From Conferences to Award Ceremonies, Filming Events; My Tips and Tricks

From Conferences to Award Ceremonies, Filming Events; My Tips and Tricks

The awards ceremony was part of the event video coverage.

Filming and videography for business conferences, presentations or award ceremonies are a staple of the work calendar, but how can you turn a rather simple event into a video people will want to watch?

I take a look at the techniques, tips and tricks I use when capturing events with video, often with a same day turnaround.

Be Minimal With Equipment

You’ve all probably seen the ‘what’s in my kit bag’ photos and videos, and yes it’s fantastic to have a variety of lenses, camera bodies, microphones and other kit for any job that could come around the corner. However, I’ve found that having a minimalist approach to equipment is necessary for event coverage. For this shoot, I used the Sony a7S, in the Movcam cage.

For lenses, a standard zoom lens like a 24-70mm covers wide establishing shots of the location, audience or stage, as well as closer mid shots, possibly of details such as the event branding, or for interviews with attendees. A telephoto lens, or a prime is a great additional lens to have for closer shots of the subjects, or needing a shallow depth of field, or more light in darker scenarios. I also used the Samyang 35mm T/1.5 and 85mm T/1.5.

A sturdy tripod with a fluid video head will give you steady shots, with smooth panning and tilting for some additional movement. Even a small tripod like the Manfrotto Befree Live is a fantastic option that can be easily carried around and used at any time. Having a tripod for interviews is also key, to keep the viewers’ attention on the interviewee. The Manfrotto 755 CX 3 accompanied myself on this shoot.

Sound is often at the bottom of the pile, but many options for small and high quality microphones are out there, like the Rode VideoMicro. Whether it’s capturing some dialogue from a presentation, or an interview, what you hear builds up the atmosphere of what you see in the video. I’d also recommend a Sennheiser AVX lavalier (clip on) microphone for interviews too.

An LED light can be a lifesaver if you’re filming in a dark environment, they are small and often have a bi-colour option to adjust the colour temperature. The last thing you would want to do is crank up the cameras ISO, resulting in a noisy image when you could have used a light. The LYKOS LED lights are very portable, but for something smaller the SPECTRA lights are a good choice.

Hand held gimbals and stabilizers are now smaller and more affordable than ever before, and give a unique dynamic to shots with movement. Using a gimbal or a slider is a great choice to up the production value of the videos.

Lastly, a bag to store all that kit! There are plenty of choices or styles to choose from, whether you need quick access, or to store other kit like a drone. My bag of choice is the Pro Light 35, as its small enough to fit all of my video kit in, and very comfortable.

The Manfrotto Pro Light 35 backpack stored all the necessary equipment for the event filming and editing.

Plan, Plan, Plan

Get to know the ins and outs of the event, what is happening throughout the day, any key moments you need to capture, and plan time for editing if you have a same day delivery for the video. At a recent event, I would shoot some video material and interviews for an hour, then import the footage ready to be edited.

Get any details from the event organizers about timings, as well as the names of any interviewees which might be needed for lower 3rd graphics later on.

Know Your Workflow

When you’re filming, a rule of thumb I use is to capture plenty of b-roll, or additional shots that can be used to add to the ‘story’ you’re going to tell through the video. Whether its shots of the audience, location, or little details like logos and branding, they can all save you in the edit when you need a cut point, or to add variety, rather than a fixed camera shot of the stage.

View fullsize

Filming lots of alternative angles using wide and telephoto lenses.

Create a file structure for when you import all your footage; it keeps everything organized when it comes to editing and backing up the project. It might be files for interviews, conference parts, establishing shots, for example.

When you’re editing, using sequence templates will also speed up the editing process too. You could create a sequence with a title graphic at the beginning, a lower 3rd graphic for an interview piece, and the end credit graphic at the end. All you would need to do then is drop in your footage, cut it together and then export it.

View fullsize

This process is particularly handy for same day editing, when time is limited to complete edits.

Over Deliver on Expectations

View fullsize

I shot plenty of location b-roll at the St Regis Bal Harbour Hotel, North Beach, Miami. Taken on the Sony a7S and Samyang 35mm T/1.5

Lastly and most importantly, creating a good video that the client likes is great; you’ve completed your brief. However to really wow your client, give a little extra to the videos you make, whether it’s a timelapse, working a little later than intended or delivering more videos. That little bit extra could make the client choose you for the next event they put on.

View fullsize

Sunrise on North Beach, taken on the Sony a7S and Tamron 24-70 F/2.8

BVE Show 2015!

Wow what a show! I cut my stay short to come home and begin editing, which I am still working on now.. But here are a couple of photos from around the show (from my phone) of the various interviews and people I saw!

The IABM Pavilion and Member Lounge

The new IABM Pavilion attracted lots of interest!

Adam meets the Movodiam team at BVE 2015

I had a great chat with George and the Movidiam team about their new platform. Exclusive blog post coming soon, with video.

Simon Walker talking at the Adobe theatre

Adobe and G-Tech guru, Simon Walker talks at the Adobe theatre.

The NEW Rode Filmmaker wireless audio kit

Price still to be confirmed, but this prototype was a great demo of what is to be expected in the coming months from Rode, which includes the RxTx and Lavalier mic.

I swung by the G-Tech stand to chat to Simon and Nino!

Simon and Nino were giving talks at the G-Tech stand, I came by to say hi!

Major Manfrotto fest at BVE - all my gear is Manfrotto!

Lots of interest over my camera setup, using a carbon fibre tripod for A cam, and the Manfrotto magic arm and super clamp for B cam.

The IABM Executive Breakfast

John and Peter from The IABM talking about the state of the industry.

The IABM panel discuss the state of the broadcasting industry, and Daniel Sacchelli from i2i Events talks about BVE show so far.

Jesper from ioGates talks to IABM TV about their BVE show experience and benefits of being a member

Jesper from ioGates talks to IABM TV about their BVE show experience and benefits of being a member. ioGates provide cloud based storage, preview and delivery for broadcast and media.

Isabelle from Netia talks to IABM TV about their BVE show experience and benefits of being a member

Isabelle from Netia talks to IABM TV about their BVE show experience and benefits of being a member

Jonathan from Ateme talks to IABM TV about their BVE show experience and benefits of being a member

Jonathan from Ateme talks to IABM TV about their BVE show experience and benefits of being a member

David from OmniTek talks to IABM TV about their BVE show experience and benefits of being a member.

David from OmniTek talks to IABM TV about their BVE show experience and benefits of being a member.

Adrian from AXON Digital Design talks to IABM TV about their BVE show experience and benefits of being a member.

Adrian from AXON Digital Design talks to IABM TV about their BVE show experience and benefits of being a member.

Tom from dB Broadcast talks to IABM TV about their BVE show experience and benefits of being a member.

Tom from dB Broadcast talks to IABM TV about their BVE show experience and benefits of being a member.

The Newsshooter crew taking the Arri Alexi Mini out for a test run!

The Newsshooter crew taking the Arri Alexi Mini out for a test run!

Simon Walker talking at G-Tech

Simon Walker talking at G-Tech

Exclusive blogs coming later from: Rode, Movidiam, JVC, Sony, Manfrotto and more.

Matt looking nervous...

From this weeks wedding! Matt looking nervous as he waits for Sarah at the aisle.

Welcome to the boardroom

I'm doing a few productions for the IABM in the lead up to their annual conference in December, which included a video shoot in London at IBM; a panel discussion on the key topics of the conference, and the industry at the moment.

John Ive, the director of business and technology at the IABM chaired the discussion, with six of the top decision makers in the industry around the table, which included: Dominic Stone (Our host at IBM and multimedia executive), Rob Roberts (Avid), Marc Risby (Boxer), David Peto (Aframe), Chris Steele (Marquis), Paul Glasgow (Chyron Hego).

It was an early start for myself and Glen, to get a head start in the traffic heading up to the South Bank. Usually I would get the train, but as this was a full setup I required my little cars assistance to get the equipment there!

Glen at IBM

Me at IBM!

We arrived at the IBM office on the South Bank with plenty of time to spare, and after unloading the equipment in the loading bay we parked up in the National Theater and met our host for the day, Dominic. A wonderful chap with a wealth of experience as a television producer, many thanks for your hospitality throughout the day!

Trolley fulla gear!

What the conference room at IBM looked like before we got our hands on it!

Once we had access to the conference room, we began the setup and moved any unnecessary furniture out of the way. Manfrotto has greatly helped me on this as much of the kit is new and definitely new to this kind of video environment too, and after IBC I was very keen to try out the new tripods; which now can be lowered to almost ground level with innovative locking joints. Also, although I'm using a 5D and telephoto lenses to shoot with (so the load is not very heavy), but having steady and smooth shots are imperative to keeping a good composition, both the tripod and video head allow me to achieve shake free pans and tilts, which can be counter balanced depending on your camera, lens and accessory setup.

The new light stands are awesome. I know it is something simple, but it makes a massive difference. Stands and poles can often get mislaid, damaged in transit or in use, or simply can't withhold a wide variety of lights and accessories. These on the other hand have a brilliant locking system to hold multiple stands together, meaning they can be carried and transported very easily. They are not heavy, and can take a heavy load (not that these SPECTRA 1X1 LED panels are that heavy)!

Panel video setup with Manfrotto 1x1 bi-colour LED light

After lunch, we checked the colour temperature on the four lights; the two front facing the panel, one giving a back light onto the speakers and background, and a smaller 900 panel to push a little extra light into the right panelists. All of the lights are bi-colour, which gives maximum flexibility when the video scenario changes so frequently.

The lights I used were: Manfrotto Spectra 1x1FT x 3, Spectra 900FT and the 1004BAC pro light stands.

To make sure all of the cameras were exposed and set correctly, we did a custom white balance and orientated around the cameras and lights to make sure we achieved the best out of the setup.

I transported the camera and audio equipment in the Manfrotto Pro Backpack50 as its large capacity was required for the amount of kit I needed which included:

• Canon 5D mkIII
• Canon 60D
• Tamron 24-70
• Sigma 70-200
• Samyang 35mm
• Samyang 14mm
• Zoom H1
• Zoom H6
• Sennheizer ENG-G3
• Rode Lavalier
• Roto-mic
• Canon batteries, AA batteries for microphones and audio recorders, chargers for all.

I also had the Manfrotto 536 MPRO tripod and 504 HD video head in the large tripod bag, and the ProCX-3 and Pro-B for the other cameras.

Marc Risby, one of the panelists tweets about his experience!

While we were setting up!

Shortly after our panelists arrived, and they were eager to get started in discussion; I put the lapel mics on and plugged them into the H6. John kindly allowed us to use a couple of cameras and microphones for the extensive number of panelists. The Sony ECM-77 are great lav mics with good audible response, as is the Rode Lavalier which I used with the MiCon-1 connector into the ENG-G3 wireless kit.

I got the panel talking for a practice run through while I checked the audio levels on the H6, which was placed under John's chair (due to the cable length I could not monitor the camera from my filming position).

If you've been following me on Twitter, you'll have seen I have been looking for a wide angle lens for both an APS-C and FF sensor (so far Canon's 16-35 F/2.8 is best), so I was without my Tamron 17-50mm (my standard lens on the 60D as a wide). To compensate for this, I alternated my usual video setup from 5D and Sigma 70-200mm for an MCU and 60D and 17-50mm for a wide to; 5D and Tamron 24-70mm for a wide and 60D and 70-200mm for an MCU which allowed me to capture a good wide angle of the whole panel, as well as a great MCU on the speaker.

The 504HD video head has integrated fluid drag and resistance which makes panning and tilting a dream for video; it is smooth, yet easily changed depending on the subject and timing of the camera moves. A large pan-handle makes the motion firm and steady throughout.

With a vast experience in broadcasting from all of the panelists, it was difficult not to get distracted into the conversation. After each discussion we shot some VoxPops for the conference with the other panelists that did not participate in that panel, which will be used throughout the presentations and panels at the IABM annual conference in December.

Unlike the Zoom H4N, the H6 has an incredible power consumption rate meaning on four AA batteries it can record multiple channels (four in this care) for a good 2 hours without needing to change! This meant I could rely on it recording stand-alone under Johns seat without monitoring, after each channel was correctly set (with a general limiter on).

In terms of the camera settings I was using:

 - VisionTech2 Picture Profile

 - F/4.5 on the MCU so focusing between panelists was minimum

 - Because of light setting, as well as not much fast motion happening I reduced the electronic shutter to 1/33.

 - ISO between 400 and 640 due to the good light produced from the 1x1's!

Once the filming was complete, we quickly de-rigged the setup so we could get out of London as quickly as possible; not to get held up with traffic queues etc.. Thankfully, all of the Manfrotto gear we had is fast to setup and tear down so we were ready to leave within half an hour or so!

Once I got back home, I begun the ingest and backup process; remembering to have 3 copies of the footage and audio on separate drives in case any fail. I also began re-naming the files so it is easier for me to locate specific panelists microphones when doing the audio mix-down.

Although the Zoom H6 is an awesome recorder, it for some reason records track 3 and 4 together (as a stereo channel) so I had to split the Tr3-4 into separate Track 3 and Track 4 files using Audition. This is a simple process, but I wonder if this can be changed in the device itself?

Here you can see the top track is different to the other, this is because the T3 and T4 inputs were from different speaker microphones, but recorded together. To resolve this, I simply solo'd the track I needed, selected ALL and copied, created a new audio stereo track and pasted the track there; this creates a Left or Right track for you in the new audio file.

Here, I've created a new stereo audio track and pasted the solo'd track into it. The new stereo audio file then replicated the audio on both tracks. I then saved this as a new audio track.

In Pluraleyes, I created the four camera sources and imported their respective video files, and then singularly imported each audio track into a new audio recorder as a new audio source (instead of importing the five tracks into the same audio recorder). This would allow me to control not only each track individually, but also when I separate the four sections into their own multi-camera sequences I have separate audio tracks rather than one reallyyy long one.

You can see here that the audio tracks from each microphone are separated in the sync.

I was amazed at the speed of the sync, only 1 minute 8 seconds to sync all of the video and audio from many different sources! I then exported the sync as both an XML and XML with replaced audio from Pluraleyes, and created a new Premiere Pro project for this production.

I imported the XML file into the new project, which imports and creates a new sequence with the synced footage in place. So easy! I then placed the footage into their respective sequences depending on the discussion topic, and prepared them for multi-camera editing!

The sequences are now ready to be cut using the Multi-camera interface! Unfortunately I can't show anymore as this is an IABM member exclusive video, but I hope you have enjoyed seeing how videos like this are produced on a small scale!

Capturing Autumn (part 1)

This will be a series of posts acting as a videography diary for my latest personal project which is out filming Autumn in Surrey.

North Downs Way (Ranmore, Surrey)

This time of the year is my absolute favorite. There's a chill in the air, leaves turn stunning tones of oranges, reds and browns, hidden spider webs become visible in the morning dew. Autumn bring a series of treats from the first frost, harvest festival, Halloween and fireworks night, most of which I'll try to capture over the coming weeks as the night draws closer.

Rainbow after a passing storm

I made my first seasonal video back in Jan/Feb called 'Quiet Sunshine', I loved being out with just my camera and me. It was silent and still as I crept around the pond, capturing the life in the Winter. This was also one of the first videos I made with my new videography kit; Canon 5D mkIII, Samyang 14, 35, 85mm cine lens, Manfrotto 755CX-3 carbon fibre tripod and MHV-500AH video head. It's the ultimate in quick, steady shooting with a beautiful image from Samyang's top quality glass.

This ethos of simplicity while filming is aided greatly by wise equipment choices, good planning and being inspired. Taking a little time to research the sunset and weather, the locations you're going to visit, and checking out other creatives work all contribute to the story that is composed and told through the video. For me, my Manfrotto tripods, video heads, bags and lights give me the flexibility to film in a variety of scenarios without needing a set of heavy legs.

Filming the sunset.

Kit of choice for one afternoon's filming

The above pic shows how simple my setup was:

• Canon 5D mkIII (Technicolor Cinestyle picture profile).
• Tamron 24-70mm
• Sigma 70-200mm
• Canon 100mm macro
• Samyang 14mm cine
• Manfrotto 055ProB tripod
• Manfrotto 701HDV head
• Pro Media Gear dual arc slider
• ND filters
• Manfrotto SPECTRA 900FT LED light (just in case).

Some macro shots of fungi!

I never go out with an idea of what the final edit will look like, or what I'm distinctly looking for, apart from to give the audience of the video the experience of what it's like to be in the scene. The story is a visual meditation, taking you on a journey. Ron Fricke has mastered this art through his films 'Baraka' and 'Samsara'.

"Give your audience something new, something they perhaps haven't seen, heard, felt or experienced before. Put them in the scene and give them an immersive experience."

I don't think many viewers of the video would have been in a World War II Pill Box.. So I gave them that experience! It had also started to pour with rain when we arrived at North Downs Way, so the dug out shelter provided ample protection from the elements!

The little details of the changing seasons are what we have as memories of autumn. The turning of the leaves and crunch they make as you step on them. The glorious colours of sunset silhouetting the trees! Shooting with the Cinestyle picture profile allows me to capture the video with an extended DR, that I can then manipulate and restore the details in the shadows and highlights when grading in post. This really pops the colours.

If you're out walking, or somewhere new, stray off the path and discover something new. It's a tactic I use when I'm out, it's how I find 'interesting' things to shoot!

Sunset, white balance of 5800K; golden orange tones.

When I am out shooting, there aren't set rules that I follow as every scenario will be different; indoors or outdoors, subjects will vary and so will the kit you choose to use. I do however make sure I correctly set the following:

• White balance/colour temperature.
• The image is level with the horizon line (more so for landscape, unless artistically intended).
• Sound being recorded with a mic, and that it is ON, with the sound level set appropriate to the environment.
• Shutter speed set to 1/50th (on DSLR).
• The shot must show me something new, with framing and composition telling the next part of the story.
• Am I using an appropriate aperture?

The last one about 'appropriate aperture' is more due to the variety of shots you want to capture. For example: intimate portrait with a wide aperture (F/2.8) vs large landscape with narrow aperture (F/16). Yes, shooting as wide as possible (T/1.5 is the widest I can shoot) produces incredible bokeh, extremely shallow depth of field for intimacy and can keep you shooting in darker scenarios.. But it can also produce softening at the edges (lens dependent), and may not fit the subject; a row of trees, a crowd of ravers. On the other hand, shooting with a deep depth of field (F/11 +) of a babies fingers or the dew on a spiders web does not isolate the subject, makes the image darker and sometimes produces vignetting (lens dependent).

My point being: It is subjective. There is no right answer. Find the right aperture to expose the shot as you wish, using the depth of field to move the viewers attention through the frame.

To summarize, by checking those above points, you'll save a lot of time and work later!

Taken on the North Downs Way, Ranmore, Surrey by Adam Plowden on Canon 5D mkIII and Tamron 24-70.

Winkworth Arboretum (Godalming, Surrey)

I've been wanting to visit Winkworth for months now, originally purchased by Dr Fox in the 20th Century, it is home to over 1000 trees and plant species created to 'paint a picture' of the landscape. The dream of Dr Fox lives on to the hundreds of visitors of all ages through the National Trust who were very accommodating during my days visit.

It was my first time at the arboretum, so while I was discovering the beauty of the location I also snapped up plenty of autumnal shots. My kit list varied to what I used at the North Downs Way, but I still used my trusty Manfrotto 055 ProB tripod, 701HDV head and Pro Backpack50! It's so versatile, and trust me, you really can fit everything in this bag for videography!

APV setup: 5D mkIII with Sigma 70-200 on Manfrotto 055ProB, Pro Media Gear dual arc slider, 701HDV head, Roto-mic and Manfrotto Pro Backpack50. And Peak Design strap!

I wasn't surprised at the number of photographers in the arboretum, the foliage from the range of trees was stunning, a mix of still turning greens, oranges, deep reds.

Beautiful day to be out with the camera!

Acer is my favorite species of tree because of its delicate and intricate leaves and branch structure, it has very unique leaf colours that dramatically change throughout the seasons too.

My favorite!

It was a pleasure strolling around the massive arboretum. I was up for filming anything I liked, I had my Manfrotto Pro Backpack50 filled with my favourite lenses to shoot nature with. The Canon L series 100mm F/2.8 macro lens has been gratefully welcomed into the collection, it definitely being my favorite lens! It has the intimacy and clarity I like to capture, getting the details.

Stunning colours and light, beaming through the trees.

My larger go to kit setup!

The above photo I think captures the essence of my work; simple, unique adaptive.. The ability to move the camera using the Pro Media Gear dual arc slider gives the ability to move and orientate around the subject, in the above case around the trunk of a tree, showing the array of interconnected branches and leaves.

For a number of these shots I would have been using the 14mm cine lens, at around T/11 to T/16, so that I could expose both the darker branches and the bright light bursting through the leaves.

Abundant autumnal foliage scattered the landscapes hillsides.

For photographers and videographers I would definitely recommend a trip to Winkworth. It offers a unique view into nature throughout the seasons, walk freely through the meadows or copses capturing the beauty of nature.

Thanks to the National Trust for upkeeping the arboretum and the volunteers that maintain the site, as well as Manfrotto for their continued support! Get out there and film the lip-chapping mornings, or fireworks night that is coming up soon. It's a stunning time of year, go capture it!

The autumn video is currently in post production, and I am collaborating with Tristan Noon, a composer to produce the soundtrack to accompany the visuals. I'll post up part 2 of the the autumn filming blog when the editing is complete, and the video uploaded!

Filming on the North Downs Way

Surrey North Downs Way, Adam Plowden Videography

I've been waiting for a clear skied afternoon to film some autumn material for another personal project. Heading for the open North Downs Way, accompanied by the 5D mkIII, Tamron 24-70, Sigma 70-200, Samyang 14mm, Canon 100mm, Manfrotto 055 tripods and 701 head on the Pro Media Gear Dual-arc slider.

The video is to come very soon, I want to go out and shoot some more in the early morning!

Filming and editing the Soundbox opening video!

I thought I'd give you an insight into the production of my latest video release; the Soundbox studio opening!

The event took place before the summer, and I took along Sam to help me out with the gear and eat delicious cupcakes! We arrived with about an hour prior to the opening so I could capture some of the establishing shots and BTS of the final touches to the studio.

I had my standard video setup with me:

5D mkIII, Tamron 24-70, Sigma 70-200, Samyang 14, 35, 85.

Zoom H6, Roto-mic.

I also used the new Manfrotto Spectra LED lights, the bi-colour model is fantastic for a kick of soft light that can be easily controlled to daylight and tungsten colour temperature.

For the grip I had my trusty Manfrotto 755CX-3 and MVH-500AH as it is lightweight and easily maneuverable around small spaces, as well as the Manfrotto 681B monopod and MH054 ball head, Edelkrone slider plus and flycam nano.

Construction and tidying up was still under way when we arrived, so I captured some of the nerves and excitement leading up to the big launch. For the establishing shots I used the Edelkrone slider on the Manfrotto tripod, combined with the 14mm cine lens it gives a great moving perspective and shows off the space very well.

Natural light conditions

It was quite dark in the studio, so I struggled with aperture vs exposure and often shot very shallow to retain light. The beauty of the 35mm and 85mm cine lenses is that at T/1.5 they are extremely sharp and great for low light, however without image stabilization a tripod is recommended. I always have my 'go to' lenses on hand as they have good IS and are zoom, so for more run and gun style shooting it suits it much better than needing the time to set up and compose a shot.

The monopod became more useful when the eager visitors began arriving, and after a short and sweet speech, Matt and Jack opened Soundbox to the public!

I captured the buzz and excitement of the event, you could feel the anticipation in the air to see the hard work all finished! I worked with the 5D on the monopod and tripod for most of the time, and occasionally used the Flycam Nano for some moving shots through the studio. I did have to balance the camera and lens when I arrived, as it was set up for a different body when I last used it..

One important skill that I've learned is to become invisible to the guests at the event, or if that tactic doesn't work, being a photographer is a good one too! Acting professional and friendly keeps your subjects in a relaxed and candid manor, rather than adjusting their clothes, posing or avoiding the camera all together. If your subject can feel your good aura, they should respond positively :)

The lead artist of Soundbox is Rebecca James, who was there to perform and support the launch of the studio too! She belted out some great numbers, accompanied by a group of ace musicians on bass, electric guitar and percussion. The track in the background of the video is Rebecca's new one, and will be on her upcoming EP!

Slow mo

As you've probably noticed, I shot a large majority of the event in 50fps (slow motion).. This was purely a creative decision on the day, and also a chance to work in a different format presents it's own set of challenges to overcome.

Now, on the 5D mkIII it will record 1080p 25fps and 720p 50fps. When recording in 50fps the picture appears much softer, and a little darker too due to the shutter speed reduction. In an already darkly lit location, either shooting shallow or with a high ISO were my options as I don't like using a light on camera.

You can push the 5D mkIII very far with it's ISO in video mode, and I often shoot at ISO 2000 and above in certain circumstances.

Gear

Shooting with the Manfrotto gear made me discreet in my filming approach, and provided me with perfect grip and stability for capturing the video. I could rest easy also knowing I stored by camera gear in the Pro Backpack50, so if anything happened to it; kicked dropped, moved, liquid spillage.. My gear is safe.

Post

Backing up the footage happened pretty much immediately after the shoot, onto both drives in my work station and a couple of EHD's. Then, in Premiere Pro I imported the footage, and split up the 25p and 50p into separate sequences so the slow mo footage can be slowed down to the right playback rate.

After cutting down the rushes to the best content, I imported the audio track which Matt from the studio sent over. It's Rebecca James' new track '1000 Roses', which will be on her new EP. To add to the rhythm and pace of the edit, I used the beat and some surprising cuts with the track, and adding in the slow mo shots of Rebecca's performance and the band playing looked good I thought!

Anyways, I added an S curve to an adjustment layer over the whole of the sequence, which limited the black level at 16 and the white at 235. This added a neutrality and a different look I was eager to try out.

So, what are your thoughts? Got any questions about the production? Hope you enjoyed this post!

Five things I wish I knew when I started as a videographer....

Five things I wish I knew when I first jumped into the creative videograpy adventure that is my life:

1. It does not matter what camera you use, invest wisely in reliable glass.

Entitled 'F**k with nature and nature f**ks with you', after previewing it appears it loads as a playlist, so please skip down to the bottom! Shot on my first DSLR; Nikon D5000 and 17-50mm F/3.5 -5.6, a uni project.

2. Work for free (yes, it's the only way you'll generate enough video content, but you'll make friends, have a good laugh, experience terrible mistakes and awesome times).

Produced by Adam Plowden Videography, edited by Joe Bannister. Shot on Canon 60D, Tamron 17-50, Canon 50mm F/1.8, Canon 18-135mm

3. Fix it in post doesn't exist, in fact, trying to fix it in post can do more harm than good (at least with low budget DSLR productions like mine still are.. For now..).

I had to return to Sian Williams' house because I had over exposed a shot, and didn't get good enough sound during her interview.. Produced by Adam Plowden Videography, 'Behind The Scenes' uni project and mini web series.

4. Think of the sound and the light, our primary senses for absorbing content.

A quick example video shot for my Manfrotto Takeover seminar showing the use of sound and light in short video drama to add emotion. 5DmkIII, Samyang 35mm, Tamron 24-70

5. Be yourself and create things that inspire you.. IE: Put you in your work. Copying other artists doesn't make you stand out, you can learn from them and implement your flair and style into whatever you do. That way, when you begin to get clients you know they are interested in not just what you make, but the person behind it.

A personal favorite is filming plants and nature, a good excuse to get away from the computer! 'Waterhouse' produced by Adam Plowden Videography.

Bonus tip. It is kind of included as part of No.2: Collaborate and work with others from different mediums; actors, musicians, vfx artists etc. It is how new ideas are generated!

SYNC is HaZ Dulull's new short film, I worked with him as well as DP Adam Batchelor on the production! It is backed by Blackmagic Design, Adobe, HP and more so give some support!!!

I hope these little tips will serve you well, a shout out to Dave Beck at Avenger and John Harris at John Harris Media too I couldn't have done it without you! And Glen and Sam. Much love.

T minus 1 day til IBC Show!

Remember to keep up to date with the news and events by following this blog and on twitter - @plowman91! See you there!

Floral Photography for Madeleine Pink

In an earlier post I mentioned that I am not a photographer, apart from the odd dabble in flowers. Last Saturday I was at Box Hill School for their summer Copacabana Ball, for Madeleine Pink florist Margaret Alldridge to take some photos of the displays for her portfolio and website, my goodness what a display it was! I prepped all of my photo kit that afternoon, taking with me the Canon 5D mkIII and a range of lenses, but I predominantly used the Samyang 35mm T/1.5 cine as its minimum focus distance is similar to that of a macro lens, the old Nikkor 50m F/1.4 and Saymang 85mm T/1.5. The Tamron 24-70mm is constantly attached to my camera as my main go to lens so that was with me too.

It was a beautiful afternoon, and very hot too! Here is a selection from the photos I took;

[gallery columns="2" ids="4229,4230,4231,4232,4233,4234,4235"]

I took the photos in RAW, then post processed in Photoshop for small adjustments like exposure and a kick of contrast. Most of the photos had to have the saturation reduced as the vibrant colours were so punchy! Photo's copyright Adam Plowden Videography 2014.

Behind the scenes of yesterdays Wellbeing videoshoot!

06:30 Kit bag, check.

Audio kit, check.

Lighting, check.

Brain, just about.

Yesterday I was out filming talking heads and some b-roll for a Wellbeing project on behalf of EEBC. Wellbeing is our general mental and physical health, but there are many factors in the way that we live that can affect our chances of developing serious health problems in the future. These include some sensitive subjects, that I was capturing to provide an information base for those in the community that may be suffering, or have friends and relatives of those diagnosed with; Cancer, Coronary Heart Disease, Dementia and Diabetes.

I was featuring nutritional expert Yvonne McMeel throughout the videos, so I began by planning my main piece to camera with her in the Wellbeing Centre.

This was a standard video shoot, so I packed my kit bag to be prepared with whatever the day would bring! This included;

Video - Canon 5D mkIII, Tamron 24-70 F/2.8 VC, Sigma 70-200 F/2.8 OS, Canon 60D.

Audio - Zoom H6, Roto-Mic, Sennheiser ENG-G3 100 wireless.

Grip - Manfrotto 755CX3 tripod + MVH500AH, Manfrotto 190Pro-B (old version) tripod, Super clamp and magic arm.

Lighting - Daylight balanced 85W studio light with soft umbrella.

Extras - Lilliput 1018 (I am currently testing out and reviewing this product).

I took along the Lilliput 1018; the new flagship 10 inch touch screen field monitor, which produced crisp pictures and well represented colours. I ran this on a F-970 battery with HDMI through from the 5D, so I could monitor both. This did however cause the camera to heat up quite quickly. However, the monitor has awesome features usually found on high end products which include; exposure and focus peaking, on screen waveform monitors, levels and much more, which came in very handy for assessing the quality of the picture. (More coming later regarding this product).

Char doing her make up thang!

I began setup at 9am, shortly followed by Char the make up artist who set up her bits. The location for filming was the Wellbeing Centre, which as a wonderfully bright open facade with big doors and windows. Luckily enough, blaring heat and sunshine poured through the windows, so that was my key light at slightly cooler than daylight colour balance at 5200k. This also matched the daylight light fixture I was using to add a fill and kick to the subject.

Why did I use a 2-point light setup?

I could have rocked up with the intention of using just the daylight and the incandescent lights in the centre with the mentality that it will illuminate my subject well, but there are risks you have to be willing to take if you approach lighting in a casual way. Some points to remember when thinking about lighting your subjects;

• Are they defined from the background?
• Do they have harsh shadows on their face?
• Moving sunlight will change throughout the day, in brightness, direction and colour.
• 

Now, when you haven't been to the location before it is difficult to judge the lighting conditions, so firstly if you can have a RECCE of the location. It is very beneficial as you can begin to compose the scene, judging the internal and external lighting, now noisy the environment is, whether you will need a backdrop instead of a plain background.. All points to consider before you turn up with the camera kit and begin filming.

Defining the subject from the background is what makes them look 3-dimensional and not flat, this is the same for the shadows too as it shows that features are visible on the face. With DSLR's it is possible to use depth of field to define your subject from the background, but lighting can also be used to 'pop' the subject out of the BG.

Harsh shadows are caused by strong direct light, and are unwanted as they mask features and don't represent the subject properly, unless this is the effect you are looking for. For piece to cameras and interviews having soft shadows around the nose show the features of the subject, again making them look real.

The sunlight is your best friend and worst enemy at the same time... As the Earth rotates, we move further away or closer to the sun which changes the lights direction; if you start filming in the morning with your subject lit from the front, by 12 noon the sun is over head and by the late afternoon the light will be behind you. To combat this, keep continuity by filming at the same times each day, or even simpler be aware of the suns direction and gradually rotate the subject and other lights to keep a constant illumination. For me, I was filming from 11am through to 15:00 with the sunlight to my left for the whole day which was very beneficial, but not every time will I be that lucky!

Watch out for clouds that can block the sunlight, and be aware of how the colour temperature of daylight changes throughout the day; cool in the morning and warm in the evening. For me, shooting in midday sun meant a constant temperature of 5200K for both cameras, matching the other light.

The use of a kicker or fill light, pushes out the shadows caused by the key light (the sun), and gives a halo effect to the hair of the subject making them stand out. The difference is subtle but effective.

Camera Setup and Composition

Once I had my lighting up and running, it was time to set up the cameras and audio equipment. I was going to shoot using the Samyang 35mm T/1.5 cine lens, but this would result in being intimately close to Yvonne, the subject, which would be quite off putting and may add shadows/interference such as me rustling papers to the recording. Instead, I used a telephoto lens as I can be a good distance away from the subject, and create a narrow field of view that frames up as an MCU (medium close up).

My main A camera was the 5D mkIII, and although the Sigma lens can open up its aperture to F/2.8 for shallow depth of field, this was not required for today. Instead, the camera was set to F/4.5 for a still shallow depth of field, but deep enough for the subject to move forward and backwards in the frame a little, and to de-focus the background. The ISO was set to 200, although when the Sun disappeared behind clouds I would ride the ISO to 250 or 320 depending. To stick to the 180 degree shutter rule, the electronic shutter remained locked at 1/50th.

The B camera was the Canon 60D, I paired this with the sharp Tamron 24-70 F/2.8 and shot wide open, again riding the ISO when required. I did this because this camera was capturing a wide shot of the subject, so depth of field was not noticeable. To keep continuity, both cameras were set to a white balance/colour temperature of 5200K, but it appears that the 60D picture is slightly yellow/green than the 5D picture.

Audio

The often forgotten partner to the pretty pictures you see, having top quality audio is just as important as having your subject in focus and exposed. I used the Zoom H6 as my recorder, with the XY mic attached to capture one stereo recording. I also used the Sennheiser ENG-G3 wireless mic kit, attaching a lav/lapel mic to the subject which would be my main audio source. As a back up I also used the Rotolight Roto-Mic plugged into the 5D just in case. Remember to take headphones so you can monitor the sound recording, just like you would use the cameras screen to compose the picture.

The filming went brilliantly. As a precaution I decided to use the 'record to multiple card' function in the 5D so I had a back up of the footage in case the cards got corrupted from such long recording times. As mentioned earlier with the lighting, as the light slowly changed, I also adjusted the position of the kick/fill to push back the shadows.

I was very impressed with the Lilliput 1018 field monitor too, and although it is larger than monitors I would usually use the touch screen control and diverse functions suited the shoot well, so I could keep a close eye on the changing light levels.

After the principal piece to camera filming was complete, I ventured out into Epsom and Ewell with Yvonne to film some b-roll pieces that would add to the information and dialogue about wellbeing and health. So, we visited Shadbolt Park outdoor gym, Ewell Court Library, Epsom's Derby Square, we were going to hit the market but by that time it was 17:30 and no chance of finding fresh fruit and veg to film.. We returned to the car to go to the last location, Epsom Downs, when this happened...

My car broke down. The filming day abruptly ended with a call to my insurers for recovery, while I also arranged a taxi for Yvonne to take her to the train station. That didn't put a dampener on the day though, I had captured great video and dialogue that I hope will help many people in the borough and wider community who may be suffering with cancer, heart disease, diabetes or dementia.

I then ingested the footage, and backed up a whopping 80Gb of footage and audio.. Lots to edit through, but thankfully those wonderful geniuses at Red Giant have a tool called Pluraleyes which can sync video with externally recorded video, so suddenly the issue to matching up the audio to the video disappeared, saving me potentially hours of work!

A bunch of un-synced video and audio clips gets transformed into this - 

Pluraleyes then allows you to export the sequence as an XML that I then imported into Adobe Premiere Pro to edit! It's ready to go!

Overall, very happy with the footage and the outcome of the first day! I need to get out and shoot some more cutaways/b-roll of healthy food, socializing and some more bits and bobs to add.

Change of discipline today; photographer!

Madeleine Pink table centre piece at Epsom RAC (Canon 5D mkIII, Samyang 14mm @T/3.1, 1/60's, ISO 1600). I am not a yes man. I will never say yes to doing something I haven't had experience in, as it can just cause anger, frustration and disappointment from both myself and the client, especially if I don't deliver what is expected.

Photography for me is one of those disciplines. Personally I am not a photographer, I don't have an education or background in still photography apart from graphics and VFX, so I go against one of my own rules here purely because of the following reasons, that may be applicable to you too!

1) I learned videography and production on broadcast video cameras, transitioning to DSLR through the wedding film job I do; I was heavily trained and now 3 years on my 5D mkIII is my port of call. Many will be in the same position as me here and will follow the exposure triangle (aperture, shutter speed, ISO).

2) While at university, and still now I study cinematic and storytelling techniques (it wasn't included in my Television and Video Technology BSc. course). Whether it be moving the camera or with a static shot, the composition of storytelling is a present and constant thought in my work.

3) I have prepared myself heavily with the correct equipment and research to use; high speed lenses, a range of lights to compose the image, building mood boards and finding out the clients requirements (as well as any inspiration they have that will add).

4) My client is very happy with what I produce, and if they weren't they wouldn't ask me to work with them again.

Note: I never advertise myself as a photographer.

That makes me confident to go out and take some photos of flowers for a florist, which I am doing today!

Madeleine Pink table centre piece at Epsom RAC (Canon 5D mkIII, Tamron 24-70mm @F/3.2, 1/50's, ISO 3200).

Transferring the skills from DSLR videography to photography have been easier for me, probably because I always shoot in manual, I love taking my camera out with me wherever I go, and the storytelling techniques of composing images are still present in photos like they are in video.

If however you find it a little more difficult, consult the exposure triangle, and keep a couple of things in mind;

Aperture - Wide open allows lots of light to enter, shallow depth of field. A narrow aperture reduces the light making the image darker, and creating a deep depth of field. Using focus and blur is one of the main tools the director uses to concentrate the audiences attention onto specific details.

Shutter speed - Controls the motion due to how long the sensor is exposed to the light. A fast shutter captures fast motion with minimal blur (sports and outdoor), a slow shutter means the sensor is exposed for longer, allowing the subjects to move in the frame while it is open, creating blur.

ISO - Digital noise added to increase the image exposure. Low ISO results in low noise, crisp images but with no added exposure, where high ISO will increase your exposure but will introduce digital noise that is more visible in dark situations.

Other key points to remember: White Balance/Colour Temperature - make sure your whites are white and your blacks are black. This depends on what light you are using, daylight for example is 5600K, but Tungsten is 3200K.

Make sure your camera is set to capture RAW and JPEG images to allow for greater definition when editing the pictures afterwards!

Madeleine Pink table centre piece at Epsom RAC (Canon 5D mkIII, Nikkor 50mm @F/1.8, 1/50's, ISO 1600).

It is worth a go if you are confident you can produce the images your potential client is looking for. Being a videographer not a photographer, I do not charge a standard fee to have me out for an hour and to post process the images later. This is for two reasons; I am a new business, and so is my client. Why out price your skills and make it a hard decision for your potential client to use you? Secondly, like I keep mentioning I am not a photographer and although I have rates and targets to meet financially, I see this more of getting out with the camera to be creative for an afternoon rather than a job.

Some points to consider if you are ever approached by someone who requires something different from your usual line of work! Do not forget to do your research though. Unfortunately I have had a number of experiences of photographers embarking on video without understanding the full production process, where I've been asked by their client to correct the mistakes.. So if you're a photographer doing video, again have confidence in that you will be able to produce exactly what is expected, and with the internet being the biggest learning and education network, there really is no excuse nowadays!

Testing out the new Panasonic GH4

There have been three new arrivals at JHWF HQ this morning, three beautiful Panasonic Lumix GH4's!

I've had the opportunity to check out the GH4 at Park Cameras a few months ago, so today was a great opportunity to get proper hands on with the new camera system!

We didn't have time to do a proper test, so I took a few shots to demo the 4K at 100Mbps AND the 1080p 50fps features that are currently exporting in Premiere now.

Out of the box, holding the camera using the viewfinder seems so natural for video, as well as the OLED live screen which produces a clear as day image with overlays.

Using the stock lens 14-140mm F/3.5-5.6 (equivalent to 28-280) the image was sharp, with very minor chromatic aberration at 140mm. I am used to a 'full frame' look, but remembering that the Arri Alexa has a similar sensor size the the GH4, what lacks in the stock lens can be gained using the wide range of primes available for M4/3 mount.

The OIS stabilization was actually incredible. This being hand-held, the shots were very shaky at the long end, but the OIS did a brilliant job of stabilizing the image.

Another fab feature is the variance in recording formats, whether you are shooting on a green screen, or footage that is live streamed, the data rates are manageable and not small enough for heavy compression meaning grading the footage should be a breeze. (In my test video coming very soon I have NOT graded any footage).

Things to make note of: If you are going to purchase a GH4 but currently shoot with Canon EF lenses, do not worry. Lensadaptors have developed a M4/3 to EF adapter, there is also one from Blackmagic to Nikon G mount, and rumors are circulating that Metabones are working on a direct M4/3 to EF lens as we speak!

Well, there will be LOTS and LOTS more to come as I continue to play and test out the GH4 so watch this space!

BASIC TEST VIDEO -

[vimeo http://vimeo.com/93516685]

Rotolight Sound and Light Kit Review!

I have had the Rotolight Sound and Light kit for a little while now, and I like it. I like it even more so because Rotolight has been the only manufacturer to really think about what consumers moving into the industry, and already established creatives would need from the outset. Without light you have no picture, and without sound you only have 50% of that video.Videos with bad or unprepared sound are noticeable, just if the subject of the video was not lit correctly. Unfortunately we are now used to watching and seeing very high quality, glossy pictures with filmic motifs, and excellent sound including orchestral scores. We aspire to work on these 'big budget' productions, or to make videos that look like them, but without thinking about your lighting and sound, you are very far off. I produced this review and the music video using the Canon 5D mark III, and a range of Samyang Cine lenses. To keep the light source and sound as pure as possible, I only used the Rotolight RL-48 B ring light and Roto-Mic. I also used my custom camera rig, which is manufactured by CamSmart, as well as a 5" Lilliput field monitor. I used Adobe Premiere Pro, After Effects and Speedgrade to edit and post-produce the videos.

RL-48 B LED Ring Light

Out of the box, you get everything you need (apart from batteries) to start shooting straight away. The inclusion of a Rotolight belt-bag is fantastic for getting the light out quickly if you are shooting on the run, and for storage while traveling and keeping the batteries, light and accessories safe. One pain I always have, as I am a single shooter is that to change parts of my equipment setup; which means opening my big bag, routing through to find the bit I need and then carrying on. With Rotolights ingenious solutions they have removed that need entirely!

Inside the LED light is a set of ND, skin, colour and minus green filters that can be applied directly inside the housing of the unit itself; no need to carry around filters, gels and pegs to achieve your desired brightness and tone. This is great as no longer do you rely on a bag of old gels to adjust the temperature and brightness of the light source, and all filters are supplied by LEE, so you know you can trust them. The LED's being naturally daylight at 5600K, you are set to use the light in most conditions! For photography and video with people and models, Rod from Rotolight recommended using a softening ND and the skin filter which gently soft lights the subject, with a peachy, wrapping beam. There are no shadows, and the result is a beautiful glimmer of light in the subjects eyes giving them emotion and life.

During my time with the Sound and Light kit, I tested out its practicality when out filming indoors and out on location. Above is a still grab from the indoor shots of Josh performing his lines to the camera; you can see a hint of light in his eyes, and a soft-neutral coverage of his face. This was the look I wanted to achieve; an intimate piece-to-camera. I used the ring light and mic mounted on the hot shoe of my camera setup, this gave a direct beam onto the subject, and would work for any subjects in front of the camera. Indoors the RL-48 ring light gives out a beautiful 140 degree beam of light that wraps around your subject, without any hot spots (usually on the forehead). I was filming a music video, but would work exceptionally well in model and fashion work, where beauty is exaggerated through the images.

It took some innovative thinking to get the lighting right for this continuous tracking shot. Although I was shooting in the afternoon sun, I still needed a key light to keep Josh's face illuminated throughout. The night before we were at the location shooting the same scene, but had the ring light mounted on the camera. This time I needed the source to be much closer, so I whipped out the Manfrotto Magic Arm and Superclamp and clamped the light to the boot of my car. In the still grab above, the light is only a foot away from the left of Josh!

What I found here was the need for a brighter light. The 48-LED ring light provided great overall coverage of my subject, but I required a brighter beam to achieve the desired soft-skin and glimmer in the eye look. Although Rotolight produce large LED lights (Anova) for videography and cinematography, I didn't need that much more power. I think for video it would be great to see this model brighter, or have different brightness levels, as usually you require more light than less - especially when adhering to the 180 degree shutter rule. Once your shutter and aperture are set, the only exposure controlling parameters you have is the ISO/ASA or your light sources brightness, and where you're unable to move the light closer or further away from the subject; having a brighter light from the outset is more beneficial.  This is a small niggle from myself, but can be shown with examples in these still grabs -

(Here the light from a street lamp came in very handy.)

This shot was taken on a 14mm T/3.1 lens at ISO 1250. Although I have remedied the low light in Adobe Speedgrade, a green tint is visible across the frame. A minus green filter is included in the kit which can be used where the green spike (due to LED technology) is prominent, but as I was filming in near darkness I chose not to use the filter to get maximum light output, which by the way is 100w! During the shoot I also used the light hand-held to get intimate with my subject, but not blasting them in the face with an offensive flash gun or LED panel light.

Roto-Mic

Like I mentioned earlier, video is (in most cases) useless without good quality sound. Imagine watching a film or TV program and the sound is noisy and fades in and out as the presenter moves around the frame. It is distracting and essentially draws the audience away from the video, it is suddenly and mostly subconsciously hard to watch and enjoy. With current trends in pro-sumers moving to DSLR to make films and video, there is more pressure on achieving good quality sound when acquiring your footage; the built-in mic does not do your pictures justice.

Here, Rotolight have entered the sound game by producing an on camera directional shotgun mic, with excellent pickup response and sound to noise ratio. When I first started out in freelance videography 3 years ago, I got myself the original Rode VideoMic; it was the best I could afford at the time, and it did the job I needed - to capture good quality audio that will enhance my video. Since then, Sennheizer, Audio-Technica, Hama and many more brands have seen the need for on camera mics for DSLR videographers, and a competitive market has emerged. One that the Roto-Mic will compete very well in due to its superb signal processing and price - an attractive offer to anyone seeking to invest in a cost-effective solution. You will need a 9V battery to power the Roto-mic, but it will last you a good 100 hours.

One very annoying problem with on camera microphones is noise added by the mic's shock mount. The Rode VideoMic I have is notorious for that, creating a squeaking noise as you move or walk with the camera that was audible and therefore recorded into the sound of the video - very unwanted! The Roto-Mic shock mount has been specially designed to minimize any movement the mic may be affected by, holding the capsule stiff, without wobbling on the mount; keeping unwanted noise out.

Rotolight considered many filming scenarios when designing the new mic; it includes a gain adjustment of -10dB to +10dB which is very handy when you are far away from the subject or action, or are filming in a loud and noisy environment. A two step high pass filter is also built into the body of the mic which removes any wind noise and rumbles from the captured sound; perfect when filming outdoors. These small but important features show that Rotolight have done their research into where DSLR videographers are working, and how they need to use their kit.

I was really pleased with the results of the sound recorded with the Roto-Mic, I was expecting another Rode VideoMic moment but it never came. The mic surprised me with its quality recording, and with a little noise reduction in post production the final sound recording is clean and crisp.

Rotolight has also been innovative in their mounting options, considering many different setups with the light and mic together. This makes a lovely change from complex accessories hanging off the camera to use two hot shoe mounts. The option to use the light mount, or to mount the light on the microphone gives you many different setup options that doesn't restrict your shooting, and is not fiddly or complicated to change! I was using the mic and light together; here the mic mounts onto the camera hot shoe, and then the light can be pushed onto the barrel of the microphone. Although I was dubious of this at first, as it would add extra weight to the shock mount and possibly interfere with the sound recording; it has proved me wrong with being fully functional no matter how the light and mic is set up.

My verdict

• Fantastic kit if you are starting out in DSLR videography - a must have kit to get you started.
• Ring light provides excellent soft light for work with models, people, macro and prominent subjects.
• Filters included is really handy, although as I am heavy handed they are sometimes difficult to apply.
• Battery life is second to none - 4 hours with recommended lithium AA batteries (x3) or regular lithium AA (x3) for 3 hours.
• Various mounting options means shooting is not restricted.
• Mic is broadcast quality - remember sound is just as important as video.
• Gain adjustment is handy in quiet and noisy locations.
• The Rotolight bag keeps your hands free!

Of course with every review there are some constructive criticism comments, but not many for me as my experience working with the Rotolight Sound and Light kit has been very pleasant. Firstly, a higher power portable light would be ideal for video, with intensity control. Secondly, now Rotolight has entered the sound game it would be great to see other microphones like hand held bi-directional or even lav mics, and a boost in the recording quality (maybe a Zoom competitor??!). Thirdly, and this isn't criticism, more a request for a flexible light stand or arm so the light can be positioned in extreme and unusual angles.

I am recommending you to go out and get this kit if you're into your DSLR video and photography and need a light source and microphone that you can take to every shoot you go to! It will definitely be coming with me in the future, and I can imagine the RL-48 LED light working fantastically for wedding films and interviews, teamed up with the Roto-Mic and you have a perfect, all in one, on camera 'run and gun' solution to your filmmaking and photography.

You can check out the video I produced for Rotolight demo'ing the new Sound and Light Kit here, and the music video will be released very soon!

[vimeo http://vimeo.com/87515700]

A romantic video experience with Manfrotto gear (How to choose the right tripod and head).

When you start working with a piece of equipment time and time again, you build up a relationship with it; understanding its ins and outs, the fastest or best way to set it up. For me, I have this affinity with Manfrotto products. Since starting out in video during university, I had invested in a sturdy Manfrotto 055Pro-B tripod and a fluid video head. 3 years on and to this day it proves to be a great piece of kit to have around; I use it for my custom built camera jib now so it lives in my boot with that!

Through various university and freelance projects I used my trusty MF 055Pro-B legs, strapped tightly to a Lowepro backpack.. Not the most comfortable or lightweight solutions. The aluminium legs begun to take their toll when more equipment was required too, and as a videographer I had a bag full of lenses, audio kit and a monopod too. I occasionally used a Glidetrack slider too, which worked very well on the legs, and did not have to be spread really far apart or use any weights.

Check out a couple of my video's featuring Manfrotto gear -

Manfrotto Backpack50 - http://vimeo.com/84398932

Manfrotto ML240 LED - http://vimeo.com/41688532

But, how do you choose the right Manfrotto tripod and video head for what you do?

Key points to consider - Budget is always something to keep in mind, it can get expensive!

- What cameras, lenses and accessories you will be using with it.

- Where/shooting situations; are you going to be traveling so need a lightweight option, or more corporate indoor, weddings, adventure.

- Are you working with video or photo, or both!

Budget - everyone should have a decent set of tripod legs and head that can be their go-to choice no matter what the client, production or location. This could be a heavy duty two-leg tripod with video fluid head for news/docu/TV footage acquisition - go for Manfrotto twin leg kit! But for photography you may consider a lighter option that can be grabbed and carried quickly - go for Manfrotto BeFree! Remember that a tripod/head kit should last you a lifetime so keep your budget in mind, and look for products and kits around £100-£150 for your first investment (no, I'm not suggesting you save up to spend £150, your budget is what ever you can work within so have a rough max figure that you would aim to spend - dependent of the following..).

Cameras, lenses and accessories - If you are a keen amateur, you may be working with small DSLR bodies and lenses; like the Canon 600D with an 18-135mm for example. This setup not weighing much tends to lean you towards a light, single leg tripod with a two way or ball head mount - 180X Pro B with 804RC2 head. However, for more professional setups; Canon 5D mark III and a 70-200 telephoto lens your looking at +3Kg of weight, so a more stable solution needs to be found - Lightweight Fluid System.

Shooting situation - If you are out and about all the time, a tripod with locking legs and extendable center column is a great feature to have; its great for getting very low angle shots while keeping the tripod steady, not to mention the ball leveling mount feature which levels the head without adjusting the legs. If you are the opposite, and work in studios and generally terrain free environment, a standard set of legs will be appropriate. Remember you can mount the tripod onto dolly wheels for easy motion and movement in a studio or indoors.

Video or photo? Generally video requires the use of moving or 'tracking' shots, where the camera focuses and follows a subject through a scene. Remember talking about ball and fluid heads? This is where they become important! A fluid video head uses liquid to smooth the panning and tilting movement when adjusting the head, creating smooth camera movements. This is not entirely possible using two-way or ball heads due to the lack of fluid in the head and a pan handle. It can be done, but be prepared to video a number of times to achieve steady movement! If you look further into video and movement, many equipment manufacturers have also created stabilizers that counter balance the camera's weight, creating flying and smooth flowing movement!

For photo, as you are taking still images, the focus on being able to move the camera while the shutter is open diminishes, and the need to find and focus on a subject quickly, from many angles becomes key. This is where a ball head or two way head works best, allowing quick movement between camera angles.

If you mix between both, producing work like timelapse, hyperlapses, long exposures and night time shooting, you should consider the weight of the tripod and camera gear together; will you need to weigh down the tripod to keep it steady, will the camera be subject to movement when using a lighter tripod and head? These factors will affect your image or video if not considered!

A great example; myself and Ashleigh were filming a wedding at Horsley Towers for John Harris Wedding Films and we got the message to setup and run a timelapse for the evening. It was windy out, not great conditions for a TL, and with only a Canon 60D and 15mm fish eye lens the setup was not at all weighty. After about 15 minutes I went to check on the TL camera and it was nowhere to be seen.. The tripod and camera got blown over (not damaged) in the wind. No more timelapse that day!

Hope that helps in your choice of Manfrotto kit to use! It's always good to examine the details of your needs and what the product can do, to find the best solution. Remember if you start out with a single-leg, ball head setup and are looking to move into video in the future, you may need to invest again. Its not always possible, but try to future-proof your investment in case you have a change of heart in what you do.

The reason why choosing the Manfrotto 055ProB tripod and 701HDV worked so well for me is that I could use it on everything I worked on; from being my A camera support to supporting a camera jib and slider - an all round solution to my needs.

Back to the story.. After 3 years, it was time to move on. I had been researching equipment I would invest in, and sticking with the DSLR camera type my requirements for tripod legs and video head did not stray too far away from my original purchase. However, after experiencing carrying around all of the video equipment, and an extra bag for grip, it was about time I got a carbon fiber tripod to ease the weight issue. As I am a one man band videographer, I carry all the gear. So with a full camera bag, tripod, monopod, even a slider maybe, my options need to be lightweight but just as functional.

Manfrotto have gone above and beyond on the engineering of the 755CX3 and MVH500AH. Carbon fiber legs provide an ultra portable solution, able to hold loads up to 8Kg which is perfect for my Canon 5DmkIII, cine lenses, field monitor etc.

The new plate mount on the video head is incredible too, and saves so much faffing around with the previously notorious screw to lock the plate in place. Now, the plate simply slides in from above, and a spring pings the clamp into place. A great innovation especially for use with camera rigs so you don't have to bend down, find the screw to start unlocking the plate and camera to the rig. So, for fast shooting situations, the new head is a must!

The sad thing about all of this is that after searching through my old photos and videos I don't have any; specifically featuring the Manfrotto gear! What I can say though, is for every single videoshoot I've worked on, my Manfrotto gear has been there, supporting me no matter of the situation. So I went out a shot some stills that I've included in the blog, and did indeed find pictures of the gear in action!

If you want to see more of my work featuring Manfrotto equipment, check out my vimeo page - https://vimeo.com/apvideography

They say you should only by a set of legs once, make the right choice, make it Manfrotto! Like this post? Share it!

Manfrotto Backpack50 Video.. It's taken its time!

I've finally got around to working on the Manfrotto Backpack50 product video that I shot back in November with Glen and Sam. I made the most of the beautiful 'golden hour' to capture unique images of the product in use. The shoot location was our usual hotspot for kit testing; Epsom Downs.

The Backpack50 is an insanely good bag, dedicated to protecting your prized possessions and increasing your productivity when out on a photo or video shoot. Aimed at both professional videographers and photographers; the bag features plenty of space for multiple camera bodies, lenses and telephoto lenses. For the on-the-go editor, you can also carry a laptop and a tablet with you, as well as strapping on a tripod. Your complete equipment in one bag. One solution.

I'm editing the footage in Premiere Pro, to achieve that awesome bokeh I used a Nikor 50mm F/1.4 manual lens and shot handheld, so I will be applying some stabilization to those shots. Because of the strong sunlight, I worked with that light to determine the exposure of my subject, Glen. Essentially putting him in a silhouette, defining his and the backpacks shape. For the ambient settings I was working with, I believe this worked well, and is a good technique to try when shooting in the golden hour!

However, when working with low contrast ratios (number of stops between black and white) it is easy to over or under expose parts of the image, which not only burns in detail but can cause problems when encoding and playing back the video, so remember to check your reference monitors and keep to legal limits!

More to come later!

Colour grading to achieve a 'gritty' yet cinematic look.

As you know I filmed some great material for a Canon/Manfrotto/Elinchrom promo video, which is going to be shown at The Societies SWPP conference next week. Todays challenge was to grade one of the videos; here are a couple of screenshots to show you what I was working with. The first is my first grade, which I then changed shown in the second.

The colour balance was not good in the gym that we were shooting in, so try and overcome the warm/green hue I applied a blue tint to the image, as well as adding negative bleach bypass to give it that film process look. I then adjusted the grade, removing the blue tint as throughout the clips it did not look good all the way through. I then added a knock of contrast to enhance the colour and depth of the image.

The video will be available to watch possibly next week or the week after!

Video on the Canon 5DmkIII and Samyang Cine Lenses

Many of you intrepid videographers may have come across a unique range of VDSLR Cine lenses from Samyang (Rokinon/Walimex) depending on your region. Have you had thoughts to invest in one, or a whole range of them? Focusing on video, having electronic focusing and aperture is not essential for me, and in fact gives more control over the light entering the lens due to the de-clicked aperture. You can create smooth transitions between light and dark situations with ease by pulling the aperture.

As I've only just got the 5DmkIII and cine lenses, I thought it would be a good idea to test the kit out individually; producing a short video of the results.

I began on the Samyang 14mm T/3.1, an ultra-wide lens that does have barrel distortion if subjects or distinct lines move towards the sides of the frame. Operating the camera handheld on the MODA rig, I was not left much choice but to capture the video in 720p 50 frames per second, to eliminate obvious camera shake. This did work in my favor come later in the day when I was hanging out of a car boot filming!

To exaggerate the ultra-wide effect, getting close to the ground, walls or your subject will show how wide the image actually is, while offering exquisite sharpness throughout the depth of the image. Moving while operating an ultra-wide also gives a unique changing perspective to the viewer; one that is appealing due to it looking unnatural to our eyes - a great effect for establishing locations in film.

What I did notice was a very strong contrast, even when shooting in Neutral picture style (for a flatter image). This is causing issues in post due to burnt in detail in the highlights and shadows.. So I have adjusted the picture style to my needs by reducing all of the parameters to the lowest level.

Overall, I am ecstatic to finally get my hands on an ultra-wide as I had no way of achieving that perspective with my old kit.

My tips would be to keep the camera stable - use a tripod, shoulder rig or steadicam to operate the camera. This gives you better control and steady visuals that won't distract the viewer from the awesome visuals.

Judge your highlights and shadows correctly - this is a manual lens, so remember it is easy to stop down to F/6.5 or F/8.3 (uncommon electronic F stops) to expose the image perfectly. With this, always check your focus (use digital zoom!!). The worst thing ever would be to find an awesome flowing shot but it being slightly out of focus.

Experiment using the manual aperture, it will take some time to get used to!

Here is a draft edit that I chucked together from the test day -

http://www.youtube.com/watch?v=JN4tb8MJpEc

On to the Samyang 35mm T/1.5

This is a beautiful lens. I've only worked with a 35mm F/1.8 for my little Nikon D5000, so as far as experience with 35mm that goes out the window.

What can I say... The 35mm focal distance works so well with the 5D's full frame sensor, and even at T/5.6 the image was sharp and had a beautiful bokeh. To the other end of the spectrum; I also shot at T/22 to achieve a silhouette effect of Glen and the Houses of Parliament in the background. At this small aperture you would expect loss of detail and softness, but the Samyang 35mm excelled.

Another fantastic benefit of this lens is its minimum focus distance (the minimum distance from the lens to the subject for it to be in focus). It is very small at only 30cm allowing you to get very close to the subject and still achieve pinpoint sharpness and shallow depth of field.

I was filming up in London with my friend Glen, the light was hard when we arrived with strong sunlight beaming through the rain clouds, so to retain good exposure throughout the frame I found myself shooting between T/4 and T/8, varying the ISO depending on the location. For demo purpoes, I also filmed Glen constructing and using the new CamSmart MODA Rig, in innovative new video and photography product aimed at all level of users to achieve exceptional visuals in a cost effective solution.

For this close up, intricate video the 35mm lens was perfect for both wide and close up shots, I get more and more impressed as time passes!

My tips for using the Samyang 35mm T/1.5 cine lens - get yourself some ND filters, or even better variable ND filters as this will reduce the light entering the lens without changing the aperture, shutter or ISO. If you have a lens that is very fast, like this model at T/1.5, to retain a shallow depth of field in a multitude of locations and light levels ND filters are crucial and should be in your kit bag.

Here is the rough edit of the 35mm film! -

http://www.youtube.com/watch?v=g66CTm38SsA

Big shout out to Manfrotto for the 055CF tripod, video head and pro backpack, makes a world of difference to my old 055 aluminium model!

Good luck with your shooting, drop us a comment if you have any questions about using the lenses or kit, and be sure to like, follow and share!!

Interview/Epsom Downs/Nutfield Priory Filming Sunday!

Sunday is always a hectic day for me, and yesterday encompassed helping Glen with his dissertation; he interviewed me about getting jobs in the broadcasting industry after university. He filmed it on the 5DmkIII, Samyang 85mm T1.5 Cine, Lilliput field monitor, Zoom H6 & Sennheiser ENG-100, Manfrotto 055CX and my new MODA RIG - in studio production mode.

It was a great opportunity for me to test out all of the new equipment on a video shoot together, and being on the other side of the camera was definitely interesting form me!

We then took a trip up to Epsom Downs, it was a really clear day so from the viewpoint I could see London on the horizon, with the Shard gleaming in the winter sunlight. This was taken on the 5D with the Sigma 70-200.

I got some pictures of the MODA rig in action, we were using it in two setups for the various shoots that day; the production mode for a large DSLR body and lens with cage and shoulder mount, as well as micro rig mode for a Canon 60D and cage. This shows how flexible the MODA rig really is in different shooting scenarios!

We then jetted off to Nutfield Priory near Redhill for the last video shoot of the day, for Steve from Partytime entertainment. He has an awesome new setup with white speakers, moving heads, star cloth, light up dance floor and now a dry ice machine!

Using the MODA rig with the Canon 5DmkIII, and a combination of lenses from Samyang 14mm T3.1 to Tamron 24-70 to a GoPro, myself and Glen captured the night. The dry ice was used for the couples first dance which looked great!

The footage from this shoot will go to John Harris Media, as part of a bigger project with Partytime, so I am looking forward to seeing the results!

I have also been working on the behind the scenes videos for the SWPP conference, showing how you can use Canon, Manfrotto and Elinchrom products to produce fantastic video on DSLR. I've been experimenting with beauty looks for one of the models...

Grading test for Canon/MF/Elinchrom BTS

There will be lots more coming over the next few days, I am currently buried under lots of post production work as well as developing Camsmarts new products too. Tonight I am out filming and taking photos for a new florist at Epsom RAC, so look forward to some new beauty snaps!

Happy New Year to you!