Tonight I’m going to take a mono mix from the house board and record it on a Sound Devices 722 along with a single omni mic on the stage into the other channel.

I can’t imagine tackling bringing another mixer. This is a fairly small show but there has to be at least 12 channels of mics and instruments. Well, that’s what separates the professionals from the amateurs.

Yes! No zooming except to re-frame and then be quick about it. With shooting in HD or higher (Red One) and cutting to SD, I can do all the slow-push zooming I need in post.

And tripods all around. I finally sprung for a really good Sachtler tripod, and I love it. Cameras come and go but a good tripod will last your whole life.

Thanks again.

Peace,

Rob:-]

I always have a locked down shot to cut to when the camera operators are all moving at once. I do not use a intercom or radio with the operators. Before the show I make sure to direct each operator on how to shoot from there angle… little to no movement unless you have a great shot and always look at the other shooter to see if the are moving if they are static then move.

I’ve been shooting with this crew on many live events and we have a great understanding of where we need to be.

I do supply the mixer and record into my laptop to be mixed down at another time by a professional…trying to learn that myself but may skip it and hire someone else. I record each line from the board and mix it down later as well as capturing from two mics in the live setting.

As far as shooting is concerned we shoot with the same cameras to avoid up/down converting the video files. It saves a lot of time and headaches.

Before you shoot make sure you talk to your camera ops and tell them where to hold their shot and for the love of god try not to move that much and keep away from zooming in and out during the song unless they are getting a solo shot. That is the biggest peeve I have in shooting.

Good luck tonight!

What would you pay the camera operator in your 3-camera example? Do you supply the cameras or do the operators bring their own?

On an music event video I usually put a camera locked off in the back to give me a full stage view which I can always cut to (because the other cameras might all be re-framing at the same time). How do you handle that?

Do you have an intercom with all the camera operators and direct each shot like a live switched event?

If you supply the sound mixer, who supplies the sound equipment? I’m assuming that there is a venue mixer for the house. Do you split the mics to a second mixer for recording?

I’m shooting a live event tonight using all volunteers. Our camera mix is crazy. A Red One, a Sony EX1, a Sony V1U, a Sony A1U and another DV camera, don’t know what that one is. I’m going to edit it all down for a DVD using FCP.

So, yes, this is not a professional shoot and there will be matching issues. But that’s why I’m asking these questions.

Peace,

Rob:-]