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HELP! Conflict Zone Filming

Rodrigo Violante

Rodrigo Violante

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I'm contemplating in going to film into a conflict war zone in the Middle East, and I need some help to sort out some stuff.

In my experience with RED Built in Microphone its not functional more than scratch audio.

Im planning in taking an external recorder but I need one that is really small, can fit in a backpack, battery mode, does have Timecode and is there anything I can always have it sync with the RED when I record?

I was thinking something like this:

Zoom F6

Zoom H6

Recommendations on how to Timecode sync wireless or start / stop record when the camera triggers?

Any recommendations on microphone also appreciated. I have a Rhode NTG3 but might be a bit too much.

Recommendations for filming in a crazy environment like this. I have signature primes for the monstro and I do want to film this with the highest quality possible, but I'm open to small zoom lenses if you recommend anything.

Thanks
 
Absolutely the wrong camera for this. Not saying it couldn't be done, but I would take something smaller, something with a smaller chip, something with better battery life, zoom lenses. Honestly, I'd build a Z cam rig just for this. With a viewfinder. Trying to see a monitor in the sun in the mideast is futile. If you don't have a sound guy, I would record sound on camera. If you have a sound guy just put a tentacle sync on the camera and be done with it.

One of the things a smaller chip will do for you is give your longer lenses a little more reach. Something like a 70-200 has some real reach on a smaller chip.

Nick
 
The onboard sound is a good b track record it and add a sound recorder.
Sync dailies on date folders and no tc is needed.

A smaller chip makes lenses longer, true. B it also makes them less wide. So more important to find a lens that suits the sensor size. I would try to get a couple of zooms that are eazy to swap. And run with screw on nds and not be afraid of short shutter war looks better in short shutter.
 
Rodrigo Violante said:
I'm contemplating in going to film into a conflict war zone in the Middle East, and I need some help to sort out some stuff.

In my experience with RED Built in Microphone its not functional more than scratch audio.

Im planning in taking an external recorder but I need one that is really small, can fit in a backpack, battery mode, does have Timecode and is there anything I can always have it sync with the RED when I record?

I was thinking something like this:

Zoom F6

Zoom H6

Recommendations on how to Timecode sync wireless or start / stop record when the camera triggers?

Any recommendations on microphone also appreciated. I have a Rhode NTG3 but might be a bit too much.

Recommendations for filming in a crazy environment like this. I have signature primes for the monstro and I do want to film this with the highest quality possible, but I'm open to small zoom lenses if you recommend anything.

Thanks
Click to expand...

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The new Mix Pre MKIIs all have timecode. Maybe the Mix Pre 3 MKII? Its very small, and much better pre-amps than a Zoom.

Use a betso or tentacle to jam timecode to camera.

Use a timeless mic like a Sennheiser 416 that is great in all conditions - and what sound guys rely on rugged doc shoots. Bring two like they do (one for backup).

Best of luck
 
I think you Rhode mic is perfect. Put it on a C100 mkII and you are good to go. Bring these lenses: Canon 17-55 f/2.8, 70-200 f/2.8, Sigma 18-35 f/1.8, 50-100 f/1.8. Bring 6 batteries and (2) 64GB SD card per day filming. All of this fits in one backpack. No need for external recorders or TC...audio sounds great straight to camera. Both the Canon lenses have wonderful stabilizers. That was our exact kit for filming this Netflix Series: https://www.youtube.com/watch?v=hCQ9y6ivpdQ. We used Red for interviews and B-roll, but the Canons did the documentary work. Maybe bring both???

BUT, if you are dead set on using just the Red Monstro, then Nick's advice is spot on. Sound Devices Mix Pre 3 mkII is what you want. Your Rhode mic would also be a solid option if you can't afford the Sennheiser 416. This may sound crazy, but I'd definitely bring a trusty Canon 24-105 f/4 with me if you have an EF mount on that Monstro. Its worth it for the stabilizer alone, but its also the perfect lens range for Doc work. The 70-200 f/2.8 would be next on my list. Maybe a monopod? Good luck!!!
 
My advice; Only take kit you can easily carry yourself, make sure you have completed a hostile environment training course, do an additional first aid course, check your insurance (you won't be covered).
 
Clint Lealos said:
I think you Rhode mic is perfect. Put it on a C100 mkII and you are good to go. Bring these lenses: Canon 17-55 f/2.8, 70-200 f/2.8, Sigma 18-35 f/1.8, 50-100 f/1.8. Bring 6 batteries and (2) 64GB SD card per day filming. All of this fits in one backpack. No need for external recorders or TC...audio sounds great straight to camera. Both the Canon lenses have wonderful stabilizers. That was our exact kit for filming this Netflix Series: https://www.youtube.com/watch?v=hCQ9y6ivpdQ. We used Red for interviews and B-roll, but the Canons did the documentary work. Maybe bring both???

BUT, if you are dead set on using just the Red Monstro, then Nick's advice is spot on. Sound Devices Mix Pre 3 mkII is what you want. Your Rhode mic would also be a solid option if you can't afford the Sennheiser 416. This may sound crazy, but I'd definitely bring a trusty Canon 24-105 f/4 with me if you have an EF mount on that Monstro. Its worth it for the stabilizer alone, but its also the perfect lens range for Doc work. The 70-200 f/2.8 would be next on my list. Maybe a monopod? Good luck!!!
Click to expand...

I like the Röde mic´s is it possible to use on DSMC2 without cutting the wire inside. Remember on Epic they did not work until you cut a white cable inside.

If it was me I would bring my monstro with 2 or three zoom canon zooms or two zooms and a really long lens. Then I would also bring a DJI OSMO and my DJI Mavic 2 and the latest GoPro.

That would cover all bases, Monstro and drone would do most of the stuff and then use the Osmo, when its simply not suitable to bring a camera and the GoPro is backup / extra sound recording. If you set the new GoPro to record small picture and sound its a really good mic in there and you get B cam.
 
Something I said to a friend years ago when he told me he was looking for a client to send him into the Middle East for war coverage, “Money is no good to me if I’m not alive to spend it”.

And as someone with a broadcast/network background, that’s the wrong tool for the job, especially if you’re going into a true war zone. Granted, I have never been into a foreign war zone, but the last thing I want to be doing is swapping/carrying lenses on a camera like that and worrying about off-board/sync sound.

As much as I hate “handycam” style cameras, look at some of the new professional Sony’s. I’ve heard very good things about some of them. Something else to think about, you may run into the situation where it’s life or death and you need to pull your media and dump the gear and run. I’d rather dump a few thousand dollar handycam than a RED and thousands more worth of glass.
 
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Björn Benckert said:
I like the Röde mic´s is it possible to use on DSMC2 without cutting the wire inside. Remember on Epic they did not work until you cut a white cable inside.

If it was me I would bring my monstro with 2 or three zoom canon zooms or two zooms and a really long lens. Then I would also bring a DJI OSMO and my DJI Mavic 2 and the latest GoPro.

That would cover all bases, Monstro and drone would do most of the stuff and then use the Osmo, when its simply not suitable to bring a camera and the GoPro is backup / extra sound recording. If you set the new GoPro to record small picture and sound its a really good mic in there and you get B cam.
Click to expand...

actually MavicPro is great idea!!! I have inspire 2 but that's a bit too much for sure! and a GoPro for anything might also come handy.
 
I would bring Zaxcom transmitters that also record internally with timecode. Two for lavs and one for a shotgun/boom. With their NeverClip feature it's easy to record good levels with minimum attention. Then either hang a hop receiver on camera (cumbersome trouble in your situation) or just carry their small ERX unit to wirelessly monitor the sound and jam TC to camera. Great sound quality, minimal kit.
 
Mark Phelan said:
Yes, considering the fact that filmmaker Tim Hetherington was killed in a combat zone shortly after shooting Restrepo.
Click to expand...

Yes, a rather sad ending for sure. And that's with knowledge of how to navigate war zones. Can't imagine hauling around gear and not having proper training in those areas. Just too damn scary.
 
The legendary Vietnam war filmie Neil Davis shot most of his iconic material on an old lightweight wind-up film camera. He eventually upgraded to a heavier CP16 sound-on-film camera and wrecked his back jumping with it out of a helicopter.

Bullocking what is essentially a studio camera out and about in a conflict zone is not impossible but not the best way to do things. It may work you to death assuming it does not slow you down and get you targeted.

Shooting the media has become a modern trend. A kit which instantly identifies you as media may put you in the crosshairs. There is no one hand for yourself and one hand for the camera with the RED. It is hard to be instantly reactive and intuitive with a studio camera.

A while ago, there was a US Army guy posting on reduser. He took a RED camera into a conflict zone when he was deployed there. How that worked out for him I do not know. He may well be a reader of these comments and have some good advice to give.

Since RED pioneered 4K 35mm film format electronic motion imaging, there have been a number of compact 4K cameras arrive in the marketplace that are far more agile. When the Canon 7D arrived on the scene it became favoured. It was capable of high quality stills and HD motion imaging, not 4K.

You now find the Blackmagic 4K and recently 6K cameras in the DSLR style. In the reliability stakes they may leave much to be desired. They are still early on the blocks so time and experience will have to build for their practical worth to become known.

To be confident, you would need to take two camera bodies with you. Be prepared to take the financial hit of selling those camera bodies and replacing before they have a chance of laying down on you at the worst possible time.

Do you have a well-known and trustworthy fixer arranged who is not going to sell you to the Talibs or to Daish?


Finally listen to the advice of people more qualified than I who know their stuff.
 
I've done a lot of conflict zone stuff in the past. Iraq 1990 and 2003, Kosovo 1999, Libya 2013, Gaza Strip 2003, 2007, 2009 . Would say that a red or arri is the wrong camera to take into a proper conflict zone. Something small, like a C300, EVA1, or Fs7 with canon stills zooms is the way to go. You want sometime that you are happy to leave behind if things get really crazy. In Iraq in 2003, I was doing a doc for the BBC called "Fighting The War" I had a digi beta with me, but for all the stuff in proper combat was shot on a Sony PD150, which at the time was the "best" small camera. You really want something small and foolproof. Mucking about with separate sound recorders is going to be a real pain and distract you from looking after yourself. DSLR's are also used a lot by BBC crews in conflict zones.

If you go down the red route, dealing with the data in the field is going to be tricky, to say the least. Shooting with a C300 or Eva1 means you can use pretty cheap CF cards or SD cards, and have a pile of them for downloading when you can.
 
Steve G said:
I've done a lot of conflict zone stuff in the past. Iraq 1990 and 2003, Kosovo 1999, Libya 2013, Gaza Strip 2003, 2007, 2009 . Would say that a red or arri is the wrong camera to take into a proper conflict zone. Something small, like a C300, EVA1, or Fs7 with canon stills zooms is the way to go. You want sometime that you are happy to leave behind if things get really crazy. In Iraq in 2003, I was doing a doc for the BBC called "Fighting The War" I had a digi beta with me, but for all the stuff in proper combat was shot on a Sony PD150, which at the time was the "best" small camera. You really want something small and foolproof. Mucking about with separate sound recorders is going to be a real pain and distract you from looking after yourself. DSLR's are also used a lot by BBC crews in conflict zones.

If you go down the red route, dealing with the data in the field is going to be tricky, to say the least. Shooting with a C300 or Eva1 means you can use pretty cheap CF cards or SD cards, and have a pile of them for downloading when you can.
Click to expand...

That's the route I'd go if I felt trained enough to handle a compact cinema camera in those conditions. If I really wanted to be nimble though, I might opt for a GH5 both for small form factor and the IBIS.
 
Steve Sherrick said:
That's the route I'd go if I felt trained enough to handle a compact cinema camera in those conditions. If I really wanted to be nimble though, I might opt for a GH5 both for small form factor and the IBIS.
Click to expand...

Or perhaps an Insta360 One X on a tall selfie stick. ;-)
 
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