When Texas-based filmmaker and musician Joel Herrera set out to make his latest documentary, DIY: The Rise and Fall and Rise of Punk, he didn’t just want to document punk history—he wanted to show its raw, do-it-yourself spirit in the way he made the film. That meant a small crew, fast setups, guerrilla-style shooting, and rugged, reliable gear.
At the center of that gear package was the LUMIX GH7, a micro four thirds flagship that became Herrera’s favorite camera on the project. “I love the S1H and the full-frame look,” says Herrera. “But the GH7 was the camera I kept coming back to. The form factor, the features, the way it fits into my kind of shooting—it’s hands down my favorite camera.”
Herrera’s filmmaking journey began through music. A lifelong drummer, he played in bands around Dallas and developed a love of movies and sound design, eventually leading him to Full Sail University in the mid-2000s. While there, he discovered a fascination with the camera department and transitioned into cinematography the DIY way: buying a used Canon 7D off Craigslist and calling himself a DP.
Two-camera interview setup featuring actor and musician Fred Armisen.
His breakout moment came with A Fat Wreck, a documentary he worked on about the independent punk label Fat Wreck Chords. Funded through one of the first successful Indiegogo campaigns, the film raised over $40,000, screened at dozens of festivals worldwide, and launched Herrera into a full-time filmmaking career.
That punk rock ethos—scrappy, self-driven, and unapologetically independent—has defined his work ever since.
Herrera’s latest film started with a chance reunion. While touring Europe with his band, he played at SBAM Fest, a punk festival in Austria. There he met Stefan Sbam, the event organizer, who had unknowingly helped distribute A Fat Wreck across Europe years earlier.
Handheld LUMIX BGH1 capturing behind-the-scenes concert footage.
Initially, the idea was to make a documentary about Stefan’s record label and festival. But as interviews accumulated, the story naturally evolved. “It stopped being about the label,” says Herrera. “It became more about what punk means to people today—emotionally, culturally. It’s not ‘what is punk,’ but ‘what is punk to you?’”
With a sprawling shoot that involved concerts, interviews, reenactments, and archival integration, Herrera needed cameras that could adapt to anything with Panasonic being his brand of choice. “I’ve used everything—EVA1, S1H, BGH1, S5II, G9II,” Herrera says. “But the GH7 was the most versatile. It became my go-to for a lot of the reenactment scenes and anything handheld or fast-paced.”
One of the GH7’s standout features for Herrera was its 32-bit float audio recording via the XLR2 adapter. “That changed the game,” he says. “I run Rode Wireless Pro systems into the XLR2, and I also record onboard as a backup. That gives me four layers of audio—clean, safe, and recoverable. In documentary work, that’s a lifesaver.”
The GH7 also allowed Herrera to shoot wide open with confidence. “With full-frame cameras, I’m often at f/4 or f/5.6 just to maintain focus. But with the GH7, I can shoot at T1.4 and still hit focus. It’s amazing for run-and-gun shooting.”
And for someone who mixes formats—micro four thirds, full frame, PL-mount cine lenses—the GH7’s adaptability was a huge asset. “I’ve got a Metabones PL adapter. I can throw on cinema glass, or go lightweight with native MFT lenses. I can rig it out or strip it down depending on the day.”
Herrera has always loved the widescreen cinematic look. Inspired by director John Carpenter, he committed to presenting the entire film in widescreen—even before he had access to anamorphic lenses. Once he did get his hands on SIRUI 1.33x anamorphics, the GH7’s 4:3 open gate mode made it easy to shoot and deliver true 16:9 with authentic anamorphic flares and compression.
“I love the S1H and the full-frame look. But the GH7 was the camera I kept coming back to. The form factor, the features, the way it fits into my kind of shooting—it’s hands down my favorite camera.”
Filmmaker Joel Herrera
“That’s how I snuck anamorphics into commercial shoots,” he says. “They get their 16:9 frame, but it has that beautiful anamorphic texture. The GH7 makes it feel like I’m cheating the system—in a good way.”
Herrera’s interview setups mirrored his DIY production techniques. He used two-point lighting—key and edge—keeping setups minimal but intentional. He lit rooms first, using practicals, beams, and architectural elements to shape the space before placing his subjects. “Catch lights are everything,” he says. “Even with glasses, I make sure you can always see people’s pupils. That’s what makes it feel like film.”
He shot interviews primarily at base ISOs—640 or 4000—across various LUMIX bodies, including the S5IIX. He paired them with a mix of lenses, from Rokinon and Zeiss to Leica and LUMIX/Leica primes. “Micro Four Thirds is still perfect for docs,” he says. “Lighter gear, fast readout speeds, great depth of field control.”
GH7’s 4:3 open gate mode paired perfectly with SIRUI 1.33x anamorphics for true 16:9 delivery and classic flares.
Herrera worked on the edit, mostly at night after putting his daughters to bed. He approached the post production process intuitively, focusing first on the interviews and building out a conversational flow with minimal introduction. “I wanted it to feel like you were dropped into a conversation mid-stream,” he says.
Archival footage came from bands, friends, and a lot of late-night digging. When gaps existed, he staged reenactments with his bandmate Chris Cutler in a garage full of punk posters. Those scenes were shot on the GH7 with anamorphic lenses, adding stylized visual texture.
DIY: The Rise and Fall and Rise of Punk premiered at the 2025 Dallas International Film Festival (DIFF), now an Oscar-qualifying event. The film received rave reviews, with many viewers saying their only complaint was that it was too short. “There’s enough material for a Volume 2,” Herrera says. “SBAM Records was a major part of the initial concept, and we’ve got tons of footage we didn’t use. We’re exploring options for a follow-up.”
Distribution is already lined up through independent record stores, thanks to the backing of SBAM Records and their global reach but Herrera isn’t in a rush. “This was always a labor of love,” he says. “The goal wasn’t to sell it—it was to make something real.”
Reflecting on the production, Herrera believes the reliability and flexibility LUMIX cameras played a major role in getting the film made. “I’ve dropped the camera. I’ve banged lenses into guitars. I’ve used it in festivals, garages, on gimbals, handheld, rigged to the ceiling—and it never failed. That’s what I need from a camera.”
Stay updated on the film’s next chapter by following Joel Herrera (@joelherrera_dp) and SBAM Records (@sbamrocks) on Instagram.
