[Lindsey Cathcart]

Oh, and I have like 200 dollar akg headphones for the studio and a set of lav mics. I just dont like the way lav mics sound and all of the ambiant noise the pic up. I was hoping the shotgun mic, being like omni directional would eliminate some of the room noise and what not. I tent to always get room noise out of standar condesnor mics as well even with a compressor. I am probably not a great audio engineerr but I have been told by recording pros in nashville that I was pretty ok. I just think audio is the evil nemisis of video and want to record it seperatly on the marants pmd660, and try to get a solid fat voice signal. I was thinking of running it through a presonus bluetube mic preamp to fatten it up a bit. Any thoughts?

[Lindsey Cathcart]

Let me know what you think of these for talent and screen?

https://www.skaeser.com/servlet/the-887/STUDIO-LIGHTING-KIT-FLUORESCENT/Detail

[Lindsey Cathcart]

Dude, I cant thank you enough for all of yuour help. I litterally learned after effects from the tutorials on this site and happy as shit to be a member of these forums finally. You rock as does this whole community. That being said, can I trouble you for just a bit more help?

I am going to define this project so you may better understand my limitations and concerns.

I am the camera operator, the talent, the post AE guy, audio engineer, whole deal.

I am pretty ok at AE because I have been a MCSE for 10 yrs. I just tend to get computers. I also majored music and have a full recording studio and lots of mics. I need the mic stand because I will be in front of the camera. The reason I am not loving the T3I is because it lacks autofocus apparently, and the HDR FX7 does a pretty good job at auto focus. I dont zoom because I am green screening and the set will move with the talent zoom as I recall so I think I am limited to software camera zooming if needed. I will take ur suggestion and do multiple takes and maybe frame them up a little closer or farther so that I can switch cameras every 5-10 seconds to keep ppls attention. I dont mind doing multiple takes, this is another reason I was not that stoked on the T3I as I understand it only has a 13 min recording time for video??

The reason I was gonna buy the T3I is this dude on youtube did a side by side of the T3I and the HDRFX7. The T3I looks nicer than my very expensive video camera so I was interested in purchasing it for item close up and head shot and stuff like that. The DOF on it just makes everything look like movie quality. I was thinking of trying cinnegamma on the HDRFX7 as I have read that it looks nice. Any experience with that???

So what I am thinking is I will hire this college graphoc artist kid to help me set it up or maybe hold one of the boom sticks for mics or what not and I will shoot and star in these things. I have keyed before and never really had a problem, but I dont think I have ever gotten really truely professional results from it.

I will totally look at the light you suggested but I have to also add the budget for lighting is less than 1k. I was going to buy 3 PBL MX series dual bulb 500 or 1000 watt softboxes with barn doors and a boom hor hair light. That was for talent. After your last post however I was warned about using construction lights for the green screen. So my questions are these:

I have an audio technica 4040 and 3034 and some sm57s and that sort of thing. You think one of those would be better for micing the tallent?

Can I use CFL softboxes for the green screen or will thier kelvin rating mess me up due to the PBL lights on the talent being more like 3000k, more orange than blue?

If I set up everything and test it do I really need a camera operator, or sound guy present? I was just gonna set this shit iup in a spare bedroom and do it thatr way. Use a camera guy mainly for on the scene interviews and field work.

[Lindsey Cathcart]

The shots from the T3I are gonna be like live shots; Products, interviews, that sorty of thing. No Keying.

Then I am planning on doing a two camera shoot with the HDR FX7 as lead and the t3i for angled head shots. Those shots will be keyed and I will drop them in the virtual set.

Ordered the marantz pmd660 last night, it has two XLR’s and phantom. Just hung up on the mic now, thinking about this beyer dynamics shotgun mic at this point for around 250.00.

I wanted to ask if they make a big boom stand for shotgun mics?

I cant afford a video switcher or recorder. I am stuck with what I got. Just gonna dump the footage and go into AE and go for it.

I didnt realize that HDV was a codec, I thought the sony did Mpeg2 1080i? Or are they the same? Fkn codecs, like a million of em.

[Lindsey Cathcart]

Thank you soooo much for your response. I am thrilled to get a little input on all of this. I have been reading for days waiting on the company to cut the check and have landed on some items I am interested in, if you cares to look it over, I would very much appreciate it 🙂

Green Screen with 10×12 stand and 10×13 chroma key

Canon t3i for 2nd cam “product shots, in field stuff, B roll”
“Using the Canon as B roll is all due to your suggestion btw” I also read it was harder to key it due to 4 2 2 color sampling or somthing and H264 output? so the Sony is probably the way to go.

New Zoom H4N or Used Marantz PMD660?

Rode video mic on the Sony HDR-FX7?
I was going to do this to have like a B roll of audio, or is the onboard mic of the camera close to the same quality?

Rode NTG 2 with pole, shock, cat.
I think you were plobably saying that I should get two of these right?

And most importantly…..3 x PBL MX 1000 watt lights with no fans, softboxes and barn doors for talent, and 2 x 1000 watt yellow contruction lights to light the screen.
Saw a guy using the construction lights and he was saying that the dual 500 watt head lights can be pointed “1 up and 1 down” on both sides of the creen. Thoughts???