Tutorial Part Two

Unit Goal: Learn about equipment and identify what type of equipment, based on your budget, that you will be using.

Styles of Shooting

You will learn  a very specific technique for event shooting. It is highly professional and almost always multi-camera. We focus on tried and true techniques shooting with at least three cameras at key events with cameras primarily on tripods, keeping them steady, clean and professional. Also, camera movement should be careful and intentional. Zooms should be slow and minimized.  Pans and tilts should be careful and slow, following the action.

Many people just getting into video production have an image of a wedding videographer with a shoulder mounted cam, walking around the dance floor, getting into the bride and groom and being a part of the action — that’s not what you should do in most cases — it is not professional and it does not allow for good and consistent shooting technique. There might be a time and place for it but in general, the videographer at an event like a wedding, should be more of a shadow — remember, the event is the focus, not your crew.

In event videography, two terms are often thrown around to describe styles of shooting — they are cinema/movie style and journalistic/documentary style.

Cinema/Movie style implies that the production will use a variety of cameras and techniques to create a style that looks a little more like a movie. This style also might include more of a story with narration and interviews shot prior to and even after the event.  To effectively create this style of production, you will need a larger team, at least two people if not even more.

Journalistic/Documentary style of production is meant to preserve and document the event, capturing events as they happen.

Styles of Production

Event production is essentially live production. If it is a small team, it is easier to record directly to the SD cards in the camera and edit later. Live productions can also have a video switcher and mixer to do the post-production live. This is a much more complicated setup and requires a larger team. If it is not being broadcast live to the world, this method is commonly called “live to tape.” If you are streaming on the Internet, it is called “live streaming.” With the “live to tape” options, producers are able to edit during the live event and save time in post-production but this is also more costly and requires a larger team.

What we teach is a style of production that can be fully setup and managed by one person with multiple cameras and edited later in post-production.  Of course, we will also explain what it takes to create a full production team and produce a “live to tape” style production as well, but our assumption is that most people taking this course are working on one person or small teams.

 

This unit may seem a bit like a “Buyer’s Guide” but it’s not.  It is much more than that. This is equipment that will on a professional level with the types of events you will be learning about here. This is your introduction to the equipment necessary for introduction. We will talk about the equipment and the purpose. The links will take you to Amazon listings where you can read even more information about the various items and see current prices.

The “Budget Equipment List” can get you started for around $2,500 with everything you need to start making high quality video productions.  The “Money to Spend List” means you are really looking to go big big. You could easily spend anywhere from $5,000 to $20,000 depending on your equipment choices.

Review the choices, decide what would be the right choice for you based on your goals and needs.  these goals and needs can, naturally, change. You do need to have a starting point though and that is the aim of this unit. To educate you about equipment needed and identify what you will likely be using.

BUDGET EQUIPMENT LIST:
If you are on a budget, here’s what you need to get by and get started. In most scenarios you can get by with two cameras but we encourage three.  Additionally, if you want to do “live-to-tape” or “live streaming” productions, costs can escalate dramatically.  There are some cost workarounds

• 3 dedicated video cameras (not photography cameras, but camcorders)
• Digital audio recording device
• Professional shotgun microphone
• Bluetooth wireless microphone
• 6 quality SD cards
• 3 fluid head tripods
• Editing computer
• Editing software

 

MONEY TO SPEND EQUIPMENT LIST:

• 3 dedicated professional video cameras
• Photography camera with video capabilities
• Action Camera
• Drone
• Digital audio recording device
• Professional shotgun microphone
• Bluetooth wireless microphone
• 6 quality SD cards
• 3 fluid head tripods
• Editing computer
• Editing software

 

We will briefly cover the “live to tape” and “live streaming” options in later this course but those are considerably more expensive and not required for small teams. We have another course that goes into “live streaming / live to tape” in-depth.

A few things we take into consideration with video cameras are mobility, manual controls, accessories, and portability.  If you are operating as a single videographer or as a small team, portability is very important and often overlooked.  All the cameras we list have an input to use a professional quality microphone.  All of these cameras also have a filter ring so you can attach a UV filter to protect the lens. These cameras can all have wi-fi capability so you can control and/or monitor them with a smart phone or tablet.

We recommend having a minimum of two, ideally three or four of the same camera. The same camera will insure color matching from all of you cameras.

PRIMARY VIDEO CAMERA OPTIONS:

BUDGET CONSCIOUS / CONSUMER: Canon Vixia HF R60/70/80 – If you’re are on a budget, here is an easy to use consumer grade camera that can be accessorized with microphones and lens hoods and keep you looking professional on a budget. This camera shoots in a very nice quality high definition with plenty of manual features to control the image. A 43mm Lens Hood is an inexpensive accessory that is functional and gives the camera a more professional appearance. This is also one of the only consumer-grade camcorders which has an 1/8″ microphone input. This is significant because it easily allows for you to add professional audio to your recording. Also, while it might not seem like much, the headphone jack is very important too.  It is critical to be able to monitor audio.  While is a consumer-grade camcorder these features as well as some exposure control help to create a highly professional end product on a budget. For events and most corporate work, these cameras will do the trick. This camera also has wi-fi connectivity so you can control and check your shot from a distance.

MID-RANGE / PRO-SUMER: Sony FDR AX53/AX55 – This is considered a pro-sumer camera, meaning it has the ease of use of a consumer camera but has many features of a professional camera. This is a camera with fantastic image stabilization and beautiful 4K video quality. The AX53 has many features that push it into the pro-sumer range, but this camera can work for professional situations in most scenarios. It has microphone and headphone inputs as well as Sony’s multi-port which allows for remote control and USB connectivity. Remotes (that attach to tripods) can be very nice features for zooming, focusing and recording.  Additionally, Sony has an active hotshoe on top of the camera which allows for connecting XLR inputs or a bluetooth wireless microphone or other accessories.

HIGHER END / PROFESSIONAL: Sony FDR AX100/AX700 – This is a professional camcorder that offers a very high quality 4K video image, a vast

selection of manual controls. And, for events, it is portable and easy to maneuver, great for the videographer who has to be on the move. Given the budget, this camera is our preferred camera on this list if you are not shooting in a studio setting. This camera gives the user full manual control for extreme adjustments of key exposure elements. This camera offers the highest image quality of all the cameras on this list, it is very light, the auto features are very functional.

HIGHER END / PROFESSIONAL: JVC GY-HM200 – This is a 4K camera that offers a higher degree of features that can also easily be used in a studio setting. It’s a little bigger and heavier, but still a very light and portable camera. Additionally, it is the only camera to offer two XLR audio inputs. JVC designed this camera specifically to be for Electronic News Gathering (ENG). It is portable and professional. The menu is a little confusing and it doesn’t offer as many video recording options as the AX100.  However, if you know you might be working in a studio environment too and will need XLR for audio and SDI for connectivity, then this is the camera you might consider.  Or, if you are doing events such as sports with live streaming, there are a variety of reasons why this camera is the preference over the other cameras, which we will explain later in this course.

PRIMARY PHOTOGRAPHY/VIDEO CAMERA OPTIONS:

If you would like to shoot in a Cinema/Movie style, then a camera with an interchangeable lens system is necessary. So is a greater knowledge of basic and complicated photography skills.  Our free Intro to Photography course teaches many of the skills that transfer to using these types of cameras.  It is critical that the user have be very knowledgable with basic photography should you choose to produce with these camera options.

PRO-SUMER: Sony A6300/A6400/A6500/A6600 – We obviously like Sony. That’s because much of their equipment is made with the professional videographer in mind. This camera combines the best of both worlds for photo and video. This is a solid choice for a camera to shoot HD video or as a companion 4K shooter. However, it is known to have overheating problems in 4K so it shouldn’t be trusted as the primary.  This camera is a mirrorless interchangeable lens system. It is considerably lighter than traditional DSLR cameras, which is one of the reasons we really like and recommend these. And, should you decide to upgrade the lenses will work with all Sony E-mount lens systems.

PROFESSIONAL: Sony A7SII – This is a unique camera, that handles the demands of professional photography but has really been constructed for the videographer/filmmaker in mind.  It produces some of the highest quality 4K video available.  This camera is renowned for its ability to handle lowlight.  It is in a class of its own with its ability to shoot in low light situations which make this a tool videographers use without needing to set up lighting equipment.

Lenses for these vary in prices. The kit lenses that come with these cameras are serviceable but not long-term solutions. They can range anywhere from $300 to $3000+.  Sony does make lenses specifically for video shooters too.  However, even some of the lower priced lenses produce exceptional video quality.

EXTRA CAMERA OPTIONS:

Action cameras and drones offer different perspectives and can often reach a location otherwise unreachable. These are nice “extras” to have in your toolbox but they are not the core elements of this style of shooting. They should be used sparingly and with purpose.

ACTION CAMERA: GoPro Hero 5/6/7 – An action camera is by no means a necessity for events but it is a nice bonus or back-up camera. Small action cameras can be placed in unique and out of the way places to get a different shot or perspective.

Action cameras offer a low profile, meaning they can be situated in places where you don’t want a camera to be seen or where there isn’t a lot of room.  During a wedding ceremony, an action camera can be placed near the alter without interfering with photographs or the ceremony itself.  At a fashion show, one can be mounted at the end of a runway to capture a model walking down the catwalk without having to have an operator on camera in a difficult to manage position.  Additionally, as with most cameras now, these typically have wi-fi camera controls and monitoring so you can make sure you are getting the right shot from a distance.

Drones offer an aerial perspective and can be used to really capture the visual elements of an event. Weddings, in particular, find drone coverage extremely useful as many of these venues offer beautiful landscapes that brides and grooms want to remember. They also function well in capture the scope of an event as well as crowds. Keep in mind with both drones action cameras, that they offer a wider field of viewing, meaning much more is going to be in a shot.   Being able to take a camera 200 feet in the air is a nice trick but can sometimes leave you with a less useable video image than if you had only flown it 50 feet to preserve some of the detail and intamcy of the location.

** DRONES MUST be registered with the FAA and the user MUST complete an FAA licensing course to use drones commercially. Also, keep in mind that drones are legally not to be flown over people or within 25-feet of people.  The fines are hefty.

Here’s a sample of some different ways to use drones:

 

An often overlooked element of video production is audio. The quality of audio is what can set apart the true professional and the amateur.  People won’t notice when audio in a video production is perfectly executed and completed with precision. However, if audio is done poorly, it will be noticed — buzzing, humming, wind and low volume levels are all examples of audio done poorly.  Audio can also be one of the most difficult tasks in video production.

 

The aim of this course is not only to keep it simple, but to teach methods that show redundancy, meaning the more layers of audio you have the more you can do with it to insure a professional final product.

At a typical wedding or live event, we are running at least four different audio sources. We use a digital recorder, a shotgun microphone, a wireless microphone and one on-board camera microphone as a fail-safe.

A shotgun microphone can pick up sound at a distance and from a specific direction. An affordable and high quality shotgun is the Azden SGM-1X.  This is a general use professional microphone that will deliver a consistent and quality audio signal.  If budget isn’t your primary concern, then a higher cost recommendation would be the Sennheiser MKH416. This guy is built specifically for the film and broadcast industry. It
is constructed to pick up less noise and deliver an extremely high-end sound.

We also recommend a Bluetooth wireless microphone as well. These small mics should be used in relative
close proximity to the subject but on Bluetooth they offer reliability and flexibility.  Sony makes two such mics. The first is the ECM AW4.  This mic is a

lapel style microphone with 3.5mm connectivity so it can be used with any camera with a mic in jack. Both the receiver and transmitter need a AAA battery for operation. Sony also makes the ECM W1M. This is a similar mic however it can only be used with compatible Sony cameras (all mentioned here).  The receiver fits directly into the camera hotshoe where it communicates and gets power. The latter is a convenient accessory when using on Sony equipment.

Finally, we advise having a digital recorder too. The Zoom H6 Six-Track Portable Recorder gives you the best of all worlds. It is a very portable, high quality recording device. It has built in microphones and six mic/line inputs so you can get the best quality possible at an event.  The two built-in microphones are very high quality, but you can also add additional mics and inputs. This device has four inputs ready to go and can be upgraded six. What does that mean? It means you can hook directly into a sounds system or mixer at an event as well as attach additional microphones.

Editing Software – Recommendation: Adobe Creative Cloud. For video editing, Adobe Premiere Pro is an affordable and robust option. It is one of the industry standards. The skills learned with Premiere carry over to all professional editing programs. It helps to have Adobe Photoshop to manipulate and incorporate stills at times. Adobe Audition works seamlessly with Premiere for audio editing.

There are other software programs out there such as Final Cut, iMovie and Vegas, but we find that Adobe Premiere Pro hhas become so standardized that it is the best fit for this type of production.

As for computers, you need a computer that can handle the load of editing video. Video editing will take up a lot of space on hard drives and it will consume the computer’s resources. A budget computer can be used if you are editing primarily in HD (high definition). A mid-range computer is you are shooting in 4K but editing down to HD and a high end  computer for 4K editing  with fast speeds capable of much more.  There are lots of choices you can make here. These are a few recommendations that could do the trick for you though.

Budget Computer – There simply isn’t an easy to pick out “budget” option for video editing. You can take your chances with a $400-$500 computer but chances are you will find it lacking pretty quickly.  Typically, gaming computers can handle a video editing workflow.  The ASUS ROG GL552VW offers key elements such as a decent video card, memory and a decently fast harddrive. You can upgrade to a solid state harddrive for performance and reliability too.

Mid-Range Computer – The ASUS ZenBook Pro is a robust computer with some nice upgrade options. It can handle most editing needs and it is a lightweight, touchscreen laptop with a 4K monitor.  It may slow down a bit if you are doing extensive 4K editing or layering lots of effects over video, but for typical event purposes, we have found this computer to handle the load.  It can often be found for under $1,400.  If laptop portability is important to you, then this is a good choice. If you don’t mind a heavier computer that looks like a laptop but doesn’t travel as easy, the ASUS ROG GL502 is slightly more expensive but is a more robust computer with a superior video card. This one is in the $1,600 range but can also be upgraded more than the ZenBook.

High End Computer – With the MSI GT73VR Titan you are getting the best of the best. It boasts the latest processor, 4K video, 64GB of memory and so much more. It is expandable and will handle current video trends. Depending on the accessories, it can get costly (in the $4,000 range), but if you have the money to spend, this beastly machine will last for a long time. And if you’re a gamer, this is as good as it gets!  You can also easily add a secondary, larger monitor for editing.  Don’t kid yourself though, this may appear to be a laptop but it is a large, hefty computer. It is better served as a mobile desktop than treated as a laptop.

We also recommend having a DVD/BluRay writer and extra hard drive storage. External hard drive storage should be fast. If you are using traditional harddrives, get one with 7200 RPM. Solid state drives are recommended though. They are dropping in price, they are fast and they are reliable.

Lighting for events is considerably different than lighting in other circumstances such as studios or organized shoots. With events, the goal is generally to use as much natural or provided light as possible.  Lighting equipment and the glare can be very distracting, at times even rude. We never recommend using lights for weddings. They can detract from the day and reflect poorly on the videographer. At other events, such as performing arts performances, conferences or sports, lighting isn’t even an option. With modern cameras, it is rare need that you should have to use any additional lighting at all in these circumstances, but if you do, we have a few recommendations.

There might be the occasion where you need just enough light to get by. There are many options such as the Genaray 312 LED On-Camera Light. We don’t have a particular preference. But what we like about this one is that it has a built in dimmer which allows for brightness control. You can illuminate as much as needed and not be overbearing. It also has color temperature control so  you can adjust the light to get the most natural feel possible. It is battery operated but can be bought with a kit that includes the Sony L battery it requires along with a charger.  There are other similar lights that run on AA batteries. You have options for you kit.

If the occasion requires more, a three light kit like the Aputure Amaran 528 LED Lights can be a good starting point.  These are nice, quality lights that will help in most situations you would encounter for event shooting.  You might need to do interviews, add some light to a dance floor, light a room, or something similar. These will keep a low profile, add the light you need.  We can’t emphasize enough the importance of trying to use the natural or provided light for events, but should you need more, these are battery operated (no cables), light weight and LED. This means that they do not get hot, which was an enormous safety concern for previous lights. Additionally, a kit like this comes with a stand for each light. These are fairly heavy duty stands for the price and offer decent stability. If windy or crowded conditions are a concern, sandbags can also be used to stabilize them.

 

If you want to create a “live to tape” style production, this can get very costly, very quickly. NewTek offers a device called the Tricaster Mini. This system will get you up and running with four cameras for around $7,000 and give you the ability to produce professionally and relatively easily.  Complexity is kept to a minimum. You can create “live to tape” and “live stream” productions with this, editing and/or broadcasting the signal live.  NewTek has a variety of other Tricaster options and so do companies like BlackMagic and Roland. For an independent wanting to do it quick and easy, the Mini is very good option. If you are wanting more capabilities, more cameras, and a greater overall level of control, you might spend another 20, 50 or 100 thousand dollars. At that point, you are wise to enlist the help of an experienced professional to help you through the process.

 

To round out your kit, you will need a variety of cables, connectors, batteries and cases.  We recommend adding the following:

• Three fluid head tripods that are sturdy and tall.  The Magnus VT3000 is a lightweight, portable option

  

  that can extend over six feet high which is perfect for getting above crowds at events.  You can also attach zoom controllers separately for JVC and Sony Cameras (different controllers). The Sony VCTVPR100 comes with the controller and is a similar tripod but considerably more expensive ($600). We don’t highly recommend these unless you are deadest on sticking to the Sony brand.  You can simply buy the remote if you are a Sony shooter and add it to the  Magnus tripod.  Sony does make less expensive versions of this tripod, but they do not have the height nor the durability and are not recommended. It is worthwhile to always have at least one extra/backup tripod on hand.

• Extra tripod plates. The plate attaches to the camera, then to the tripod. You would be amazed how easily these things get lost.
• XLR to 3.5mm.  Have at least three on hand. These don’t last forever and y ou will need short lengths to go from microphones to cameras. It is also worthwhile to keep a long one too for the rare time you might have a need.
• XLR cables. Having enough audio (XLR) cables to go from mixing boards to recorders to cameras as needed is important. Generally a six foot cable suffices for going from mixer to recorder but there may be times when a 25-foot cable is needed. As an event videographer, you need to be prepared for a variety of situations, circumstances and needs. 
• Extra batteries for your cameras, microphones, recorders, lights. All of it.  Always have enough batteries and extras to cleanly get you through an event. It is also critical to make sure all of your batteries are charged for prior to an event too.
• A variety of adapters. The main need for adapters will be for audio.  Common adapters include: XLR to 1/4″, XLR to 3.5mm, XLR to RCA, 1/4″ to 3.5mm. These adapters will have you ready for different mixing board

  

  s as well as different needs for the cameras you will be using.

• C-brackets or something similar.  A bracket attaches to the base of the camera and curves or angles around with an accessory shoe above the camera. These offer a place to hold a light or a microphone as well as increased stability if you need to take the camera off of the tripod. It is actually very important to mount a microphone on a bracket. This is done in order to keep the mic away from any noise the camera itself may be emitting as well as keeping long shotgun mics out of a shot (always watch for your mic in the shot)!
• SD Cards are also going to be a requirement (after all you need somewhere to record your video). Our first choice is the SanDisk Extreme 128GB.  It is a UHS-I card specific for the needs of 4K video and they have proven to be very reliable.  The 64GB version comes in a micro-SD Card for use in drones or the full sized SanDisk Extreme 64GB.  To shoot 4K video a fast SD card is required. If you are simply shooting in high definition then you can get away with less expensive cards as long as they are rated as Class-10. This insures they can handles the speeds of HD video.  They will not likely work for 4K video though