Steve Crow
Forum Replies Created
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Seth – yeah for a shoulder rig I probably wouldn’t incorporate the Bracket 1 although I suppose it might be possible – not sure how that would work. I too am looking at a rails based rig at some point in the future but I haven’t seen any rail based rigs that conveniently support two wireless lav receivers. There are the cages but I just don’t like the configuration of those.
I have done some adjustments to make the rig a bit more ENG friendly for recording video at live events. Basically I moved the Zoom H4N off the top bracket and attached it to the lower bar using a cold shoe style adapter. Where the Zoom was positioned I put a shotgun mic instead and then I purchased a Sescom splitter cable that allows me to feed the captured audio to both the Zoom and directly into my Canon T2i – it also has a headphone connection so that I can still monitor my sound. I’ve only tried it once but it seemed to work pretty well (by the way I attached the whole rig to a Manfrotto Monopod instead of a traditional tripod for that assignment)
Luckily for you there are lots of people coming up with rail systems for the BMCC – it’s going to be a matter of finding one that gets you close enough to where you want to go and then making adjustments to customize it to perfectly fit your desires.
Steve Crow
Crow Digital Media
http://www.CrowDigitalMedia.com -
I know this post is going to be popular but here goes.
Ok, I don’t know the D7000 from Adam and I’m not saying that Nikon doesn’t make some impressive still photography cameras but when it comes to specifically video, they haven’t necessarily been in the forefront.
Canon seems much more committed to the HD DSLR future and even they have been very slow and taking baby steps in order to protect their product line which is infuriating. Still, I try and stay with the leading brand in a category just because I know that I can always find plenty of support online – frankly I think there a lot more pro shooters using Canons to film HD DSLR video than Nikon and so many more people to get very specific advice from.
Sure, sometimes a small player comes around and really shows the big boys up and in those situations, it can be worth the move if the smaller company is reliable and providing performance and/or pricing that the majors can’t match. (I think the Mac fits into this category) That’s why I haven’t been very interested yet in Panasonic or Sony and feel more comfortable sticking with Canon line (for now).
Something like the Canon T4i is a bit cheaper than the Nikon you mentioned allowing you to invest in better glass which is, arguably, more important than the body. Does the D7000 do 60fps for slow motion video? I believe the T4i has higher ISO too which would be great in a dark nightclub environment. Regarding the kit zoom lens you mentioned, I wouldn’t bother with it. Invest in a nice, fast 50mm and save the rest for audio gear, a monopod, ND filters and the tons of other gear you are going to need that you didn’t mention.
Steve Crow
Crow Digital Media
http://www.CrowDigitalMedia.com -
I think the light stands will be way more flexible in setting up the lights in the right position, maybe think about a bounce board as a simple fill light (perhaps held by a stand) for those interviews in the sunny room
Don’t see anything foolish on your list at all – lights are expensive so you may have to buy used
Steve Crow
Crow Digital Media
http://www.CrowDigitalMedia.com -
Yes, try setting the audio level much lower in the camera itself and sending it a stronger signal. The audio pre-amps in these cameras are not very good so the less they work the better,
With that said, plugging sound directly into the Canon doesn’t often yield great results, do some reading on dual audio sound and I think you will find some better solutions for yourself in the long run
Steve Crow
Crow Digital Media
http://www.CrowDigitalMedia.com -
Manufacturers make “cheese plates” for exactly this purpose. I don’t know if the name refers to swiss cheese with all its holes or to a cheese grater but a short screw would attach the cheese plate to your rig and then the quick release plate attaches to the cheese plate, that’s my understanding, not having one myself.
Steve Crow
Crow Digital Media
http://www.CrowDigitalMedia.com -
oops – just re-read your post so my earlier comments are unncessary- the only thing I really have to add is to remember about backup and not to count on the single RAID device itself to be sufficient – it has to be backed up too.
Steve Crow
Crow Digital Media
http://www.CrowDigitalMedia.com -
If it’s a real option for you I have to recommend the 7D, many Hollywood level shooters have remarked how despite it still being a cropped sensor camera that something that it is doing video wise makes it stack up VERY well even compared to the 5D Mark II.
The Rode VideoMic Pro is a good choice BUT don’t think that it alone will give you clean audio. It’s job is simply to IMPROVE the quality of the sound being captured by the camera over the native built-in mic which is terrible. It gives you a cleaner audio track that you can sync your REAL audio to. In an emergency, and if the conditions are just right, yes you COULD use the Rode Video Mic as your sole audio source but I think you’ll find that’s it’s only so so audio wise…and remember too that you still can’t monitor your audio which is very important. Magic Lantern can improve the sound performance and with the addition of a special splitter cable from Sescom with extra goodies inside so that you can even monitor the sound level and see your levels. You know what, just try it and see for yourself that’s the best way.
As you grow into the profession you are going to be “cluttering up” the camera quite a bit in order to add the bits and pieces that help turn a still camera into a feature film movie camera – that’s where all those rigs you see online come in – to hold and stabilize the extra hardware. Just learn to live with it is my advice, some DSLR rigs end up being bigger than a traditional videocamera but offer a cinematic image that those traditional videocameras only can rival if you spend tens and tens of thousands of dollars.
Don’t forget that a lot of gear can be rented or even borrowed from good friends! Start slow, don’t rush into turning this into a business, that’s not all it’s cracked up to be meaning when you turn a passion into your sole source of income….that’s a whole ‘nother kettle of fish best left for some other time.
Dig into the older threads here on this forum and you will see lots of discussions about sound, gear etc that will help guide you onward.
Steve Crow
Crow Digital Media
http://www.CrowDigitalMedia.com -
Well doing live events with a DSLR isn’t going to be the easiest when you are filming by yourself with only one camera. Long speeches and presentations (anything over 10-12 minutes) are not suited for DSLRs. However things like promotional videos, dramatic and non-fiction films and music videos, are a much better fit for a DSLR.
DSLR’s teach you how, in my opinion, to become a much more skilled filmmaker than a traditional videocamera because it allows you to shoot in full manual which means you will be learning more about light and how to control it with aperture, ISO and shutter speed plus all the other light manipulation tools you have at your disposal.
You will also be pretty much forced to learn a great deal more about sound too which is such an important aspect of any project. I say this because inexperienced traditional videocamera shooters are often lulled into using just the built in microphone because it’s so easy, that’s not a viable option with a DSLR. A major part of your budget has to go into sound gear if you elect the DSLRs – sound is SOOOOOOO important.
It’s been a few years ago for me since I made the switch but I still use a very basic DSLR, the Canon T2i. It gives me full manual control and the video quality is very similar to Canon’s more modern crop sensor cameras. Today, if I could afford it, I would go with the Canon 7D but for me the price made it a non-option. Perhaps you can pick one up used from a reputable source. Just buy the body, whatever camera you get – that should save you a few pennies. The kit lenses are too “slow” – from Canon you can get a VERY nice 50mm 1.4 for around $300 or a 1.8 50mm for closer to $120 but I found the focus ring hard to manipulate because it is so thin on that lens – the 1.4 has a nice wide focus ring.
Steve Crow
Crow Digital Media
http://www.CrowDigitalMedia.com -
Much depends upon what type of work you will be doing or going after with your new camera and on how willing you are to deal with the extra technical challenges of HD DSLRs. I elected to leave traditional videocameras for a DSLR however there are some jobs that now are too difficult or not possible to do with my current equipment so those are not assignments I can’t get, luckily most of those jobs I am not so interested in anyways! 🙂
Steve Crow
Crow Digital Media
http://www.CrowDigitalMedia.com -
Great advice from Chris! Also go ahead and give Magic Lantern a shot if you already have the Rode VideoMic…it won’t hurt anything.
Steve Crow
Crow Digital Media
http://www.CrowDigitalMedia.com