[Ken Maxwell]

I would suggest that the most important consideration in an interview is that the person being interviewed be comfortable. Get a comfortable small chair with arm rests, make them feel at home and frame out the objectionable elements. If you’ve got an interesting interview the viewer will not be looking for a corner of an arm rest, etc., otherwise the viewer will be drumming their fingers with boredom and it won’t matter what they’re sitting on.
Good luck,
Ken

[Ken Maxwell]

Another possibility would be to get a stereo “Y” adapter from, say, Radio Shack and connect one mike to one sided of the “Y” and the other to the other side.
Good luck.

[Ken Maxwell]

I hate to say it but, in my opinion, whomever specified the work flow for this project has it 100% wrong. One has great flexibility in matching computer art to photography, but much less flexibility in matching photography to artwork.
First, perspective can be infinitely varied in artwork. Even distorted for effect. Perspective matching is heavily restricted in photography . . . and you can’t freely distort the image to match any variations to that produced in artwork. Perspective in photography is determined by lens and physical positioning of objects within the stage area. This is many times uncontrollable in exterior shooting (mountains, trees, rivers and lakes, and buildings, etc. You have a bit more ability to position props in a studio shoot.

Secondly, lighting and colorimetry can be infinitely varied in artwork (over-all as well as within the scene). Not satisfactorily so in photography without it being an enormous lighting challenge.

If you must proceed in matching the photography to artwork I suggest you make a simplified, line-art file of the artwork. Feed it, along with the camera video into a switched. Superimpose the artwork over the camera video, view it on a high quality monitor and proceed to position the camera and prop items, along with lens experimentation, and match it up.
Lacking the availability of switcher/monitor equipment, you could make a “cell” copy of your line art (sized to match and register with the camera viewfinder), tape it to the viewfinder and proceed to match everything up.

Frankly, this is not the best way to accomplish you objectives. Obviously it is easier to adjust the artwork to make a match.

Rots ‘a Ruck,
Ken

[Ken Maxwell]

All of the clients that I have (national tv, regional tv and local) are substantially more impressed by one who is imaginatively prepared for various shooting situations than one who is not. I carry what I need for a job and I don’t care what it looks like to an unsophisticate . . . and I’ve been shooting for over 60 years.
Have fun.

[Ken Maxwell]

Camping supply stores have various sized folding stools and chairs. Also the gardening departments of Home Depot, Lowes and Walmart, etc. have cushioned canvas covered knee pads for working on the ground. I carry them all on shoots.
Ken

[Ken Maxwell]

Dan – FYI
Yesterday I had the LCD door function of toggling the image between the LCD and VF when the LCD door was closed/opened fail. The only way that I can now toggle the image is via the “display” switch on the top of the camera. The interesting thing is that now the color shift to yellow problem has cleared and the VF hue is correct. . . no more yellow cast.
I wonder if these are related. I spoke with JVC support and they had no answer as to why the LCD door switch(or Circuit) has failed. They recommended that the camera be sent to a California repair station, however, I think that I will save the money and continue with the display switch operation and hope that the VF color shift doesn’t come back.

Regards to all

[Ken Maxwell]

I think that I would approach this project a couple of different ways.

1) Invert the camera and place it close to the roof of the car, so that you are shooting down at the mirror. Tip the mirror to see your subject and let anything seen through the windshield blow out. Flip the pix back in post.

2) Place the camera anywhere you want it for the shot and place thin tough frost on the outside of the windshield. Let it blow out.

Most likely any of your interior car shots will have the exterior backgrounds blown out unless you plan on really frying your actors to match with a proper exterior exposure.

Good luck,
Ken

[Ken Maxwell]

I didn’t see any fresnels in the lighting kits that you referenced, only soft lights, stands and green screen material.
Fresnels are important to quality lighting, but you don’t define the kind of productions on which you will be working.
My suggestion would be to rent lighting equipment until you have a few job under your belt and can determine the type of lighting equipment that you will permanently need.
In the mean time write the rentals off to the job.
Good luck,
Ken

[Ken Maxwell]

Depending upon the manufacturer, and with client (hotel) approval, why don’t you have the hotel maintenance people simply remove the sensor’s cover and disconnect the unit until you are finished? All it takes is a small screwdriver. Good luck.

[Ken Maxwell]

Oh. That’s different.
If you are using the car as a camera platform I would suggest either a gyro stabilized mount or, lacking that type of mount, shoot from an SUV with rear seats folded down and mount the camera on baby legs or a hi-hat, well sand bagged, and shoot out of rolled down side windows. also, an SUV has enough vertical height to shoot out the rear from a hi-hat or baby legs. Short of shooting through the windshield, a hood mount would seem to be the best way to shoot straight ahead.
I would chose a smooth street to drive on (if possible) and reduce tire pressure.
Again, good luck.
Ken