[Mads Nybo jørgensen]

Hey Kamal,

[Kamal Abdallah] “When you say DOP, does that mean I’d need to do the filming and operate the cameras? If so, that’s not what I really want. I enjoy the editing process, because it allows me to work, for the most part, alone. I find that I deliver my best when I’m alone.”

That’s fair enough, but you won’t be working anywhere unless you have footage to work with, hence why you need to make friends with the other guys including the DOP (Director of Photography). Just keep in mind, that most people in production, apart form the post people, don’t like to be in a dark room. I think that you’ll find that most DOP’s would rather be elsewhere – so your perfect partner would be one of those.

Although working in a good team will improve your editing style, so don’t dismiss the process without trying it first 🙂

All the Best
Mads

@madsvid, London, UK
Check out my other hangouts:
Twitter: @madsvid
https://mads-thinkingoutloud.blogspot.co.uk

[Mads Nybo jørgensen]

Hey Kamal,

Yes, you can, but maybe you shouldn’t be using footage and taking apart edits unless you have permission to do so?
If you want to make it as a professional then the first step have to be to respect the creativity & copyright of others.

However, the good news is that there are plenty of people out there such as DoP’s. actors and directors looking for a person like you, just to put their footage into order, even show-reels, test adverts, music promos and/or short films. And yes, on the way you should take the time to learn all the tools required for a professional looking production.

Good Luck.

All the Best
Mads

@madsvid, London, UK
Check out my other hangouts:
Twitter: @madsvid
https://mads-thinkingoutloud.blogspot.co.uk

[Mads Nybo jørgensen]

Hey Emily,

Welcome to the world of live multicam productions. Once you’ve done it a couple of times you’ll soon forget the steep learning curve 🙂

[Emily Schooley] “Text on Top (https://www.text-on-top.com/) so they actually output the CC steam via wireless USB. I don’t know of any video mixers that take USB as input”
Nope, judging from their website “Text on Top” is a plugin for PowerPoint – clever, but can’t see it working with a vision mixer unless the firm has written a plug-in code. Might be worth emailing Text on Top to ask them.

The mixers that you are mentioning are known quantities too. I suggest that you go with a hire company that you are comfortable with and who will support you with a test and on location (I’m assuming that you are renting, rather than buying?).

All the Best
Mads

@madsvid, London, UK
Check out my other hangouts:
Twitter: @madsvid
https://mads-thinkingoutloud.blogspot.co.uk

[Mads Nybo jørgensen]

Hey Emily,

[Emily Schooley] “There will be a person doing the closed captioning live on site that has their own gear, including laptop and would be outputting… something… from the laptop.(the French translation is something totally different!!) Is this box another step along the way that I will need?”

Good question: if you, I would ask the person doing the Close Captioning whether they will take your camera (or mixed) feed and super-impose the text onto that, before they give the signal to the projector? I.e. your set-up is first in the chain rather than last – it is then up to the CC person to add the text and supply the projector.

[Emily Schooley] ”
What is black-burst and TC?”
TC is the time-code which in the old days was recorded onto a separate track on the tape (today it is all part of your digital file). Black-burst is again from the old days, although still used in larger facilities, are to ensure that all “boxes” are synchronized.Best explained that both cameras might be running 60 fps, but one is running 1/2 a frame ahead of the other. The sync-lock ensures that both cameras are running at the same time.
More info can be found here: https://en.wikipedia.org/wiki/Video-signal_generator
However, some video mixers are able to deal with this internally. All you have to do is to be aware of it, and make sure the problem doesn’t appear on the day.

All the Best
Mads

@madsvid, London, UK
Check out my other hangouts:
Twitter: @madsvid
https://mads-thinkingoutloud.blogspot.co.uk

[Mads Nybo jørgensen]

Hey Emily,

No problem, you are not quite back at square one as you are deducting the parts that are not needed for the production.

However, how big is the audience?
And how big is the projection going to be? And how many projectors/screens will be present?
As if there are less than 2-300 people, I would suggest that it would not make much of a difference if the ASL interpreter was situated slightly off-stage and not in PinP at all. Your client may not agree, so do listen to them before following my lead.

From what you are saying the Close Captioning will be a live feed either automated by a box that speaks and writes French, or a person hammering away on a keyboard. Either way, I would examine if that box will give you a video signal that you can key onto your camera feed through the vision mixer. I did a quick Google search and found a company with representation in Canada that may be able to help you https://www.enco.com/products/encaption3.html? The alternative is to speak with the conference AV supplier, the local NGO for deaf people or even hit on one of the broadcasters to see what they do. Also, not sure that it will be readable or look pretty if it is situated at the top of the screen – the norm (in Europe) is bottom of the screen as the viewer normally would “read it” from top left to bottom right. Hence why you want them to look at the person speaking first, before offering the text.

I’ve never worked with the Blackmagic Atem, but it looks like that it could do the job. However, you still need to add production monitor(s) and make sure that the mixer will sync the cameras together – some mixers require a black-burst or TC signal to do that without getting rolling pictures. Make sure to test the setup in advance (talking week/weeks rather than hours) to ensure that it is working.

Finally, although client does not want a recording always roll a “tape” across the final feed (with sound) for both in case client wants to pay for using it later, or even if not expected, there are an issue (complaint) afterwards which will allow you to inspect the footage.

Enjoy 🙂

All the Best
Mads

@madsvid, London, UK
Check out my other hangouts:
Twitter: @madsvid
https://mads-thinkingoutloud.blogspot.co.uk

[Mads Nybo jørgensen]

Hey Emily,

It all sounds like you’ve got it sorted without too much hassle, which is great.

Just a quick comment on connectivity:
If you don’t have a line internet connection, but access to 3G and/or 4G mobile signals there are now black-boxes which contains 4-8 sim-cards for different mobile data services. They will split the signal into small data packets, multiply them, and transmit them for you. At server level they will then re-assemble the data and stream the video out to your audience with very little delay. In the UK there are suppliers who will hire you such box with the mobile data service by the day at a lower cost than a SNG truck – would expect the same for Canada.

All the Best
Mads

@madsvid, London, UK
Check out my other hangouts:
Twitter: @madsvid
https://mads-thinkingoutloud.blogspot.co.uk

[Mads Nybo jørgensen]

Hey Doug,

As Todd says: You know that the materials included have not been cleared and therefor should instruct your client to clear it, or find an alternative.

Children’s content and monetizing on it is very hot properties, and if a US law firm thinks that they can collect your house and all other assets on a no win-no fee, then they will – regardless of the chain project ownership, as you knew that the “goods” was not cleared.

One easy and cost effective test for you is to call an insurance company and ask for a quote for Legal indemnification for you against being sued by a third party due to your clients’ decision(s)?
You will most likely get a no, or get a high quote for an insurance that will only cover you if the client signs your T&C’s, including the insurance company’s specific terms of business.

The easiest all round id to either obtain permission, or re-shoot that specific scene using cleared content.

Now, when all of that is said, depending on the age of the book; the copyright might have lapsed and it is free for all to use – but do check with a lawyer, as the story may be 150 years+ old, but the book could have been printed yesterday with new illustrations…

BTW: Well done for asking before publication, rather than after.

All the Best
Mads

@madsvid, London, UK
Check out my other hangouts:
Twitter: @madsvid
https://mads-thinkingoutloud.blogspot.co.uk

[Mads Nybo jørgensen]

Hey Emily,

It would help if we knew which part of the world that you are based in?

First of all: It is all about the money! If there are no budget, walk away. I am saying this upfront because the specs you are giving is not for a single camera production. It can be done, but the client won’t thank you for poor quality content, and all the money in the world won’t rescue an unhappy client. This is not to be harsh against you, but just to make sure that both feet remains on the ground.

[Emily Schooley] “a live discussion panel event”
The word “Panel” indicates multiple people = multiple sound sources. This normally could be anything from 2 – 6 microphones. DO NOT expect the panel participants to be able to share around a wireless hand-held – they wont. Also, depending on the moderator and setting, you may have a lively discussion that may involve a Q&A audience. If so, outsource to a AV company and take a line audio feed from them. They should also be able to provide lighting and staging too.

Although panel discussions can be covered with one camera, do consider using two or three cameras to be able to cover the whole panel both in mid-shots and wide. Some of the cameras can be fixed, but health & safety you may want to consider additional operators.

[Emily Schooley] “livestreamed to the internet at the same time as recording”
This is where it starts to get expensive. Do question why the client wants it to be live streamed? Is it a topical issue? will there be anyone watching it live?
In any case you will need:
A) A good steady data up-link connection. Can be I/P based, but needs to be thoroughly tested and ensure that you are not sharing it with too many other users.
B) Wirecast from Telestream is one software package to use, that with the right hardware will allow you combine camera and sound, live mix between cameras, ISO record whilst streaming out the signal.
C) You need a service to distribute the Live streamed video – one channel, will only give you one viewer. So if your client is expecting 50,000 viewers, then you need someone with that kind of bandwidth. There are a number of suppliers that can do this from Google Hang-outs to paid for – but do expect to pay per view.
D) With regards to the French version you can ISO record both on the cameras and/or on the right streaming hardware. Just make sure to check that you will get the right quality.
E) “closed captioning” if you haven’t done it before, do outsource to a company that is specialized in doing it – there are plenty around that can do it faster, better and cheaper than you can do it. If you need to it live, then there are people who can do that too. But on a live event, where you are managing video, sound and streaming – do NOT add close captioning to your worries. With regards to having it projected, that should not be a problem either. Just make sure that you get the “cc” file afterwards to use in post – maybe consider asking the supplier to ensure that the file matches your recording – after all, live translation/subtitling will never be perfect, particularly not if everybody on the panel is speaking simultaneously 🙂

With regards to the camera you are using. Converting an HDMI into what-ever connection should be easy enough. However, will you be able with the XA10 to operate it for the full length of the discussion and deliver a framing that you afterwards will be happy with? Back to item of covering a whole panel with one camera…?

Hope this helps answer some of your concerns. Otherwise come back with more questions/ideas.

Good Luck, sounds like a great project to take your business up to something larger!

All the Best
Mads

@madsvid, London, UK
Check out my other hangouts:
Twitter: @madsvid
https://mads-thinkingoutloud.blogspot.co.uk

[Mads Nybo jørgensen]

Hey Stephen,

Just to echo Mark and to add that if you have 3D models that you are happy with, then it should not be too difficult for a compositor to compose them into your footage.

https://jobs.creativecow.net/ is a good place to post jobs up on – you’ll notice that there a few larger companies always seeking out animators and FX people.

My suggestion would be to get three to four quotes. Two from FX houses and two from freelance (owners). If possible supply them with a storyboard with an extensive description of what you are looking for – don’t forget to ask them to make suggestions on how to improve the shots. As in do you want foreground materials to add to the shot? etc.

If all of the quotes are to high for the production, then go back with a fixed price and ask what you can get for the money. However, if the model with skin and all footage is there, you will hopefully find that $2,000 should cover everything.

All the Best
Mads

@madsvid, London, UK
Check out my other hangouts:
Twitter: @madsvid
https://mads-thinkingoutloud.blogspot.co.uk

[Mads Nybo jørgensen]

Hey Damien,

I’m with Nick on his answer.

But what is not clear: Who is asking you to film the lecture?
It is quite normal for lecturers to be protective of their content. But they don’t often understand that although they own the content, you the camera operator own the copyright to the film. My suggestion is for you to charge for the filming and only ask for being able to incorporate footage and job in your show-reel and your CV.

All the Best
Mads

@madsvid, London, UK
Check out my other hangouts:
Twitter: @madsvid
https://mads-thinkingoutloud.blogspot.co.uk