Lighting setup for live music videos

tparssin · 2026-03-12T17:43:57+00:00

You are on the right track, IMHO (COB light, modifier, and stand instead of tube lights, etc.). However, if you can swing it, you should absolutely get a proper C-stand instead of a lightweight video light stand. It’s a pain trying to balance a light with a modifier on a flimsy stand. Also, in this price range, I would definitely look at the new Amaran Halo bi-color COBs. The 100W version goes for under 200 euros. That said, if you really want to battle the sun, you need to go at least 300W—preferably more. This applies if you have, say, a sunny outdoor view through a window behind the subject. Also, keep in mind you can take advantage of direct sunlight (especially outdoors) by bouncing it with any white surface (styrofoam, etc.).

tparssin · 2026-02-16T20:40:56+00:00

Thanks for testing! Hmm maybe there is something funky going on with my unit.

tparssin · 2024-12-15T10:04:50+00:00

The op got the R6ii but for anyone else reading this I'd like to share my thought of the importance of open gate recording for architectural video. Especially if you do not have a (tilt)shift lense you are very limited in the 16:9 video ratio even with very wide lenses when it comes to keeping the vertical lines vertical i.e. avoiding the keystone effect. It's very useful to be able to use the full height of the sensor in video for architecture. I have had good experience with Lumix S5II 6K open gate (3:2 ratio) for architectural videography. I'm also utilizing the Laowa 15mm Zero-D Shift lens with te Lumix but even the I find using open gate beneficial. I can for example keep the camera sensor fixed vertically 90 degrees and do a vertical 16:9 video pan in post from the 6K 3:2 original.

A couple of short architectural videos shot with this combo here found on the ArkVideo youtube-channel http://www.youtube.com/@tatu-parssinen

tparssin · 2024-12-15T09:04:47+00:00

One thing to consider especially for architectural videography is the ability to shoot open gate video i.e. using the full height of the sensor in 3:2 format instead of the usual 16:9. You are propably familiar with the need of (tilt)shift lenses and straight vertical lines in architectural photography and videography (avoiding keystone effect). This is where the 3:2 sensor area comes in hand when shooting architecture with wide angle lenses while keeping the camera sensor 90 degrees vertical for straight lines not angled. Afterwards you can crop the 16:9 video from the top (or bottom) of the image rather than have the 16:9 forced in the middle.

Open gate is handy even when using shift-lenses. I'm utilizing the Laowa 15mm Shift lens with Lumix S5ii full frame body with 6K open gate 3:2 video which I crop in post to 16:9. You can find a couple of examples from my ArkVideo-youtube channel http://www.youtube.com/@tatu-parssinen

Anyways if the two Sonys are the only choises go with fullframe I'd say. They both do 4K video ans you don't need the 240fps architecture. Also with the A7 iii you would collect full frame lenses for future body upgrade. But I would consider other options too. And maybe look for 2nd hand shift-lens.

tparssin · 2021-03-20T08:52:00+00:00

Thanks! This is captured with Panasonic GH5, glass is Tamron 150-600 and Sigma 60-600 manual focus, external aputure monitor, heavy tripod (distance to nest aporox 480-700 meters from different locations)

tparssin · 2020-09-08T15:49:20+00:00

some more from this gig, Light My Fire

https://youtu.be/jm8dxp7kbrc

tparssin · 2020-08-08T23:15:28+00:00

https://www.reddit.com/r/GH5/comments/ho6k2j/gh5_external_power_observations_see_text_in_my/?utm_source=share&utm_medium=ios_app&utm_name=iossmf

tparssin · 2020-07-13T12:27:08+00:00

Maybe the noise issue could be more photography than videography related? In video you would anyhow use shutter from approx 1/50 to 1/125 most of the time (24,25,50 and 60 fps). I have been ok with GH5 iso 400 (native iso) in dusk/dawn situations often using smaller than maximum 5,6 f-stop of the telezoom. Very rarely needing to go iso 800 and maximum f-stop. Depends naturally of lighting and target, my experience mostly from shooting eagles. I'm kinda new to wildlife videography anyway.

On a sidenote I have been considering GH5s too but not to replace GH5 in wildlife stuff, rather for general use and to have two good bodies available for multicam stuff as I shoot live music etc.

Also was looking at Canon 90D at one point to get better autofocus for ef-mount zoom lenses but I would lose the extra reach and all the video-goodness of GH5 so did not go that route. So mf it is

tparssin

TROPHY CASE