[Richard Kuenneke]

Hello – Thanks for responding. It’s a video project – a documentary featuring landscapes and other scenes where the actual sound may not be suitable – like adjacent to roads or whatever. My goal is to set the mood with nice ambient sound as explained before – and could you explain what you mean by perspective.

Rich

[Richard Kuenneke]

Yes sir. Thank for the note and the advice. I appreciate it very much.

Rich

[Richard Kuenneke]

Hello Ty and thank you for the response.

I appreciate the need for a mixer – and I wish I could incorporate one in the system – but I typically work alone and I’m struggling to manage the camera, microphones, lights, not to mention the story itself – a second person would be a luxury – let alone an audio assistant!

I do monitor with headphones and know enough to keep the audio levels within the necessary range. I also know to avoid AGC. That’s why I use the dual system with my Canon 7D – because it has a built-in AGC that cannot be turned off.

Thank you again!

Rich

[Richard Kuenneke]

I thought the Cow article mentioned earlier was one of the best written on this topic. I’ve been shooting a documentary since last fall – for pay – and I couldn’t be happier, although there have been some troubling moments.

The whole shutter-framerate discussion gives me a headache. I keep my shutter speed around 60 or 30 if I’m shooting 1080/30 – but I can also go up to 125 or higher.

I use half the watts I used with standard def video cameras. I now prefer natural light and use only a bounce card if I can get away with it. If I need a light – it’s a very low wattage on a dimmer.

The learning curve is with exposure. This is where I need work. Some of my scenes have crushed blacks. I’m able to adjust in post.

I move the camera rather than zoom from a distance – for two reasons: the Canon 17-55 2.8 lens is a little short – and it makes for better quality videography.

I’ve had overheating problems – but not recently. Canon technical reps say not to worry.

I’ve had moire issues – but I tend to avoid shooting subjects that may create those problems.

Focus has been an issue. I tend to shoot with sharpness all the way down and I believe that affects how I see the scene in Live View. I use the zoom feature available and that helps. The Zacuto Z-Finder can help – but I often shoot low angles and the Z-Finder is useless for such purposes. I have an IKAN monitor – but i’m not happy with it. I need a Marshall with its focus assistant technology.

You’d be surprised how well you can focus using the LCD Live View.

I use FCP and Pro Res LT – and plan to use Color. I’ve tested some color correction in After Effects and I’m very excited about the potential.

I also use a a dual record system with spectacular results. My Tascam DR 100 records beautiful audio.

I do use the Rode Videomic – it sounds better than the on-board microphone – but I don’t believe the quality is useful unless you’re standing very close to someone.

I do endorse the Zacuto Gunstock/ Follow Focus systems. Used with the Z-Finder and you can shoot handheld.

ISSUES

You cannot use this system to shoot lectures or other video events that require long record times – not yet. I still use my PD 170 for that.

This is not a camera system you can pass to someone and expect them to capture high quality images right away. The system is far less forgiving than the typical video camera.

Find a framerate and stick to it. I started out shooting 24p and realized it would be difficult to match with my dual system audio.

Keep a notebook of each and every shoot. This is one of the best ways to manage the learning curve. (in fact – you should use a notebook for every piece of software, computer, and large investment you own – keep track of serial numbers, tech support numbers – whatever).

Pin down a good technical support plan. I bought my system from a local dealer who was able to give me the cell phone number for a Canon technical support rep. The same dealer also back-dated my invoice so I could get a rebate!

Canon has a terrific professional technical support program – where you can get service on your gear within a few days instead of weeks. But – you must own a certain amount of professional equipment – not consumer stuff. My Canon 17-55 lens and 7D camera qualify – but not my 55-250 or the 50mm 1.8 lenes I own.

That said – I’m not sure the 550D would qualify for the level of professional support mentioned above.

Buy the best glass you can. I cannot afford it right now – although my 17-55 cost more than $1,000.00.

I apologize for the length of this post – but i’ve been wanting to write down my thoughts for a long time.

Rich

[Richard Kuenneke]

I like my Sennheiser MD 46 Cardioid handhelds. I like cardioid because it doesn’t capture as much background noise as an omni directional. It looks fantastic too.

Rich

[Richard Kuenneke]

Thanks for the note – I had no idea what to expect, so I went overboard. Since then I’ve learned these cameras can handle severe weather, so I’m looking forward to my first shoot in the rain.

Rich

[Richard Kuenneke]

Thanks for the note Robbie. The ability of this camera to withstand such conditions opens some real opportunities – visually speaking. Do you plan to post some of your video from the snowstorm?

Rich

[Richard Kuenneke]

Mrs. Gillaspie: Thanks for the great note – I was just venting my frustration on this great forum after a meeting a little more than a week ago. The ride home from that wonderful experience forced me to think about why I do what I do and whether it was all worth it. In the end, thanks to the many responses on this forum, I concluded that it is and that the low budget, low quality world cannot sustain itself, even though they do WIN from time to time.

Gosh, I’m ready to start talking about something else.

Rich

[Richard Kuenneke]

I didn’t find this guy – he found me. If I had known one-half of what I found out after 10 minutes, I would never have accepted the invite to bid.
I’m just pointing out the obvious – someone who agrees to produce a professional video that will serve as a mouthpiece for a state funded agency that refuses to use lights, tripod and an external microphone is fooling themselves. That’s not professional video service, that’s misrepresentation.
And the guy in charge that would allow it – and pay for it – is a bigger fool.
At least the Lamborghini and Kia have some things in common – like an engine, doors, and wheels.

Rich

[Richard Kuenneke]

Thanks for the thoughtful comments, Mike. What prompted the whole analysis was a shocking visit with the executive director of an unnamed public agency. His board directed him to collect bids for the production of a video that would help educate viewers about the board’s work and solicit new members. This guy wanted nothing to do with the video – he thought this quality thing was a waste of time. Professional lighting to him was a costly option.
I know this guy wasn’t in the mood to give serious consideration to my work – but still, it is very disappointing to come face-to-face with it. There are potential clients out there just like that – and
sadly – there are so called video professionals who will give them what they want.
I need a look to sell; an expectation of quality from all who do business with me. That’s where I need to push my work in the coming months –

Rich