cameras, the Sony F3 as well as new Canon DSLRs.

By Dan Chung

DSLR video guru Phil Bloom has been lucky enough to get his hands on the new VAF-5D2 anti-aliasing filter which potentially solves one of the biggest image quality issues with the Canon 5DmkII.

Aliasing creates the infamous moire pattern where false colour information is seen in an image and is caused by the way the camera downsizes the video image from it’s 25MP stills sensor to the much smaller 1080P image. It is often seen on brick walls or textured fine fabrics. Up until now the only way to avoid this has been to carefully shoot shots so the effect doesn’t seem obvious (ie no brick walls or women wearing silk scarves) or try to fix the problem using software in post production – neither technique is really suited to news and documentary production.

The Mosaic Engineering filter is a physical filter solution that effectively removes the excess bits of the signal that causes the aliasing in the 1080P image. In essence it slightly blurs the image just enough that the camera can still get a clear 1080P image. It appears to help with moire and also ‘stair stepping’ where straight lines like telegraph wires appear jagged in video. Most digital stills cameras (including the 5DmkII) already have one anti-aliasing filter fitted on the front of the image sensor but it is optimized for stills shooting and does nothing to help with video shooting – the Mosaic Engineering one is optimized for video. Have a look at Phil’s video test below.



This really does look like a great solution for DSLR news shooters and I hope to test one for myself soon. The way the filter is easily installed and removed looks to be a great solution for photographers who also need to shoot stills with the same camera.

Phil does note that the filter doesn’t work well on very wide angle images where there is corner blurring. He also notes that the image is slightly softened and that the lens does not remain parfocal (ie focus shifts as you move through the zoom range). There may also be issues with older lenses like Nikon manual focus ones where there are metal parts and levers that protrude from the rear of the lens – these may hit the anti-aliasing filter or get stuck.

At the moment this filter only works with the 5DmkII and there is no confirmation of versions for other Canon cameras like the 7D or 60D. Price is set at US $385.

Cinematographer Glenn Przyborski has been working with Mosaic engineering to create and test the filter. You can see some of his sample videos here:

You can order the filter and find out more on the Mosaic Engineering website.
You can see Phil’s full report here.

By Danfung Dennis

It’s been a long and hard road, but after several years of work, my film HELL AND BACK AGAIN will be released in theaters starting on October 5th.

As many of you know the project was entirely shot on the Canon 5DmkII and I’d especially like to thank the DSLR community especially for supporting me. The film now needs your help to reach as many people as possible.

Please help spread the word about the film by forwarding the trailer link: http://vimeo.com/danfung/hellandbackagaintrailer

Thank you once again for your support.

-Danfung Dennis

You can see Danfung’s original post about the project on dslrnewsshooter.com here.

By Duy Linh Tu

Duy Linh Tu's documentary HDSLR rig on a Manfrotto 503 head and legs

I am currently shooting Close to Home, a feature-length documentary about HIV in the southern United States (www.closetohomefilm.com).  As a part of the production process, we’ve been posting some behind-the-scenes stills online, and Dan Chung noticed that I was using the Zacuto EVF.  

So, here’s how the device works as a part of my overall documentary rig. There are countless websites already dedicated to HDSLR rigs, but hopefully this post will give shooters specific information about how one might approach using HDSLRs for documentary or other non-fiction work.  My set up is by no means the ‘right’ way of doing things; it is just one way that has worked for me.

Sam Guzik models Duy Linh Tu's documentary DSLR rig.

For Close to Home, I needed a camera set-up that was both small and reliable.  I am shooting this documentary in rural Mississippi, Louisiana, and Alabama, where the subject matter – homosexuality and HIV/AIDS – remains extremely taboo.  Our characters are, wisely, concerned about the presence of cameras; they don’t want to draw too much attention to themselves.  We are working on a tight production schedule, so I don’t have much time to shoot.  Additionally, we’re filming specific events that, in most cases, will only happen once.

I shoot on a 5DmkII, which I believe is the HDSLR with the best image for my needs.  Equally importantly, it has manual audio control that allows me to record sound directly into the camera.  I use a combination of a Sound Devices MixPre, a Marantz PMD-620, and a Sescom attenuator cable to send audio directly into the camera (the audio gain is set to 1 in the 5D mark II).  I do record audio separately as a back up, but I prefer to avoid syncing as a part of my workflow.  I have used both the Zoom H4n and the Tascam DR-100 in the past, but I find my set-up provides the quietest preamps and the best ergonomics for adjusting audio in the field (real knobs to turn!)

My primary lens is the Canon 24-105mm f4L IS.  Because the 5D Mark 2 is full-frame, I would not stand a chance of keeping any kind of focus shooting wider than f4.  For this film, I am shooting run and-gun and there are very few controlled or set-up shots that would allow me to go as wide as f2.8 or f1.4.  Additionally, the IS on this lens is extremely effective for reducing shake.

For focusing, I use the Ikan ELE-FGK follow focus kit.  Prior to this project, I was against using a follow focus.  I thought these devices were meant more for commercial or feature work.  But, after shooting many long days with this unit, I cannot imagine focusing with my hand on the lens again.  

With a follow focus, rack focusing is smooth.  There is also less strain on my wrist because the focus wheel is positioned to the side of the camera.  The Ikan follow focus is a solid piece of gear.  I’ve used more expensive follow focus units, but they were not any smoother or more sturdy than the Ikan.

Getting good shots is my primary job, so I need the right monitoring solution. I have tried every set-up: using the LCD on the camera only; using a Zacuto Z-Finder on the LCD, and using a SmallHD DP6 external monitor. That has all changed with the Zacuto EVF Flip, combined with the Zacuto Z-Finder.

Side view of Zacuto-EVF in action.

The Zacuto EVF has many great features such as false color, zebras, focus assist (peaking), blue only, and many more.  But, in the field, I use none of these.  In fact, some features like zebras and focus assist actually made it harder for me to focus in a run-and-gun situation.  

The Zacuto EVF does, however, have four main features that are critical to me getting the shots right.

1.  Scaling.  As most 5DmkII shooters know, the HDMI output drops down to 480p.  The EVF scales this image up and fills the screen.  Paired with the Z-Finder, I get a huge, crisp image to look at.

2.  Framing lines.  The EVF has lines for both 1.78:1 and 2.35:1 (and others), the two aspect ratios I most often shoot in.  This feature helps me make sure I compose the shot in a way that avoids accidentally cropping out part of the intended image.  Occasionally, I composed incorrectly when shooting with just the LCD.

3.  Sun block.  The Z-Finder blocks out all extraneous light, so monitoring in bright sunlight is easy. When I used the SmallHD DP6, I was forced to use the enclosed sunshade, making my rig much bigger and more intimidating than I wanted it to be.

4.  Point-of-contact.  Putting my eye right to the EVF provides me with yet another point-of-contact, unlike using an external monitor.  So, with my monopod/shoulder strap support, my left hand on the follow focus, and my right hand on the camera, I have four points-of-contact on the camera.  My shots are now so steady that we do not use a tripod for most of our interviews in the film.

One bonus feature of using an EVF for documentary shooting is that, while looking into the viewfinder, I disappeared into the camera.  I was not distracted by outside elements; I was only looking at what was on the screen.  Additionally, the characters in my shots learned to ignore me when my head was in the EVF. When I used an external monitor like the DP6, I was still making too much of a connection with my subjects to have them forget about me.

Duy Linh Tu's documentary rig with the SmallHD DP6 (and sunshade). While a terrific monitor, the DP6 makes the rig much bigger and more intimidating.

It has taken me almost two years of experimentation to get my documentary rig to the point where I feel completely comfortable and secure about it.  I get pristine audio with this set-up.  And, just as importantly, I get the steady, well-exposed, and properly composed shot that I want.  

I hope that this has been helpful.  Again, this is by no means the only way to set up a camera; the flexibility of the HDSLRs makes it a truly powerful format.  Below is a list of all the parts in my documentary rig.  If you have any questions, I’m @duylinhtu on Twitter.  Good luck.

Camera: Canon 5DmkII

Lenses: Canon 24-105mm F4L IS, Canon 70-200mm F4L IS, Canon 100mm F2.8L Macro IS

Monitor: Zacuto EVF Flip w/ Zacuto Z-Finder 2.5X and HDMI cable, Zacuto Zicro Mount, Mini Ikan 4” rod

ND Solution: Lee Filter Foundation Kit, Tiffen 4 x 4 ND filters (.3, .6, and 1.2)

Audio: Sennheisser ME-66 shotgun mic w/ Rycote cover, Pearstone shockmount, and XLR cable Sound Devices MixPre w/ custom-built bracket, Marantz PMD620 audio recorder w/ Sescom attenuator cable, and XLR cable

Hardware: Express35 tripod plate, Redrock Micro 9” rods (2), Redrock Micro Handlebar Camp with four-inch bar, Redrock Micro DSLR baseplate, Redrock Micro Micromount (2), Ikan ELE-FGK follow focus

Duy Linh Tu is Assistant Professor and Director of Digital Media at the Graduate School of Journalism, Columbia University.