When filmmaker and LUMIX Ambassador Kyle Camarillo was offered to direct a project for New Balance, featuring NBA superstar Kawhi Leonard and pro skateboarder Tiago Lemos, it offered a unique creative challenge. The collaboration stemmed from a surprising crossover: Lemos, a prominent skateboarder, began skating in Leonard’s basketball shoes, which gained attention across social media. Intrigued by this, Leonard personally reached out to Lemos, sparking a connection between the two athletes and leading to the creation of a special New Balance collab that merges skateboarding and basketball culture. Camarillo’s task was to capture this chance meeting in an authentic, documentary style.
To execute this project, Camarillo needed a versatile production setup capable of shooting a range of action, from skateboarding tricks to conversations between Lemos and Leonard. This prompted him to bring in the LUMIX GH7 as a C-camera alongside the ARRI ALEXA Mini LF and Mini for capturing immersive footage. The goal was simple: create an organic portrayal of the athletes’ first meeting and showcase the unique creative synergy between skateboarding and basketball.
Pre-Production and Setup
Given the documentary-style approach of the project, Camarillo emphasized flexibility and mobility during the shoot. With a small crew, which included two camera operators, one of his primary concerns was the physical demands of operating heavier cinema cameras while capturing unpredictable skateboarding sequences. The ARRI ALEXA Mini LF, although essential for its cinematic quality, posed some challenges due to its size and weight, particularly when shooting on a skateboard, or when Camarillo’s camera operators needed to adapt quickly to spontaneous action.
The LUMIX GH7 proved to be incredibly useful here, thanks to one of its newest features: the inclusion of ARRI LogC3 [with purchase of LUMIX Software Key for ARRI LogC3 DMW-SFU3A]. Capturing in LogC3 provides access to ARRI's expansive Look Library, which includes 87 distinct looks. These can be likened to different film stocks, each offering a unique, yet consistently repeatable aesthetic when paired with a cinematographer's lens choices.
The LUMIX GH7 with the G Series 10-25mm F1.7 ASPH LEICA Lens.
Camarillo had extensive experience shooting in V-Log with LUMIX GH-series cameras and knew that its lightweight design would make it easier to handle during complex shots. However, he was particularly interested in how well the GH7’s color workflow could integrate with the ALEXA cameras. “The GH7 was included somewhat as a test,” Camarillo explained, “because I was just so curious to be able to have this as a C-camera… using the same ARRI LogC3 LUT was a no-brainer.”
With its small size and professional workflow, the GH7 allowed Camarillo to remain agile, especially when capturing tricky handheld footage. He could rely on it for skate video-centric fisheye shots, and moments that required quick adjustments, allowing him to focus more on directing while leaving the larger ALEXA cameras to his other operators.
"The GH7 was included somewhat as a test because I was just so curious to be able to have this as a C-camera… using the same ARRI LogC3 LUT was a no-brainer."
Filmmaker Kyle Camarillo
Shooting with the LUMIX GH7
The real strength of the LUMIX GH7 became apparent when Camarillo had to move seamlessly between directing and operating his own camera. With the project following a documentary style, there was no strict shot list; instead, the crew captured moments as they unfolded. In many situations, Camarillo found himself needing to grab impromptu shots that the other operators couldn’t, which is where the GH7 became more valuable.
“I could just go while they were shooting something important, and if I saw something that I couldn’t pull them away from, I could quickly tap into something,” said Camarillo. The GH7 provided the flexibility to capture spontaneous moments without disrupting the flow of the scene. This handheld approach, often on a skateboard, allowed Camarillo to immerse himself more in the action.
Camarillo employed a Canon 8-18mm f/4 Fisheye lens paired with a Metabones Speedbooster XL to bring energy and spontaneity to his camerawork. For a traditional look, he turned to the LUMIX G-Series 10-25mm F1.7 ASPH LEICA lens, praising its robust construction and constant f/1.7 aperture, which contributed to achieving a more cinematic look.
Image Quality and Color Matching with the ALEXA
One of the most important considerations for any filmmaker using multiple camera systems is how well the footage matches in post. Camarillo was surprised by how closely the GH7’s footage aligned with the ALEXA, especially after capturing in ARRI LogC3 and viewing his shots on the his monitor with an ARRI 709 LUT.
At first glance, Camarillo and his team were impressed with the GH7’s performance. “It was really cool… showing the DIT [Digital Imaging Technician] and the other camera operators—they were so excited about it,” he recalled. The GH7’s ability to shoot ProRes 422 HQ in 5.7K resolution further confirmed that the footage would hold up to the standards required by high-end commercial production.
In terms of editing, the GH7’s ProRes files integrated smoothly with that from the ALEXA cameras, despite the difference in sensor size. As Camarillo noted, “The GH7 is obviously not an ARRI full-frame camera like the Mini LF; it’s a Micro Four Thirds camera, but in terms of color matching, absolutely.”
Image Stabilization and Autofocus
Since speed and mobility were essential for Camarillo, the GH7’s In-Body Image Stabilization played a key role in ensuring steady shots on a skateboard. “Just hold the camera to your eye and it’s incredible to view how smooth it looks,” explained Camarillo. This allowed him to move fluidly through a shot without relying on additional stabilization gear like gimbals or Steadicams, which would have slowed him down. Unlike most professional cinema cameras, which lack image stabilization and autofocus, the GH7 offered Camarillo additional flexibility.
Camarillo also took advantage of the GH7’s improved Phase Hybrid Autofocus, especially in moments where manually pulling focus with a follow focus device would have been too cumbersome. In fast-moving skateboarding tricks, the GH7 provided a reliable way to keep his fast-moving subjects in sharp focus with a minimal setup.
Lessons Learned
Camarillo’s experience with the GH7 showcased how it could function as a versatile tool in professional filmmaking environments. As a director, he appreciated the freedom the camera gave him during a doc-style shoot, allowing him to participate in the action, as well as coordinating with his operators.
He also highlighted that when fatigue sets in, or where quick, agile shooting is required, the GH7 proves to be an excellent backup or secondary camera. “You’re not going to run into any of those issues because of how small it is,” he said.
According to Camarillo, the LUMIX GH7 served as a vital part of the New Balance production. Its ability to match footage with ARRI cameras, combined with its portability and ease of use, makes it a powerful tool for filmmakers looking for a lightweight yet capable option in unpredictable shooting environments with professional-level image quality.
