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MOPAR National drag race event, Aug 4, 2024

PJD

Well-Known Member
I plan to attend this automotive event in about 10 days. It'll be my first time at a car race, so I'm not sure how successful I'll be capturing it (mostly on video), but in the meantime I'm having fun preparing my S5iiX kit. This will be a personal project, not a paying gig, but we're going to try our best to capture some great footage.

Info:

I'll be with my friend Sam again. He & I recently visited the Columbia River Gorge together, and he'll also bring his S5iiX to the drag race. Sam is a "car guy" who restores classic MOPAR cars, including his own 1972 'Cuda. He attends race events often, and is very familiar with the track in Woodburn, Oregon.

We'll be able to stand with our cameras & tripods within ~20' (~7 meters) of the start line, as well as more distant points along the length of the track. It's a several hour long event, with many different vehicles, so getting multiple different angles should be easy. And having two identical cameras will be great.

Sam tells me the cars will be insanely loud, so I'm putting effort into doing what I can (with a very limited budget) to get clean, undistorted, in-camera STEREO sound recording. I plan to use 2 small external mics with XLR connectors mounted on my camera in a XY stereo pickup pattern. They'll connect to my S5iiX via a Panasonic DMW-XLR1 which I plan to set to 24bit, 96Khz, and -20db input sensitivity so the preamps don't overload. I also have a pair of XLR inline switchable -15/-20/-25 db PADs I can additionally connect between each mic and the DMW-XLR1 if needed. The mics themselves are rated to handle relatively high SPLs, but given "insanely loud", well, it'll be a learning experience. Oh, and yes: I'll wear hearing-protecting ear plugs, AND over-the-ear headphones (for playback-only sound checks). Sam will bring his external audio recorder (set to 32bit) so we have another source for use in the video edit.

We plan to shoot 4K 60p (APS-C) ProRes 422 footage and use the S5iiX "car detect" tracking auto-focus for most shots. In Davinci Resolve we'll put the 60p footage in a 30p timeline so we can generate smooth slo-mo from any clip if we want. We did a test shoot yesterday using Sam's BIG, NOISEY diesel pickup truck as a puny stand-in for a dragster to test sound levels & video settings. One thing we found was exhaust smoke confuses the camera's AF, so we we'll be prepared to switch the lens to MF when needed. However, Sam says the dragsters generally only make smoke at a further distance from the start line before each race (when they prep their tires), and make very little smoke at the start line itself. So we can anticipate that, and adjust accordingly. We plan to be there for hours, so there'll be time to switch lenses. I'll mostly use my Lumix 20-60mm lens, but plan to record some shots using my old manual Nikkor 70-210mm lens. The latter will be a challenge, but fun.

I'll post pix of my camera & sound rig, and update this thread with more info soon. If you have related tips & advice, please chime in.
 
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How many batteries are you going tu use? Do you have a dummy battery?
Good question. I have a Kondor Blue regulated dummy battery which I use with a SmallRig NPF battery plate mounted on my SmallRig cage. I have 3 NPF batteries which can power the camera, SSD & audio accessories literally for DAYS. Plus 2 in-camera batteries as backup if needed. So, no problem with power.

However, this event will be an excellent test of the S5iiX ability to keep itself cool and hopefully not overheat & shutdown. The weather will likely be very warm (~85F - ~95F) and sunny. I might improvise a small sun "shade" attached above the top of the cage to help keep the camera cool. Since I'll have a pair of mics, the audio adapter, external battery, external SSD, and multiple cables on the camera, the addition of a ~8x10 inch shade won't add much more clutter. :) If I do make such a thing, I may keep it in my backpack & only use it if needed.
 
Good question. I have a Kondor Blue regulated dummy battery which I use with a SmallRig NPF battery plate mounted on my SmallRig cage. I have 3 NPF batteries which can power the camera, SSD & audio accessories literally for DAYS. Plus 2 in-camera batteries as backup if needed. So, no problem with power.

However, this event will be an excellent test of the S5iiX ability to keep itself cool and hopefully not overheat & shutdown. The weather will likely be very warm (~85F - ~95F) and sunny. I might improvise a small sun "shade" attached above the top of the cage to help keep the camera cool. Since I'll have a pair of mics, the audio adapter, external battery, external SSD, and multiple cables on the camera, the addition of a ~8x10 inch shade won't add much more clutter. :) If I do make such a thing, I may keep it in my backpack & only use it if needed.
Thank you!!
 
This sounds like quite the event! I'm excited to see what you are able to capture!

I wonder if maybe a longer AF lens might be preferred for the application though, like the 70-300 possibly?
 
... I wonder if maybe a longer AF lens might be preferred for the application though, like the 70-300 possibly?
I agree it would be nice to use a longer AF zoom lens ... but neither Sam or I own one. Maybe someday. And I'm not inclined to rent a long lens for this non-paying project.

As I mention above, we have the option to get very close to the action (closer than I feel comfortable about :rolleyes:), and shooting in 4K APS-C crop mode with the Lumix 20-60mm lens will yield up to the equivalent of about a 30-90mm lens. For a few clips I may use my antique manual Nikkor 70-210mm lens, which in APS-C crop will be equiv. to about 105-315mm. The Nikkor isn't AF, but I don't mind manually focussing a locked-off shot. For a very few clips I might even try manually pulling focus while following a moving vehicle (just like in the good old days). Although I'd much prefer doing the latter using a true parfocal zoom lens! (The Nikkor is definitely not parfocal).

If I'm really crazy (which I am), I might even bring my antique Nikkor 300mm prime lens, but cropping the 20-60mm lens' image in post to an equiv. FOV might yield a sharper result (but of course, not the same optical perspective/compression). Same goes for cropping in post some of the 20-60mm shots instead of using the 70-210mm. I should test these ideas beforehand.
 
I agree it would be nice to use a longer AF zoom lens ... but neither Sam or I own one. Maybe someday. And I'm not inclined to rent a long lens for this non-paying project.

As I mention above, we have the option to get very close to the action (closer than I feel comfortable about :rolleyes:), and shooting in 4K APS-C crop mode with the Lumix 20-60mm lens will yield up to the equivalent of about a 30-90mm lens. For a few clips I may use my antique manual Nikkor 70-210mm lens, which in APS-C crop will be equiv. to about 105-315mm. The Nikkor isn't AF, but I don't mind manually focussing a locked-off shot. For a very few clips I might even try manually pulling focus while following a moving vehicle (just like in the good old days). Although I'd much prefer doing the latter using a true parfocal zoom lens! (The Nikkor is definitely not parfocal).

If I'm really crazy (which I am), I might even bring my antique Nikkor 300mm prime lens, but cropping the 20-60mm lens' image in post to an equiv. FOV might yield a sharper result (but of course, not the same optical perspective/compression). Same goes for cropping in post some of the 20-60mm shots instead of using the 70-210mm. I should test these ideas beforehand.
Would love to see what you come up with! I'm excited for you :)
 
Sounds like it will be a lot of fun Peter!

I tried the car detect AF a few weeks back and was impressed at how it picked up the front of the car and followed it across the frame.
 
Good luck man, definitely looking forward to it ! Good note about the heat. I usually shut off the S5ii the second I'm not shooting. Off and on, off and on, all day.. lol. I usually only go thru 1 battery, maybe two.. I never had a camera overheat, ever. With any manufacturer TBH. Guess it just depends on the usage type. Anyway, have fun man !
 
... this event will be an excellent test of the S5iiX ability to keep itself cool and hopefully not overheat & shutdown. The weather will likely be very warm (~85F - ~95F) and sunny. I might improvise a small sun "shade" attached above the top of the cage to help keep the camera cool. ....
OK, I made a sun shade for the camera in case I need it on a hot sunny day. It's a 10" x 15" piece of white foam core, which I spray-painted flat black on the underside. I left the top side white to reflect the sunlight. It's mounted to the SmallRig cage via a short magic arm and quick release. Very secure & doesn't flop around. The magic arm enables the sun shade to be easily adjusted. I can also use it as a French flag to prevent lens flares, and the white side can be used to do a manual white balance. The sun shade fits in my backpack & weighs almost nothing, so can be kept stowed away when I don't need it. Of course, if it's very windy I probably wouldn't want to use it because it might cause the camera/tripod to shake. Since I already had the magic arm & foam core, this is a no-cost shady "accessory". :cool:

In this photo you can also see how the 2 mic clips are mounted. The 2-mic bracket & magic arm are bolted to the custom L-shaped bracket I recently made. Very sturdy & secure, but easy to remove/install without tools.
mopar-rig-08.jpg
 
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Here's another view. I purchased the mics a few days ago, and they're due to be delivered in a day or two. After I rig them up I'll post another pic.
mopar-rig-04.jpg
 
I'll also bring my Lumix 50mm f1.8 lens and 4-stop IR-cut ND filter (in addition to my vari-ND filter) so I can get some shots with very shallow DOF.

Sam & I decided to frame the video footage for 2.39:1 aspect ratio in post. The cars & track are all "horizontal", so I think a wider aspect ratio makes sense. It'll also reduce the data rate of the final render (compared to 17:9), while keeping the quality relatively high. We enabled the camera's Frame Marker to show the 2.39:1 aspect ratio in the camera's LCD & EVF. While shooting we'll try to keep the full 17:9 of the recorded 4096x2160 DCI aspect ratio "usable" so we can do some up/down reframing in post if needed.

Also: Sam's S5iiX camera & SmallRig cage won't be quite as rigged-up as mine. He'll use an external SSD, 1 external Sennheiser shotgun mic, DMW-XLR1 audio adapter, 2 internal batteries, and the Lumix 20-60mm & 50mm lenses. All the same settings. No sun shade. His config will be a good "control group" vs. mine. Will be interesting to see how the results we get compare to one another.
 
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The 2 mics ("MXL 606 cardioid") were delivered from B&H today. They seem to work fine, and I like that they're relatively small & lightweight. Each mic has 2 built-in switches for low-frequency roll-off & -20db attenuation. I also received 2 short 1' long XLR mic cables, which are the perfect length for on-camera use. The 2 fur windscreens in the photo were purchased from B&H many years ago. Now that the rig is complete, I'll give it another sound & video test next Tuesday, again using Sam's diesel pickup truck as the loud noise source. (That's the old Nikkor 70-210mm f4.5 manual lens in the photo.)
mopar-rig-09.jpg
 
...wow, that's getting very fancy. :)

My limited racing experience is several years of trying to shoot the Indy 500 from seats about halfway up the bleachers opposite the pits, not a terribly good vantage point; the only shots I really felt like keeping were a few of events around the pits.
 
Can anyone guess what the paperclip is for? (This is not a trick question.) Z04 Breakdance.gif

I continue to tweak the rig configuration. I adjusted the mic bracket so it protrudes about 1" less from the grip-side of the camera. Now the mics are bit more centered over the camera. At some point I should substitute a right-angle XLR plug on the left channel [black] mic cable so it protrudes even less. I remembered I've long-owned a short RED 1-ft. XLR cable, so I've now connected the right-channel mic with it. I removed my improvised XLR cable "strain relief" support, which was next to the input side of the Panasonic audio adapter. I decided the short XLR cables are lightweight enough that the extra support isn't needed. I installed Peak v4 camera strap anchors so I can add/remove my Lumix shoulder strap easily. I haven't decided if I should relocate the external SSD to the cold shoe above the shutter button (probably a good idea). Maybe I have "ADHD"? Z04 Flucht

mopar-rig-10-1.jpg
 
Can anyone guess what the paperclip is for? (This is not a trick question.) Z04 Breakdance.gif

I continue to tweak the rig configuration. I adjusted the mic bracket so it protrudes about 1" less from the grip-side of the camera. Now the mics are bit more centered over the camera. At some point I should substitute a right-angle XLR plug on the left channel [black] mic cable so it protrudes even less. I remembered I've long-owned a short RED 1-ft. XLR cable, so I've now connected the right-channel mic with it. I removed my improvised XLR cable "strain relief" support, which was next to the input side of the Panasonic audio adapter. I decided the short XLR cables are lightweight enough that the extra support isn't needed. I installed Peak v4 camera strap anchors so I can add/remove my Lumix shoulder strap easily. I haven't decided if I should relocate the external SSD to the cold shoe above the shutter button (probably a good idea). Maybe I have "ADHD"? Z04 Flucht

View attachment 6374
Is there any way to get a similar setup but more minimalist? It seems like whenever I see large rigs with good audio and video assist tools they are covered in wires. Not an issue for tripod use necessarily, but I personally wouldn't want to use a tripod much for video.

Sorry for going off topic :)
 
Is there any way to get a similar setup but more minimalist? It seems like whenever I see large rigs with good audio and video assist tools they are covered in wires. Not an issue for tripod use necessarily, but I personally wouldn't want to use a tripod much for video.
I rig my S5II to be pretty light and agile, but not for the kind of work PJD is doing here where he needs the cardoid microphones. If I get a chance I'll describe it in another thread.
 
Is there any way to get a similar setup but more minimalist? It seems like whenever I see large rigs with good audio and video assist tools they are covered in wires. Not an issue for tripod use necessarily, but I personally wouldn't want to use a tripod much for video.

Sorry for going off topic :)

In many situations, a barebones camera configuration (the camera with its built-in mics, a lens or two, a few filters, internal SD card/cards, and an in-camera battery or two) can be all you need to get great results. But in just as many other situations, additional gear may be required.

Adding an on-camera mic will of course require a single cable plugged into the camera‘s mic input. There are many wired mics available , such as from Rode & Sennheiser , just to name two.

A camera-mounted mic won’t necessarily be much improvement compared to the camera’s built-in stereo mics — unless it’s breezy/windy. In the latter case, superior windscreen options are available for (or included with) add-on mics. The tiny Smallrig fur windscreen for the S5 built-in stereo mic helps a bit, but isn’t as effective as a good-quality windscreen on an add-on mic.

Add-on wired stereo mics are available from several manufacturers, and some of them have a single cable with a plug compatible with the camera’s mic jack.

In general, a mic’s sound quality is proportional to its cost. No surprise there. There are many reviews & sound samples online. Microphones are a whole universe, so enjoy your research!

There are also many different wireless mic systems (mic, transmitter, receiver) available. A wire connects the camera-mounted receiver to the cam’s mic input. Again, a whole universe. The good news here is prices for wireless mic systems have dropped rapidly in recent years. Lots of reviews & sound samples online.

Having said all that, one of the most important things to know about microphones usage is to position the mic as close as possible/practical to the sound source. This is key! For example, even a very expensive camera-mounted mic will pick up a lot of undesirable room echo (or other distractions) if the sound source is a person speaking softly several feet from the camera. The same mic placed a few inches from the person’s mouth will yield vastly better results. “Microphone technique” is another universe to explore!
 
In many situations, a barebones camera configuration (the camera with its built-in mics, a lens or two, a few filters, internal SD card/cards, and an in-camera battery or two) can be all you need to get great results. But in just as many other situations, additional gear may be required.

Adding an on-camera mic will of course require a single cable plugged into the camera‘s mic input. There are many wired mics available , such as from Rode & Sennheiser , just to name two.

A camera-mounted mic won’t necessarily be much improvement compared to the camera’s built-in stereo mics — unless it’s breezy/windy. In the latter case, superior windscreen options are available for (or included with) add-on mics. The tiny Smallrig fur windscreen for the S5 built-in stereo mic helps a bit, but isn’t as effective as a good-quality windscreen on an add-on mic.

Add-on wired stereo mics are available from several manufacturers, and some of them have a single cable with a plug compatible with the camera’s mic jack.

In general, a mic’s sound quality is proportional to its cost. No surprise there. There are many reviews & sound samples online. Microphones are a whole universe, so enjoy your research!

There are also many different wireless mic systems (mic, transmitter, receiver) available. A wire connects the camera-mounted receiver to the cam’s mic input. Again, a whole universe. The good news here is prices for wireless mic systems have dropped rapidly in recent years. Lots of reviews & sound samples online.

Having said all that, one of the most important things to know about microphones usage is to position the mic as close as possible/practical to the sound source. This is key! For example, even a very expensive camera-mounted mic will pick up a lot of undesirable room echo (or other distractions) if the sound source is a person speaking softly several feet from the camera. The same mic placed a few inches from the person’s mouth will yield vastly better results. “Microphone technique” is another universe to explore!
I forgot to add: The reason the rig I’m configuring for the car/truck race includes add-on microphones is two-fold: Because it will be an incredibly loud/noisy environment, I’ll probably need to reduce the output level of the mics before inputting it into the camera. Otherwise the sound recording will be distorted. The “-20db” setting on the Panasonic audio adapter probably won’t be enough. The add-on mics have a -20db switch which may be enough to address this issue. But if not, I can also plug inline a -25db “PAD” between the mic & the audio adapter. This is the kind of flexibility an add-on mic offers, especially if the mic has XLR connectors. Other loud environments, such as a rock concert or factory, may require similar solutions.

The other reason the small pile of add-ons are temporarily on top of my camera is because I want to record stereo sound, not mono. So 2 mics are required, and because of the loud environment, I need 2 of every one of the distortion-preventing solutions.

In a quieter environment, the camera’s built-in mics, or a single add-on stereo mic, could be an adequate configuration. Every situation is unique.
 
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