[George Burbano]

I dont understand what shotgun mic you could have bought, that has been made in the past 10yrs that is not compatible with the HVX??

But it should work fine…

[George Burbano]

Ok Chris.

1. If FCP is working fine, meaning no major problems with starting, and actually running, then I doubt its a problem with FCP

2. You said the video looks fine on the monitor, but crappy through your DVD. That my friend is a Compression problem…

Either your compression settings are wrong or you are compressing twice.

I have seen people do this often especially with new users to FCP suite.

It sound like youve captured in the right codec.

Then you should got to “Export Using Compressor”. Now Im using FC 5.4 not upgraded to 6.0 but I believe its the same.

Once in compressor, and you select, where you are exporting and so forth, choose the best dvd setting, based on the time of your project.

That is it…

Things you need to check.you said you captured quicktime files.

Did you capture using Final Cut or just quicktime?

Cause I know some people have had trouble capturing using just QT compressed and then recompressing everything when exporting.

Do a test.

Capture a 20 second clip, from a tape, with FC and then export it using compressor to best DVD settings. Burn a DVD and see how that looks…

I really think its your exporting where youre problem is unless like I said you captured compressed and then are recompressing on export….

George

[George Burbano]

You are right Ty. The problem I see here, is this gentleman is having an issue, because he is not familiar with using the equipment he has. Too many people are then telling him to go get another piece of equipment which he also wont know how to use. There is nothing wrong with the equipment he has. He just needs to know how to use it.

How to obtain proper placement of mikes and checking sound levels and setting them are not a science. They require some practice and knowledge of the equipment someone is using.

Yes a sound mixer is great and a fantastic piece of equipment when it is necessary. But he really doesnt need one, he just needs to learn how to set up and use the equipment he has.

I like the reference of the lighting problem that many encounter also
Another problem that many do not know how to address. Things like Key Shifting, basics of lighting are things that perplex many starting photographers, videographers or cinematographers. Things that require the basics…. Whether lighting, camera operation, audio or even advanced things like post production. All require a basic understanding of operating and working equipment. If money was of no object, our equipment would have no limits. But………

YOu still have to have the basics..

George

[George Burbano]

I use this same setup to record interviews and never run it through a mixer.

You need to do sound checks where you are shooting.

1. do a sound check without dropping the sensitivity of the transmitter
2. Listen to the sound that you are getting at your camera through headphones. Try and adjust the manual audio setup on your camera.
If its too hot, (too loud or distorted) then start dropping the audio output level on the “RECEIVER” first.

It may not be the transmitter that is overdriving, it probably is the receiver. Once you are no longer getting distorted sound, then adjust your levels at the reciever. and readjust at the camera.

You only need a mixer if you are recording multiple seperate audio, and feed it to the 2 channels on a recorder or the camera. Example several lavs or mikes into two channels. You dont need to spend $1500+ on a good mixer, you just need to do a sound check and audio adjustments

By the way, most lavs are omni directional where a good boom, would probably work better well placed. Unless everyone is moving around, you can place it on a matthews or similar stand, and put it higher than the camera can see, above their heads.

Experiment with what you have before you go and get what you dont have or may not need..

Just my thoughts.

George

[George Burbano]

Wow if you are dazed and confused now, wait till you start getting all the equipment, and putting everything in play.

First start with what is your budget…From what you mentioned I estimate it is about $20,000 US Dollars.

The EX3 alone $8300 take or add, a couple of cards about $2000 (ok maybe 4, but you need at least this) Depending on the event, you may need to be able to record at least several hours of footage.

Then you need a good light set. Good portable lighting, batteries about $500. Location lighting can be more depending on what you are going to shoot.

Wirelss mic system, both lavs and handheld, Sennheiser about $600-$2000 depending on the system you get.

Extra batteries , a couple $500

Now for the computer:

If you are going with Mac 8 core, (which by the way is a bit of overkill, but if you have the money,….) An upgraded computer with memory, about $4000, a good monitor, $1200 a second broadcast monitor, HD, $1500, A Kona or blackmagic HD card, $1000, Software FCP around $1300, am audio interface, a mixer, and good studio speakers, $1000.

Like I said about $20,000 take or add.

So why am I listing this to you, well to give you an idea about the money you are going to invest. You can cut this by starting slow…

This isnt including, actually editing, or being able to edit. Some guys farm out editing to people who that is all they do.

Well, I have been taping events for almost 22 years now. We always purchase equipment that we need as we go along, but the basics you cant help. Remember that you do need to have a spare camera, when shooting events. You never know, and there is no redoing it… You pretty much need 2 of the important stuff. Mikes, lights, cables, cards (for tapeless) etc…

We shoot all type of events and do very well doing it. But we are well equipped and have expanded our equipment as time goes.

Good luck to you and I hope it works out. Do alot of research, and purchase equipment based on what will work for you. Keep in mind ease of use, portability if you are shooting events… And make sure that you know every little detail and shoot and experiment alot before taking on an assignment. Especially with new equipment. Our policy is no new equipment is used as primary on a job, until we use it as as second on several jobs. I hope this helps..

George

[George Burbano]

Im using a 17″ Powerbook (G4) with OSX.4.11 FCS 5.1.4. I shoot with an HVX 200 on P2 Media in DVCPRO-HD 720P 24N mode, and edit with no problem whatsover. A couple of pieces of advise though. 5.14 uses import-p2 which I believe changed in 6.0 I dont want to change just yet, but I do rough field edits on my powerbook. If you need anything more than that, you should do it on a desktop rather than a powerbook. You should have the max memory 2.0gb and use an external drive. I prefer the G-Raid drives. The good thing is that unless you are going to do any serious effects etc.. you can do it on a powerbook with no problem. Anything serious though, takes time. I have tested similar footage with special effects on both a macbook pro, and my powerbook, in similar configurations and the macbook pro is slightly faster on some realtime effects. But that was just playing around… So any serious stuff should be done probably on a desktop.

Also make sure that the P2 Drivers are installed before connecting the camera or loading a P2 card in the PCMCIA bus. Both drivers must be installed first, the ones for the P2 Cards, and the ones for the camera and the 60gb drive, if you might use one.. The cards mount on a desktop like a drive, so you have to unmount it like a drive. (drag to trash can)

good luck

George

ps. the pre-intel macbooks are Powerbooks and the ones with the intel chips are called macbook pros..

[George Burbano]

Im not sure about any other mic systems, but I use the allocated “C” freqs. at or around 745.00mhz from Sennheiser. TV transmissions utilize wide FM band transmissions, that are digitally encoded. Sennheiser units use narrow band FM UHF. While it may be possible to occasionally receive interference, higher end mics can be PL toned, where most interference will be eliminated. Again, when transmitting, the strongest signal to the nearest receiver will work fine. I can only speak for myself, but when I use wireless, it’s for no further than maybe 30ft. where most systems operate fine at as far as 1000ft. If you need more than that there are system antennas that can be utilized to enhance reception further both from popular manufacturers like shure, sennheiser and lectronics. I dont think this is something that is of great concern to us. Also, most people,.. not all are on cable.
The extra burden of having an additional decoder unit, and even a better antenna than traditional rabbit ears on a tv, are going to sway the people who have held away from cable services, towards cable. All TVs are required to receive interference, so therefore it wont be much of a concern that you would interfere with them. This is all part of “Part 15” of FCC rules. While it may be technically illegal, I dont think you have to worry about the FCC utilizing hundreds of man hours, to try and triangulate you while you are shooting a scene or a wedding. If it is a tremendous concern, or wireless cannot be used, that is why we use wired systems..Just a thought.

[George Burbano]

I dont get it maybe Im missing something, the feb 2009 switch has to do with broadcast tv transmission and the way it will be transmitted. What does this have to do with portable transmitter systems, such as wireless mikes.. Again maybe Im missing something.

[George Burbano]

the 702t/744t will jam timecode in all framerates. If you are renting either one for the shoot, rent an Ambient RF Slate, hook up the tc transmitter to the audio recorder, and use the slate. As you slate each shot, you have your timecode right from the slate. Otherwise you can jam tc directly to the camera, just get the right cable.

If you use the Ambient slate, just make sure the dip switches are set right. It’s really easy. If you decide to use this, email me and I will email you my settings. I set it up with the techs at Gotham in NYC, when I purchased both the ambient Rf tc slate and the 702T.

You think the instructions on the 702T/744T is bad, wait till you seen the ones that come with the Ambient slate

George

[George Burbano]

Shooting weddings as additional source of income for the past 20yrs, I can tell you that the key is to keep everything simple and basic.

It starts with the actual taping. Camera edit what you pre conceive what you want your final product to be like. In other words, record what’s important, and in short clips. Dont record everything. The more you record the more you will have to edit.

Record in the order of events. Dont use 2 cameras for everything. Typcially we use 2 cameras for the ceremony and the parts of the reception. Sync the cameras us with a simple sound clap prior to start shooting. If you cannot do so with timecode.. In FCP you can use aux TC to match clips up, in multi angle clips.

We end up with the following usually:

10 mins pre wedding recorded content
Ceremonies, 15mins unless the bride wants the whole ceremony. Otherwise we cut to the important stuff, with music, and switch to live audio of vows, and the important stuff.
5mins of overlays, such as clips of portraits, and some filming of the couple together, and with their bridal party

Some cocktail hr stuff, 3-5 mins
Introduction at the reception, dances, speeches, any traditional stuff such as tossing garters, and bouqets.. 15-20 mins..

Our Final DVD 50-70 mins. If you do more than that, guaranteed that nobody else will watch it, cause they will be bored after the first 30 mins…. No matter how good you shot it..

We have several templates that we use, with strong pre-conception and the righ pre-planning and shooting. Assuming your technical stuff is on the money, exposures, sound recording, color balancing..

6-9hrs on the wedding day
1-2 hrs prior to the wedding day
2-4 hrs editing,
1-2 hrs previewing, final touchups, music, titles, recaps
2-4 hrs compressing
1hr, burning, titling..

total work time: 22hrs.

The basics works all the time, it’s like all the digital photographers out there, who now shoot 2000-3000 pictures on a wedding, then spend 2 days, going through all the pictures, tossing 50-60% anyway, Do it right the first time.. When we shot film, that is how we did it. Right equipment, technically shot correct, and we didnt worry about bad exposures, equipment failures, poorly framed photos etc…Time is money, the more time you spend, the less money you make. You have to balance, good pricing (notice I didnt say cheap, dont undersell or devalue your work) good workmanship, good product, and reasonable time producing your work. Just my thought..