Club Vox Pops and Crowd Reaction Steadicam
Issues and concerns
1. I won’t be able to record/transmit video continuously whilst in the venue therefore I must have access to a video switch and the ability to playback some inconspicuous content from the previous weeks via computer at 1080i/720P/PAL. Preferably from remote location so that I can switch it myself and I can control whether I’m live or not.
1. Alternate possibilities include having a secondary 7D, 5D MKII or 1D MKIV posted in I high traffic location that I can cross to. Maybe cool to make it a feature by placing it in a sealed box of glass or perspex. Also suggested would be a wide lens or fisheye. Possibly a motorized, for 360 degree rotation or along a track.
2. Sound is major concern in regards to doing vox pops if that’s going to occur and by your brief intro of the gig. I’m going to need purchase some serious professional audio gear to get anything half usable in a club. If it was just for interviews of bands etc, I have quite bit of experience doing that type of production and the quieter the room the better. Sound is most important with the interview format.
3. I now have some major doubts on having a wireless HD video transmission. Most likely the best we can do is wirelessly will be SD however this may be antiquate as most venues rarely invest in full 1080p screens anyway. Also getting a quality signal of SD on the cheap is questionable. This may be a company expense...
Production List (owned)
1. Canon 7D
2. Canon EF 50 mm f/1.8 II
3. Steadicam Merlin
4. Sandisk Extreme CompactFlash Cards [x2] [total recording time at 1920x1080p = 98 mins]
5. MacBook Pro
6. Lexar UDMA CompactFlash Card Reader [40MB/s]
7. Canon LP-E6 Battery Pack [x3]
Production List (to be purchased depending on all situations)
1. Earplugs
2. Noise canceling headphones
3. Sennheiser SKM300-845 G3 Wireless Handheld Microphone A: 516-558MHz (***)
4. Sennheiser EM300 G3 Wireless UHF Diversity Receiver (Frequency A ) (***)
5. Rode NTG-3 (***)
6. Zoom H4N Field Recorder [Post Audio Sync required]
7. External Mirrored Lacie 2.5inch hard drive [x2 for A B scenario, recommended for workflow]
8. Gefen 1:5 Splitter for HDMI 1.3 [most likely already have this]
9. To be decided (Wireless video transmitter
Workflow
1. Checklist of equipment required.
2. Preflight Equipment Checks.
3. Arrive at venue 15 minutes prior to alloted time.
4. Equipment Setup and checks.
1. Check noise and video quality settings. [preferable video FPS needed; either 24 FPS or 25 FPS] [also available 60 FPS for slow motion promo]
1. Check audio levels and noise levels.
2. Talk to technician to double check HDMI 1080i output from camera.
3. Start at alloted time.
4. Start recording [12 mins per clip max]
5. Vox Pops [2 per hour min]
6. Total recording time 3 hours max [6 vox pops min - 15 vox pops max]
7. Swap cards when needed [start CF card backup to external bus powered raid]
8. Finish at allocated time
9. Backup video CF card to external bus powered raided drive
10. Backup audio SD card to external bus powered raided drive
11. Check quality of recordings
12. Leave venue at alloted time
13. Post flight checks
14. Begin post production workflow.
⁃ Decide on any additional post production techniques such as noise reduction/stabilazation [must occur before transcode to ProRes]
⁃ Sync Wav audio recordings
⁃ Transcode all files to Apple ProRes
⁃ Burn masters to DVD
⁃ Send/Courier data to Ravi by Monday evening
1. Double check Ravi has received raw masters.
2. Prepare for next week and ensure all parties know of any scheduling changes.
3. Enquire about any changes in imagery and or sound production.
Preflight
1. Format CompactFlash Cards
2. Clean Lens's
3. Clean Body and Sensor
4. Double check all batteries are charged and ready
5. Double check steadicam
6. Pack all equipment
Storage Requirements
H.264, 1080p, 25fps [if max is shot, 98mins = 32 GB's
Converted to ProRes 422 [if max is shot, 98 mins [including 16bit synced sound] = 114.7 GB's.
All things considered and maximum is shot
1. Master WAV's = 13.5 GB's
2. Master H.264's = 32 GB's
3. ProRes 422 Intermediate Codec for Ravi edit including synced 16 bit audio = 114.7 GB's
4. Total storage requirements if maximum is shot = 160.2 GB's required
5. Optimum approach would be to have two [A/B] hard drives of 200 GB's in size, allowing a rotation.
Weekly Submission
Next day turnaround to Ravi.
Receive alternate drive to be readied the weeks shoot
