Articles written by Tim Nixon
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The Two Person Video Camera Crew
© 2009 Timothy Baughan Nixon
A two person crew is basically one to three people short. Who is the Lighting Director, the Grip that carries the equipment and the P.A. or Production Assistant that deals with basic needs? Most shoots come with a Producer and any number of extras, including a client.
The answer is that the Videographer and Audio Engineer work as a team and do whatever needs to be done. Both scout the location before moving any equipment, hopefully with the Producer/ Client. Both move the gear while keeping the equipment safe from theft. One can set up the lights while the other positions them. One can set up the tripod while the other builds the camera. They bring their own food and water or have the Producer/ Client handle it.
The Videographer:
Responsibilities include having all of the equipment needed for each particular shoot and knowing where everything is at a moments notice. This includes everyone's phone number and the direction's to location's.
1) Safety for the crew and the equipment is rule #1. This includes food, water and breaks.
2) Batteries are charged and establish a charging station if they may not last the shoot.
3) Communicate with the Audio Engineer and the Producer/ Client about the next shot or location before any equipment gets moved.
4) Be nice. Use complete sentences and take your time because everyone takes their cue from you. This includes parking lot attendants and security people. Set a positive tone.
5) Know when you have the shot and move on. Never be in a hurry, but don't waste time.
6) A secure videographer welcomes any input from the Audio Engineer about additional shots because while you're shooting, they're scouting and maybe getting input from the Producer.
The Audio Engineer
Responsibilities include having all of the equipment needed for each particular shoot and knowing where everything is at a moments notice. The Videographer is also usually the Lighting Director which makes you the grip. But, if you know more or the same about lighting and composition, decide before the shoot who is going to be the Lighting Director. The best two person crews already have this figured out and there is more to be said about this at the end of this article.
There is a hierarchy on most shoots and the audio engineer is usually low on the list. A talking audio engineer bothers many clients and is usually one too many people in a conversation during the shoot. When working with talent, let the Producer do all the talking, except for mic checks and anything technical.
Your audio setup is the first and then the last thing that happens because furniture, lights, camera and monitor need to be set up once you leave the production vehicle. While the Videographer and Producer fine tune the set, that's when you will mic the talent (hidden or in view?), and plug into the camera with preset levels.
The trick to this last minute rush is to arrive at the shoot preset. You've wired the camera with the breakaway cable, sent test tone to the camera and taped the controls down. That means that there are fresh batteries in the wireless mic transmitters. You already know if you need a boom mic and the amount of wireless mics. This is usually known before you arrive and if not, when the initial location scout is being done. Feel free to join any conversation between the Producer and Videographer if you find a location that is too noisy and also who gets mic'd.
Another Way to Be The Two Person Video Camera Crew
The classic two man crew has the Director of Photography working very hard. The Audio Engineer helps but is usually waiting for instruction. So I experimented with becoming the DP/ Audio Engineer.
I hired a videographer to use my gear. They were still my gigs, so I worked with the Producer during pre-production and did everything that a DP does except shoot. The key here is that I was hired by the Producer, not the Videographer. Don't try this on another Videographer's shoot unless you discussed this before hand.
In this new situation, while the B-Roll is being shot, The DP/ Audio Engineer talks with the Producer and plans the next location, making the shoot go faster and smoother.
The Audio Engineer has to be an experienced Videographer, a Lighting Director and ideally, an editor to make this work. It's a great idea for training new Videographers and as we know, the Audio Engineer has the best job on the set because he or she is always watching the dynamics of the shoot and is the best person to see the big picture.
This is not a new thing. As one Videographer told me "Most Audio Engineers think that they're DP's anyway!"
On a motion picture set, the DP rarely touches the camera. He's usually in a black tent, watching monitors with the Producer and planning the next location.
For a two man crew, both should be busy. For someone who's been doing this for many years, it's refreshing to explore and redefine our roles, so at the end of the day everyone is satisfied.
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Tips for Audio Engineers
© 2009 Timothy Baughan Nixon
Using a Lav.
A lavalier mic works best positioned on the chest cavity between the arm pits. It picks up the full sound from the body, the audio level doesn't change when they move their head and there is a natural cavity or cleavage there if you need to hide it.
Position the transmitter on the persons belt or in an inside pocket if a jacket is being worn. Caution: If the transmitter has an external antennae, make sure that the mic cable does not cross it or touch it. This will reduce its range and cause RF interference. Cheat the transmitters antennae so there is line of sight between the transmitter and your receiver.
How to Hide a Lav:
1) On a woman, a bra is a wonderful mic holder. Clip it to the center of the bra so the mic points outwards and hopefully the shirt is stretched enough to not rub against the mic.
2) On a woman without a bra or anyone wearing a t-shirt, remove the clip from the lav and gaffer tape it to the inside of the shirt. The trick is to not wrinkle the shirt with the tape and to keep the mic tight against the material so there is no rubbing sound.
3) On a button down shirt, tape the mic between the buttons on the outside fold. The key is to keep the least amount of shirt material from muffling the mic.
4) When a parka or heavy coat needs to be worn, you may have to position the mic higher on the chest so the coat doesn't muffle it. You may also want to try and hide it in the coat like its a button down shirt.
5) Synthetic shirts suck. They are loud. Tape the mic to the inside but you may have to add more tape to keep the shirt from moving, wrap a piece of chammy or cotton around the mic, change the shirt, ask to not hide the mic or live with it. You can also boom the talent and forget about the lav.
How to Boom the Talent with a Shotgun Mic.
Keep one eye on the talent, one on the Videographer and anticipate who will talk next in a group shot. Watch for your boom shadow and get into the best position before the shot if possible.. A boom adds a second cable to your world so keep it neatly dressed on your mixer case. Your Videographer should offer to hold the boom for you while you clean up the boom and camera cable every now and again.
How to Dance with the Cameraman
The best way to ensure a clean audio signal is to be hardwired to the camera. Be the Videographers shadow and anticipate moves. Keep the cable between the mixer and the camera loose with the extra cable as one or two big loops on your mixer case or belt. This way if the Videographer runs away, these loops will absorb any abrupt moves. Then tell the Videographer to stop doing that. A hand on the Videographer's shoulder works to warn of a problem, like the cable is wrapped around their foot. A wireless can be used between you and the camera but then the cameraman will have to be responsible for the final audio. A second backup recorder can be used in your mixer case if a wireless connection needs to be used for critical interviews.
When to Talk during a Shoot
Audio Engineers should rarly speak. But, if the audio is bad, you are The King. This is your turn to talk, stop the interview and do retakes. You can also change the location because this one is not working. You can also be nice and say, "We need to do that one part again" after the talent finishes their answer. Know when to interrupt and let it be known when something goes wrong.
What was that Sound?
Know what sounds your equipment makes when it goes bad. A battery going dead in a wireless mic sounds like an RF "whoosh". Overmodulation sounds distorted. Clipping may sound like pumping, clicking, distortion or the audio cuts out completely. "Off mic” sounds like the high frequencies and sound levels are reduced.
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10 Interviewing Tips for the Director of Photography
© 2009 Timothy Baughan Nixon
1) Find a quiet and secure location with an interesting background. Move the furniture to get your look if you have permission. Backgrounds can also be built from items found around the location, like plants, books, furniture and art. Remember to put them back after the interview.
2) Use 2 chairs that will make the talent and the interviewer the same height for direct eye contact. Use pillows, books or apple boxes to adjust height. The chairs should not move, make noise, or be high backed or overstuffed. Set the camera at the same height as the talents eyes, unless you want to modify the audiences perception of the talent.
3) Look to the light. The key light is normally close to where the talent is looking. The backlight is opposite the key and the fill light in between. Think of the interview set-up as a clock. The camera is at 6, the talent is at 12 o'clock and is looking to the interviewer at 5 o'clock. The key light is at 4 o'clock, the backlight at 10 -11 and the fill at 8 o'clock. This is basic three point lighting angled down on the talent at about 30 degrees. A fourth light can also be used to dress up the background, usually a slash of light. Adjust the intensity of each light by moving them in and out from the talent, use diffusion and/or dimmers.
4) Have a makeup kit. This will fit in a zip lock bag and consists of powder, a blemish stick and a stack of cotton pads. This will cost about $10 and fits in your camera case. Choose at least a neutral color with optional darker colors. Apply the powder to the cotton, tap it on your arm to remove excess and lightly dab onto the talent to reduce shine. Use the blemish stick as needed. Throw away the cotton swab.
5) Have tapes and batteries next to you so any interruption is minimal.
6) Secure the area. Call for “phones off please”, put a sign on the door if you need to. Room noise can be reduced with a call to maintenance to turn off the air conditioning or music. Cloth clipped around an air vent or a pillow pushed into a ceiling speaker with a c-stand works too.
7) As the interview gets close to starting, tone down any discussions and allow the interviewer to take control of the location and the talent. Allow for eye contact with your producer and sound person during an interview so any concerns can be addressed with subtle gestures.
8) Don't let the talent see the monitor. She will keep glancing at it. Also you may have to remind the talent not to look at you or the camera. The interviewer may not notice this and it's your job to stop the interview and maybe redo the last answer.
9) Think like an editor if this is not live. Did the talent step on the interviewers question so it can't be cut cleanly? Wait for the second sentence to hear if it will be a better cut point and the interview can continue. Is the question addressed in the answer if needed? Do you need to change the focal length after every question (wide, to medium to close-up) so the interview can be cut without b-roll? Are you doing several interviews and want the talent to be looking left to right and the next right to left?
10) Remember that your talent is wearing an expensive microphone and you'll want that back before she starts saying her good-byes.
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10 Interviewing Tips for the Interviewer
© 2009 Timothy Baughan Nixon
1) Research your talent. Google seems to have information on everyone and knowing that your talent has done something like win an award or wrote a book goes a long way in getting their trust and helping with your questions.
2) Talk to the talent before the interview with the camera off. Talk about the weather, their trip to the location, introduce the crew, ask them if they'd like something to drink.
3) Listen. Your main job now is to become the talents new best friend and your best friend will tell you everything you want to hear. They may even cry for you if that's your goal.
4) Technicalities. Explain to the talent if your question will not make the cut. A simple “Please try to combine my question into your answer” ,and a reminder when they forget . Ask the talent to pause after your question before answering so it will cut. Then ask the talent to say their name, spell it, and their title. This helps the editor for the graphic ID and the sound man for a level check. You may have to ask for the talent to count to 10 for an audio level check. This way, you stay in charge and the videographer and audio engineer can stay quiet. "Roll tape!"
5) Keep it Simple. One question at a time, keep it short and start with general questions. Soft news like sports or entertainment allows for the talent to direct the interview and you may get more than you ever hoped for. Hard news can start with being even more general unless you want the person stomping away. Let them say their piece and get something in the can before going for the throat. A simple' What's going on” can get great and detailed answers. Larry King is the king of softballs and he usually gets what he wants, and the talent feels safe because he never seeks blood.
6) Listen. Wait. People hate pregnant pauses and try to fill in the blanks. This is when the good stuff flows. Don't go overboard and be aware if you're torturing the talent. It may work a few times, but not for every question.
7) Redo an answer if you want a cleaner edit. Many times, that 5 minute rambling answer can be summed up in under 20 seconds.
8) If the office or writers gave you a 6 page list of questions to ask, review them before the interview and try to consolidate. 6 pages means redundant and you can make your new best friend your best friend forever if you skip over the bad questions. Even if you don't or can't, pretend you did.
9) Don't get upset if there is a problem with outside noise, the mic keeps cutting out or whatever. You are the rock because you know that problems are the rule, not the exception.
10) Know when to call it finished. Someone has to edit this and it may be you!
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10 Interviewing Tips for the Talent
© 2009 Timothy Baughan Nixon
1) Know your subject, anticipate every question and rehearse. Rehearse in front of the mirror, to your dog and ideally into a video camera. Check your facial expressions, body language and any verbal twitches like ums, ahs or the worst “That was a great question”.
2) Clothing. Dress for the subject. Avoid white, black or busy patterns as they will vibrate. This is because even high definition cameras have a limited contrast range and resolution. Ideally, you should know what your backdrop is so your clothes will contrast and not blend into it.
3) Makeup. During the first televised presidential debate in 1960, Nixon refused makeup. He also had a light suit against a light background and ended up looking like a ghost. Kennedy had makeup, a dark suit and looked very presidential. Kennedy won and some say that their appearances during this debate made the difference in this close election. Many anchors use the “spray on tan”, but experiment with this before going live with it. This tan lasts about 3 days. The makeup can simply be powder to reduce shininess and to give you a little color.
4) Technical considerations. You will be wearing a wireless mic so be careful what you say at all times, like when going to the bathroom! You may be asked to count to 10 for a mic check. Try something that may get you more airtime like an endorsement. "Hi, I'm a big cheese and I never miss an episode of "Where's my Cheese". For a taped interview, you may be asked to repeat the question in your answer, and to pause between the question and the answer for editing purposes. You also have the luxury of repeating an answer if you don't like your first one or if it was too long or rambling. Most producers will always use your best and shortest answer. Your answers will most likely be edited out of sequence so avoid statements like “as I just mentioned”. There is also the classic mistake of being interviewed live and saying “Let me try that again".
5) Body positioning. Learn forward while sitting or standing. It makes you look engaged and powerful. Slouching in the chair is bad, so sit a little forward to avoid the temptation of the backrest. When standing, start with your feet shoulder width apart and then put one foot forward. Put your weight more on that forward foot. This also puts your body a little sideways for a more lean look. Hand gestures are great, but if your nervous, hold your hands and never fold your arms.
5) Eye contact. Don't look at the camera except when making a personal appeal to the audience. For live interviews you may be asked to look into the camera. Look directly into the lens and pretend that it is the person you are talking too. If you see yourself in a monitor, ask for it to be turned around so you don't keep glancing at it. Otherwise if your watching a live feed from the studio, it should be directly under the lens so your eyes don't wander too far.
6) If you are promoting something, mention it by it's full name in your first statement and do it again for every other reference for a live interview and every time for a taped interview. When giving out a web address or phone number, try to do it twice, once fast, then slowly.
7) The tough questions. Answer the question by touching on it and then get back on topic. Avoiding it completely just angers everyone. Jody Foster never talks about the person who shot Reagan in her name and she usually gets up and walks out of the interview. Maybe it would work better for her to say one canned sentence like “I never talk about it because I wish his name to never be said again” and then get on with the interview. Getting blindsided like Jim Carey's character in “Dick and Jane” when he was interviewed live with a graph of his companies stock price sliding to zero gets you back to the top of this list.
8) B-roll. Even though you may look fantastic, we want to see other things. Bring pictures, video or graphs that the producer can use to visually fill out your interview. Ideally, all put on a DVD copy that you can give to the producer and not worry about getting it back.
9) Be positive. Trashing someone or something else usually just makes you look bad.
10) Stay calm. Watch the coffee and sugar intake. Exercise or go for a walk before the interview. Hide in the bathroom if you have to collect your thoughts (remember that mic!).
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The Downstream Method for Field Audio Engineering
© 2009 Timothy Baughan Nixon
The best way to think about the path of an audio or electrical signal is to compare it to water flowing downstream. There is a source of the water like a spring, and a destination of the water, like an ocean and a variety of streams, rivers and lakes along the way. Use this analogy for adjusting audio levels and also to determine what may be going wrong, starting from the source and moving towards the destination.
The easiest water flow analogy uses the on-camera mic that goes directly to the camera:
Source to Destination: Sound >Mic> Audio Cable>Camera>Auto Audio Level Gain>Tape.
Replace "Auto Gain" with manual volume control and the audio has to be monitored and adjusted:
Source to Destination: Sound >Mic> Audio Cable> Camera>Manual Audio Level Control>Tape.
Add a wireless mic and you have introduced more complexity:
Sound >Mic> Transmitter/ Manual output >Reciever/ Manual output> Audio Cable>> Camera>Manual Audio Level Control>Tape.
Add an audio mixer and you've added more levels of complexity, but you have ultimate control.
Here are your control points and what goes wrong with them:
1) Sound: Control = Who or what are you recording.
Problem= They get too loud or soft so adjust the mixer input.
2) Mic: Control = Type of mic and its positioning.
Problem= The mic is not close enough, too close or something is rubbing on it.
3) Transmitter: Control = Antennae position, a preset manual output and fresh battery.
Problem= It's not turned on, the antennae is crossed, the battery is bad or output got bumped.
4) Reciever: Control = Manual output which preset.
Problem= It's not turned on, the antennae are not connected or the output got bumped.
5) Mixer input: Control = The only volume control you will use during recording.
Problem= Mixer not turned on,The Mon switch is on, Headphone not plugged in or is bumped.
6) Mixer Output: Control = Set it once with the camera using test tone.
Problem= It's not at zero.
7) Camera Input: Control = Set it once with the mixer using test tone.
Problem= The camera is not turned on, mixer not plugged in, inputs are not switched to "line"
8) Headphone level: Set it when you're doing the test tone and set the camera's to loudest.
Test Tone: Pull input #1 out, pan to center and set to 0db/ where the needle touches the red. This is a signal that allows you to set the mixer's output to exactly the cameras input. This way, you know that what you see on the mixer is what you see on the camera. It is a "set once" procedure that is done at the beginning of every shoot and should be done whenever you think the cameras levels changed.
Know that the mixers needles will move faster than the cameras audio needles, giving you more of a headstart to turn it up or down.
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This is a compilation of many model releases that I've been given by networks, cable channels and TV shows. No model release is perfect and any self respecting lawyer can break it, even if it's 10 pages long. Knowing this keeps the following release short. The key here is that the subject knows that you are going to use it for everything and gives that person a chance to say no to any extra use. In this case, you can just cross out the end of the first sentence and add "for this production only"
MODEL RELEASE & AGREEMENT
Production:__________________________Date_________
I (we) being of legal age and able to contract in my own name, grant Baughan Productions Inc. its clients, assigns or successors, permission to record and reproduce my likeness, voice, statements, name and location with the privilage of editing or rearranging this recording in any production for any purpose, without limitation.
Baughan Productions Inc. shall own the copyright to all materials created during this production.
I hereby release Baughan Productions and clients, assigns or successors from any and all claims, demands, and causes of action that I may now or hereafter have against you arising out of or in connection with the production or advertising, without limitation, any claim, demand, or action for invasion of privacy, violation of the right of publicity, libel, slander, presentation of me in a false light, or otherwise.
This agreement is irrevocable and may be assigned by Baughan Productions, Inc. to any person or entity.
Name ____________________________ Signature _____________________________
Address___________________________________________ Phone ________________
Name ____________________________ Signature _____________________________
Address___________________________________________ Phone ________________
Name ____________________________ Signature _____________________________
Address___________________________________________ Phone ________________
Name ____________________________ Signature _____________________________
Address___________________________________________ Phone ________________
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You've Been Pirated!
How to take down Copyright Infringers with a Copyright Takedown Notice.
Your copyrighted work shows up online, but you didn't put it there. Now how do you remove it? A takedown notice can be your solution!
A Digital Millennium Copyright Act (DMCA) takedown notice must include six items, in no particular order:
1. Your contact information or contact information of a party authorized to speak on behalf of the copyright owner or owners. A lawyer can take the hassle out of this and can perform follow-up actions, such as claiming punitive damages.
2. Title of the copyrighted work.
3. Location (e.g., website) of the alleged infringing item.
4. Statement of your good faith belief that the material does not lawfully appear on the website.
5. Statement expressing that, under penalty of perjury, the person whose contact information you are providing is indeed authorized to act for the copyright holder.
6. Signature of the party whose contact information you are providing.
Once you have compiled your takedown notice, send it to the appropriate party. For websites, the hosting Internet Service Provider (ISP) is your takedown's destination. We recommend that you send a hard copy of the notice by registered snail mail. Registration will ensure correct delivery to the specified location via tracking.
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