Diving With Your Best Camera - By: Luke Robbins

Sounds like not an excessive amount of a hassle until you recognize an average feature dvd can contain 4000 these scenes and perhaps 100s of errors like the one's We mentioned. Again, keep the laughter down. It happens often.

Now the worst is in the event the audio tech hits the button to fix, but it keeps intending, and the next get, he hits it again thinking it's going, nevertheless it is now stopped. This cycle may repeat many times before the tech realizes he or she is off cue. And they're not planning to embarrass themselves facing sixteen actors and crew members by asking for retakes of the last eight scenes. Stay inside your chair, because all of these things happened on the final feature film I assembled when the producer used students to shoot this scenes. I solved the problem when using the good video take and matching it with a previous take's audio. Practically in situations, this is difficult to do and get it correct.

Even when everything goes right, the added editing time syncing 4000 audio files with 4000 video files results in months. And that's if nothing goes wrong. Now I didn't quite possibly mention the takes with static because someone used a cheap mike directly on the camera to be able little tiny audio connector, and didn't hear it because there's room to plug in headphones. And I will not bother mentioning mishandling growth poles or bad simon placement, because these can happen with any audio process, either first or minute.

These problems are typically easy to prevent simply by using the right equipment for the project. So what does one do if they have a heavy investment within a DSLR or two? Well, you have to weigh the money necessary the equipment against the money necessary time and see what is best suited for you. If people haven't purchased your camera yet, you can get an actual broadcast camera from Panasonic for about the same price as the DSLR. It will also shoot 24P will have XLR mike inputs settle down ! audio is synced with the video on the same file, saving months of editing time. The trade off - you'll toss in the towel some (but only a few) of that pleasant depth of field and you might not be able to changes lenses (although most occasions you won't need to). But you'll purchase a crisper image and have no 12 minute time restrict per clip.

A several companies have recently produced full feature video cameras made specifically for that indie film maker that offer the many audio and video advantages of a DSLR and a broadcast video camera combined into one. These cameras produce people luscious soft backgrounds associated with the sharp subject that film makers love so much from them DSLR's. In addition, your image is more processed, the camera is easier to control and the impression has less digital artifacts compared to a DSLR. Expect to pay a premium for these models, but you'll save months of your energy in the editing suite and end up with a better looking film compared to a DSLR or broadcast video camera can provide.

Not surprisingly, it goes without saying that the best camera is useless in the hands of an inexperienced DP.

About the Author

is managing partner for Quinbra, ltd. an e-commerce and media company dedicated to delivering niche products at affordable prices.

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