Need some advice for an HBO-"hardknocks" type show

jambredz

jambredz

Veteran
I was approached about DPIng and editing (and i guess somewhat directing)a show similar in look and feel to HBO HardKnocks training camp here in Jamaica. They saw some of my work i'd done (shot and edited) with my dvx. However i now have my 7d and to be honest i'd rather shoot in HD (whatever camera i use). The only prob (which is big) i'm thinking is how to do sound. There would be a sound person if the show gets picked up...however that may not be the case for the pilot. I'm kinda excited cuz i basically get free reign to make this thing my own in terms of look and direction cuz they are relying on my expertise for more than just dping.
ANyway the issue is (sound man or not) do u think its even plausible to do a show of this type with dslr's? I'd be shooting soccer (we call it football in Jamaica) and visually i'd really want to shoot on the 7d. Also there maybe alot of evening to night shooting (another reason i'd want the 7d, possiblely a 5d as the other cam if it gets picked up) because most of these clubs train at that time. But i'm thinking it just may not be the right tool for a reality type show...double system sound :( ( i'd be editng it btw). oh i'm DEF no sound man :). so gimme some advice pls.

and how exactly would this be done on a run and gun thing like this?
 
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i would say there is far too big of a risk that the players would be out of focus, making everything look like crap. it would probably be good to have some controlled shots using the DSLR, but personally, it would probably be better to limit those shots.

my two cents.
 
thanks for the advice Goldfi.
i dont have much problems where thats concerned. i do pretty well focusing. however many of those shots whould have a deep DOF anyway (well for the day shots :)) . The look of the show is my strong point...but its the separate sound issue i'm more concerned with.
 
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get a zoom h4n or other digital recorder and go double system. use a slate or even a hand clap then sync the h4n audio to the camera audio in post. you could mount it to the camera or put it on another tripod.
 
ok say i do get a zoom and clap each time i'm gonna film (either myself or using a sound person). how do i know which sound clip is which when i'm ready to edit? In a film u'd say what scene and take it is....but for something like this which is more capturing as it happens how to u mark that really.
 
Hire a sound man, jam. It might mean a little less money in your pocket now, but bad sound will likely kill the prospects of getting the show "picked up."

This also lets you focus on capturing the visuals (your strength).
 
ok so you guys dont think its totally out there to do something like this on a dslr.

yeh i'm thinking hiring the sound person is best. whats the best way you think to mark these takes. clapping is fine for syncing ....but just to know which clip is which in the edit. I cant say scene one take 2 :).....maybe i can describe the shot at the start of end of the clips.

I;ve heard of people doing reality shows on dslr's...must be a heck of a task!

hey Stephen on a side note ...how do u think this looks? http://vimeo.com/13410432

its a project i'm DPing on...i was messing with grading. shot on the 7d with my supertakumar 50mm 1.4 (separate sound was recorded :) . this is 7d sound)
 
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I don't think you're crazy for doing this on a DSLR, but you have to understand and be prepared for the challenges it creates.

First, sound. Get a sound man. A hand-clap is going to be fine for syncing (in my experience), and for "slating" I'd just make an audio note into the on-camera mic at the beginning of each shot.

Second, overheating. Realize that if you're shooting longer takes over the course of a full shooting day on the 7D that you more than likely will overheat the camera. You can minimize the problems here by having A) a second 7D, B) a handful of extra batteries to switch out, C) some time between shots and a shady place to let the camera "chill out."

Finally, data management. Either have enough CF cards for a day's shooting or some way to offload the footage on-set (like a laptop). You should also have a standard operating procedure for offloading. For example, when a card is "exposed" and removed from the camera, it should go somewhere secure that you'll KNOW it needs to be offloaded. Then, when that card is offloaded, it should go somewhere secure where you KNOW it is ready to be wiped and re-used. Think about this stuff before you start shooting and your life on-set will be much, much easier.
 
well for some reason (thank god) my camera hasnt overheated yet and i've shot full days on this film i'm doing now. My cam is set to shut off after 2 mins( and i'd have cold packs on deck just incase). This quite likely wont be as gruelling as those long days. More CF cards and batteries will be a must because i'm not planning to offload in the field for this as we did with the film. (I have two 16 gb now...i would get 2 more). And if it does get picked up...we will be having a b camera quite likely a 5d. i'm gonna get a rodevideo mic for better reference sound and just as a backup if needs be.

take a look on that clip in my previous post and tell me what you think

thanks for the advice ya'll.
 
I think that looks really nice, jam. Good work.

From a technical standpoint, I think you've got the camera skills to pull off the gig. Again, so much of success in the field comes down to preparation and the ability to adapt/roll with the inevitable "punches." As long as you can do that, and with a sound guy handling audio, I'd say you could do a great job with the gig you're talking about.
 
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