Michael Easparam
Forum Replies Created
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If you want everything to look natural, you should work with the reflections. Experiment with the angles required to shoot what you need without seeing the camera setup.
The hardest part of this will be keeping onlookers from stopping and staring at your setup, causing them to be seen in the reflections.
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8″ fresnels are adequate for a 50′ throw, but you’ll have to keep them locked in the spot position. A current Arri 8″ 2K will throw around 85fc @ 50ft in a 10ft circle. I would say you need at least 50fc for most things, so opening up the fixture a bit would probably give you around a 16ft circle @ 50fc. Blending four fixtures together nicely is only going to light you a 24ft wide strip.
I would be more concerned with where/how you are going to plug in 2K fixtures at 16a in random churches. I would stick to 1K fixtures that you can double when possible or separate when necessary.
If you want to go cheap, I recommend just going with basic par64 cans. No need to swap lamps around at that distance. Go with the slightly stippled/frosted narrow lamp (NSP) instead of the clear very narrow (VNSP) and get yourself some 1/4 and 1/2 diffusion to vary the spread.
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Bump…anyone have any ideas? This footage is unusable in Premiere.
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Or course, I meant B6 for the Countryman lav. E6 is the headworn model.
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I second the Sennheiser. Great system for the price. If you want an upgrade to that for just a bit more, replace the Senn lav with a Countryman E6. You might can order the Senn kit with no mic, just a body pack (sometime this is called a guitar kit – same body pack, you just get a guitar adapter cable – it will work just the same with a mic plugged in) then purchase the Countryman lav with it. Make sure you get the medium sensitivity E6. The high sensitivity is worthless (shouting distorts it), and the low sensitivity won’t give you enough output unless you are doing musicals.
The ultimate lav mic in my opinion is DPA. But you’ll pay as much for that as you did your wireless kit – makes you nervous to let the talent ruin it!
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Gold plated contacts resist corrosion better – which is probably the source of your “crackles”. Your “silver” contacts are probably nickel plated and have just worn out/corroded.
Silver is the best conductor, but we all know what happens to silver that’s exposed to air. Copper follows, same problem.
I highly recommend gold contact connectors for any portable equipment, especially in moist/salty environments. No need to buy $$$ exotic connectors, standard gold plated Neutriks are great – probably $1 more on average. Don’t buy connectors from your average supply house unless you like paying top dollar. Full Compass usually has the best prices on connectors in groups of 10. Sometimes 10 from them is what 2 costs from the other places.
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Do you have Premiere Pro? (I assume so since you are in this forum, but just checking) If so, what version?
I’m not sure why you purchased another software pack since at least Premiere Pro 3 and higher can export to all the formats mentioned here.
I use PP 3.0 to export to 1280x720p H.264 for YouTube all the time. Vimeo likes it also. Better get used to it now if you plan to step into the Blu-Ray world soon also.