APVideo: CineGear 2015 @ Paramount Pictures, LA
It's been a rather amazing few weeks for me here at APVideo. So here is the low down on what I did, what kit I used and what is coming up next!
Jump back to the beginning of June and I get a call from NewsShooter.com asking if I'm available to cover CineGear in Hollywood for them. With an empty space in the diary, I jumped on the chance to visit LA and begun the prep to cover the expo with video.
To familiarise myself with the exhibitors, I checked out the interactive map and visited the websites of companies of interests and viewed the latest press releases to get clued up on the news. (Always be prepared).
Manfrotto provided me with the fantastic Roller Bag 70 for my trip overseas, into which I moulded the foam inserts to protect the cameras and kit I'd be taking. Since it was a short trip, I only took the bare neccessities!!
- Sony A7S in Movcam cage and Metabones Adapter mk IV
- Tamron 24-70
- Nikon 50mm F/1.4
- Zoom H6
- Rode Lavalier
- Manfrotto 755CX-3 + MVH500AH
Told you it was bare!
It was a couple of long flights over to LAX.. Some snaps from the journey on the A7S.
It was my first time flying to America, so I was keen to snap up as much as I can, and enjoy the Virgin Atlantic hospitality!
I highly recommend the Mondrian Hotel on West Sunset Blvd, it is bloody amazing. Rooftop restaurant and bar, amazing hotel views, and staff that feel like family!
The following morning I constructed the Movcam cage rig with the kit I brought, which compacted all of the filming kit into one tiny hand held rig which I could put on the Manfrotto 755Cx-3 tripod.
I got myself one of these handy little hot/cold shoe mounts for anything with a 1/4" screw hole; in this case I was using it with the Zoom H6 but it fits most accessories. If I were using the Atomos Shogun, I'd of used a magic arm (just for flexibility in adjusting the screen angle), but as I was monitoring the audio with headphones and checked the levels beforehand I didn't need to see the monitor per se. An alternate is to simply use a ball mount, but I find these sometimes don't lock down the position strongly enough (especially cheaper ones).
I got an UBER from the hotel to the studios, and after registering and waiting for the show to open, I made my way to the stages to begin filming! I had about 10 interviews to do on the first day to get a head start and the main content back to NewsShooter (who are a day ahead time wise).
Cool-Lux, Atomos, SLR Magic, Beeworks and a host of other manufacturers were on the list to capture. For the setup, I shot using PB's recommended video settings (cine-4 etc see previous blog post) with the Zoom H6 recording dual audio both on the stereo XY mic and via the Rode Lavalier which I clipped onto the interviewees.
The plan was to shoot the 10 interviews with plenty of B-roll and begin editing that night. It was a late one, staying up until 4am editing the first batch of videos. I got the SLR Magic one out that morning before my head hit the pillow.
4 hours later.
Up I was to complete the last of the edits in Premiere Pro. The videos follow the same format, so after opening the exported XML sequence from Pluraleyes I could simply drop in the titles and credits, the lower 3rd and QC the video before exporting.
The show opened later that day, so I made my way down that afternoon. The Manfrotto tripod I was using was perfect for this kind of filming. Being mobile and having a small footprint is a real issue when covering events, and you should try and stay as small and quick on your feet as possible.
That evening it was recovery time from the lack of sleep and jet lag carrying over from the previous night, but while I was putting my feet up watching Jurassic Park in the hotel I had Premiere whizzing away with the new footage I had shot that day.
Because of the format, replication of sequences was rather fast. Using Premiere means no rendering time and instant playback, so I spent little to no time waiting around as I queued up the finalized sequences into Media Encoder, and batch exported while I was editing together the next sequence. Keeping check on the white balance and varying exposure of indoor and outdoor shooting meant no colour correction was needed in the edit, which also sped up the production process, I could get the news from the show quicker out to NewsShooter!
The beauty of shooting on the A7S was that I could shoot at F/11 and beyond outside due to the wonderful Hollywood weather, but inside if I needed extra light I could punch up the ISO to 2400-6000 with no real visual difference (unless you want to pixel peep).
The Rode Lavalier is a real workhorse for me. Before leaving I set it up with the small wind jammer and the Micon-5 XLR adapter so it would plug comfortably into the H6. For an inexpensive microphone it does a fantastic job of capturing the subject and cancelling out the background noise, which at an expo is quite loud in some cases.
In case you need advice on SD cards, I use the Transcend Ultimate 600x 64Gb U3 cards (purply pink label) as they are XAVC and S-log compatible.. Not that I have shot using the S-log yet.
Just as quickly as I arrived, it was time for me to depart. I got an UBER to LAX where I picked up a couple of snacks to munch on while I edited the remaining videos to be exported when I got back home.
I returned home after a stop over in Las Vegas for probably about 20 minutes. So no gambling or anything like that as it was a quick transfer. So quick in fact that I needed to run to the gate (again, thanks to Delta, grr).
A fun filled 12 hour flight across the states and Canada, across the ocean and back into England was compiled of all 3 Hobbit films (as I was yet to watch them), followed by a hilarious comedy film called 'What We Do In The Shadows' by the same guys that made 'Flight Of The Concords'.
Overall it was a brilliant working trip to Paramount to cover CineGear 2015 for NewsShooter, and a wonderful experience visiting the US too. I look forward to working again with NewsShooter at future events!