Members 6tring Posted July 14, 2003 Members Share Posted July 14, 2003 We are playing a local festival here in 2 weeks and we want to record it. Our drummers brother works in the movie industry and has some connections for cameras and such. He says he would need an xlr connection out of the main board and thats it. He will hook a camera to that and then will also run 2 remote cameras. Sounds like it might be a pretty cool set up if it all works. Any suggestions on other options or things to consider so that we can take full advantage of this upcoming opportunity? Link to comment Share on other sites More sharing options...
Members dirtyragamuffin Posted July 14, 2003 Members Share Posted July 14, 2003 Are they shooting on film, tape or DV? I'm assuming they'll take the board out to a DAT recorder, or if video direct to the beta deck or whatever they're using. They'd probably want to stick a shotgun mic in the audience on another track. If they're filming, it'll be hella expensive. Film stock ain't cheap! Make clear to the crew where they are and aren't welcome to shoot, as you don't want them in the way of the performance, nor do you want to have any ill feelings toward one another. Check into who's liable for any equipment damages or failures. You'd absolutely {censored} yourself if you saw how much it costs to replace a motion picture or Betacam lens! Link to comment Share on other sites More sharing options...
Members 6tring Posted July 14, 2003 Author Members Share Posted July 14, 2003 Wow, some good stuff there. I will send your comments to our drummers brother so he can plan how he might set up or this. I have the sound companies number and will putting them in touch with each other also so they can work any bugs out as well. Thanks for the tips. I am sure they will useful. Link to comment Share on other sites More sharing options...
Members RickJ Posted July 14, 2003 Members Share Posted July 14, 2003 A FOH board feed is not the way to go. Split the mic feeds into individual channels of a time-synched multi-track recorder and mix it later. Make sure you also have several stereo pairs feeding the multi-track recorder for audience response and ambience. And make sure your cameras are at least "free-running" synched SMPTE time code. Another issue: If the lights are not color balanced to 3200 degrees Kelvin, your video will look horrible. You MUST work closely with the LD to make sure your cameras can get a proper white balance just prior to the show -- in the exact same ambient lighting conditions as the show itself. I've spent the last 13 years in video production, including a stint as an A2 at The Post Group at Disney/MGM. PM me if you want more details. We just did a six-camera video shoot of an outdoor festival for a "British Blues Invasion" series we're preparing for PBS. Our cost for the production (and we called in a helluva lot of favors) was $20,000. For the record, dirtyraggamuffin's right on the money: Each Sony broadcast-series camera rented at nearly $500 per day, not including operators, cabling or support. The crane and remote for one of them rented at $2,000. The lenses varied, but a ball-park estimate puts them at $20,000 each to purchase. The cameras' pro-net purchase prices are over $40,000. The budget for video tape stock, BTW, was $2,000. OTOH, you can do it cheap with a couple of "Uncle Charlie's" and their home camcorders. That's always fun for the family to watch, but it won't cut it if you want to release it as a professional video. Link to comment Share on other sites More sharing options...
Members dirtyragamuffin Posted July 14, 2003 Members Share Posted July 14, 2003 god I would hope the crew knew to keep the cameras white balanced properly, and definitely will have to work with that LD. If it's a pro company I'd hope they'd know that. Balancing those cameras a dozen times is a pain the ass but worth it. The Sony Betacams I've used also were costing in the $40K-50K range. The engineers made it a point to stress this since some idiot cam ops kept forgetting to tilt lock the camera mounts in the studio, and they almost tipped over! (I think one actually did once...not good for the budget that year ) If this is a pretty serious project, then RickJ is definitely right--multitrack the performance and mic the audience. The FOH mix alone is no the way to go. If it's a more lighthearted project and you're not looking for pro results, and you don't have live multitracking capabilities, the FOH mixed with ambient mic'ing would maybe work OK but would sound notably different...and I suppose it's relative to how that particular FOH mix is. Could work, could not.... Link to comment Share on other sites More sharing options...
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