PerroneFord
Deals in Lead
Yesterday was an interesting day. I had a VIP shoot to do at my office. Nothing too unusual, as I do several a year. But this one departed from the norm in a few different ways.
Ordinarily, I get asked to shoot a head and shoulders type deal 5-10 minutes long with a DVD or web finish. Nothing to hard. I'd bring a camera, use ambient light, get the talent where I wanted them, and roll the camera with an on-camera shotgun. Sounded good enough for what they wanted.
Today was different. The talent was coming to my turf. I had a scene set up, lighting, background, two cameras and was running dual system.
I noticed when the talent showed up, that they were having voice issues. Lots of plegm, the requisite coughing, etc. I had actually brought water with me, but mistakenly left it downstairs. I offered to get water, but the talent refused.
The talent took their seat, but requested a table for placing their notes on. I didn't even think about that because it wasn't somethhing that was requested before. My assistant handled it in short order. However, I noticed that they shifted the chair forward a foot or two. At that point, I should have readjusted my lights. The hair light was now a bit off, as was the reflector for fill. I checked the monitor and it still looked good, so I decided to roll.
Mistake #1. Take the time to get the shot you set up for. Not the one that's "good enough:
I repositioned the mic, did a sound check, and started up both cameras. I put my headphones on to monitor sound. Talent began their delivery. Very professional, but with the occasional cough and clearing of the throat. By page 2, about a minute in, I realized that my lovely dual system recorder was blinking red at me... it was still in pause! I subtly started it at 1 minute 10 seconds. The talent finished the read at 13 minutes fully expecting to be done. I had recorded wild audio on the other two cameras, but wasn't comfortable relying on that if I didn't have to.
I complimented the talent on their professionalism, and noted that they sounded great by page three, but wondered if they would mind redoing the first 2-3 pages. They were very accomodating, and agreed. I had left both cameras rolling as well as sound, and I wasn't about to fool with them now!
I rechecked the framing, but I didn't move the lights. I did move the reflector a bit closer, but I knew I'd have continuity issues if I adjusted too far.
Lesson 2. If you have to do a fix, do it RIGHT!
The second read was first class. They read the first three pages at a minute per page, and I knew I had plenty of coverage. So I thanked them, and told them I'd provide them with what they needed. I knew I'd have a litltle work to do in the edit suite but I had recorded wild sound on two cameras, and got a synch sound before the beginning of each recording.
Lesson 3. If you don't have sticks, run wild sound on all cameras (assuming video cameras with sound), and synch up from there. The picture locks automatically.
I just fininished the basic edit, including inserting take 2 as the intro and fading into take 1 at an opportune moment. This wasn't really scripted, the talent was working from notes. So I need a good segue point. Tomorrow, I'll work on the B-Camera cuts, master the audio, and render again. By the end of the week, I'll have the audio sweetened, it'll be slightly graded, the requested intro will be included with the music track, and a final will be produced.
So my take aways were:
When you are working with a client, even if they are somewhat intimidating or high profile, take the time to be sure. And there is a REASON that you call *SOUND* and *SPEED* before rolling camera! Simple lessons are sometimes the hardest to learn.
Ordinarily, I get asked to shoot a head and shoulders type deal 5-10 minutes long with a DVD or web finish. Nothing to hard. I'd bring a camera, use ambient light, get the talent where I wanted them, and roll the camera with an on-camera shotgun. Sounded good enough for what they wanted.
Today was different. The talent was coming to my turf. I had a scene set up, lighting, background, two cameras and was running dual system.
I noticed when the talent showed up, that they were having voice issues. Lots of plegm, the requisite coughing, etc. I had actually brought water with me, but mistakenly left it downstairs. I offered to get water, but the talent refused.
The talent took their seat, but requested a table for placing their notes on. I didn't even think about that because it wasn't somethhing that was requested before. My assistant handled it in short order. However, I noticed that they shifted the chair forward a foot or two. At that point, I should have readjusted my lights. The hair light was now a bit off, as was the reflector for fill. I checked the monitor and it still looked good, so I decided to roll.
Mistake #1. Take the time to get the shot you set up for. Not the one that's "good enough:
I repositioned the mic, did a sound check, and started up both cameras. I put my headphones on to monitor sound. Talent began their delivery. Very professional, but with the occasional cough and clearing of the throat. By page 2, about a minute in, I realized that my lovely dual system recorder was blinking red at me... it was still in pause! I subtly started it at 1 minute 10 seconds. The talent finished the read at 13 minutes fully expecting to be done. I had recorded wild audio on the other two cameras, but wasn't comfortable relying on that if I didn't have to.
I complimented the talent on their professionalism, and noted that they sounded great by page three, but wondered if they would mind redoing the first 2-3 pages. They were very accomodating, and agreed. I had left both cameras rolling as well as sound, and I wasn't about to fool with them now!
I rechecked the framing, but I didn't move the lights. I did move the reflector a bit closer, but I knew I'd have continuity issues if I adjusted too far.
Lesson 2. If you have to do a fix, do it RIGHT!
The second read was first class. They read the first three pages at a minute per page, and I knew I had plenty of coverage. So I thanked them, and told them I'd provide them with what they needed. I knew I'd have a litltle work to do in the edit suite but I had recorded wild sound on two cameras, and got a synch sound before the beginning of each recording.
Lesson 3. If you don't have sticks, run wild sound on all cameras (assuming video cameras with sound), and synch up from there. The picture locks automatically.
I just fininished the basic edit, including inserting take 2 as the intro and fading into take 1 at an opportune moment. This wasn't really scripted, the talent was working from notes. So I need a good segue point. Tomorrow, I'll work on the B-Camera cuts, master the audio, and render again. By the end of the week, I'll have the audio sweetened, it'll be slightly graded, the requested intro will be included with the music track, and a final will be produced.
So my take aways were:
When you are working with a client, even if they are somewhat intimidating or high profile, take the time to be sure. And there is a REASON that you call *SOUND* and *SPEED* before rolling camera! Simple lessons are sometimes the hardest to learn.
