Ken Zukin
Forum Replies Created
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There are a couple of ways to approach it. The most professional way is to, as you suggest, edit in the powerpoint content in post. Or, you could shoot with two cameras — one on the podium and one on the powerpoint screen, and again edit in the footage later. It makes sense to give the client some options — if they’re willing to pay extra for a professional product, so be it — if they want to cheap-out and are satisfied with an inferior product, at least you’ve covered yourself.
As far as lighting goes, you’re dealing with two different color temperatures, as the powerpoint stuff will be daylight balanced, much like a TV monitor, and the house lighting will be incandescent. So, if you augment the house lighting with a tungsten fresnel and color balance to that, the resulting powerpoint images will look blue. So, shooting with one camera will only work if you can throw some “blue” light on your speaker (to match the powerpoint).
Alerting your client to this mismatch in color temps is a good idea in advance, so as to avoid surprises.
Also, if you do bring it supplemental lighting (and HMIs are the answer here), if you angle the key light as if it were originating from the powerpoint screen, it will sub-consciously look as though the speaker is being “lit” by the powerpoint screen. It’s a nice touch.
With your DVX100, do some testing. Shooting in 24fps can be problematic if there’s interlaced video in the content of the powerpoint. Shooting @ 30 frames progressive is a good alternative.
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Panasonic is responding to the limitations of the HVX-200 with a $6,000 camera that raises the bar a little higher:
https://www.digitaltechnews.com/news/2008/02/panasonic-hmc15.html
looks promising…
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Great tips — and here’s an addition. I usually ask the woman to run the lav mic up from the bottom of her blouse out the top — and I always turn my back to her when she’s attempting to do it. It’s common courtesy and shows respect. I usually give her about 15 seconds to complete the task. Then I’ll attach it, in much the same manner Ty suggests. When it’s time to set the audio level, I’ll always ask what she had for breakfast — it’s a friendly question that usually helps offset the tension — esp. with someone who’s never been interviewed.
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I’m a camera guy — there are others on this forum who are much more knowledgeable about audio manufacturers/gear than I am — like Ty for instance. He’s really more qualified to make recommendations.
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Ole,
A modern wireless system can easily incorporate any microphone you plug into it (as long as the microphone doesn’t require “phantom power.”) So, should you need to videotape a dog-sled race, you simply have a spectator/your producer/your audio-tech point the shotgun mic, which is connected to the wireless transmitter, in the direction of the race participants.
A wireless system, any way you slice it, a god-send, and has completely changed news-gathering type applications.
I suggest you hang out with some people who do this for a living in your area.
Best,
Ken
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I’ll give you an answer from a camera operator’s perspective: it doesn’t matter. If you are planning to do any critical audio work (interviews, recording of events) with a camera-mounted microphone, you are going to be very disappointed with the results.
What you will end up with is poor quality audio — complete with a lot of “handling noise,” — that is, the sound of the zoom control on the camera being activated, etc. etc.
What you need to buy is a wireless lavaliere system. Sennheiser makes a nice one for about $500 that will allow you to record clean audio. Mounting the wireless receiver to your small camera is a little challenging, but it can be done. This type of system can also be rigged with your Hypercardioid or Shotgun mic (off camera & closer to your talent — on a boom).
Don’t get me wrong — having a microphone on top of your camera is a great thing. It’s good “back up” audio, and can be a real life-saver.
Hope I’m being clear enough here about what I’m saying. If you have questions, please post.
Ken
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Well…these fixtures you’re considering are Arri knock-offs…and not much cheaper than the real deal. Lighting fixtures can easily last 10 years, but tend to lose parts rattling around in the back of a van — so you want to go with a proven name, and Arri is a major player.
I easily found an Arri 650 fresnel on-line for $307 — spread out over 10 years — that’s cheap.
Since you are new to the craft of lighting, it might be in your best interest to either rent some lights for a few shoots, or get involved with a local lighting professional. The three lights you’ve picked out here can’t in any way hurt you, but there are so many other options out there.
Enjoy the journey.
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Yeah, Jeremy, I’m well aware of the “look” of 30 progressive — my client wants the film-like artifacts of 24 fps. I will do some experimenting re: upconverting. Thanks for the help.
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Many thanks for the detailed workflows. I’ll test. If I do record in the field @ 30 fps progressive, and then upconvert using the IO HD to 60 fps, won’t I lose the “filmic” look of 24fps that I’m attempting in the first place?
Thanks. -
The answer: DVCPRO HD / 29.97