8 On-the-fly Guerrilla Production Tips (page 2)

Good audio is one of the easiest things to overlook and hardest to fix in post, even more so with all the distractions of shooting on the fly.

Monitoring your sound as you record it through the camera is the best way to avoid an audio catastrophe. Wear headphones at all possible times while rolling tape. Check your settings and levels ahead of time, so you aren't messing with them in the field.

Your choice of microphone will vary with each shoot and will generally depend on how mobile you'll need to be.

In covering a bike race, for example, you'll be running through the woods capturing the racers as they whiz by. A camera-mounted shotgun mic is ideal for situations like this, picking up audio directly in front of the camera - in this case from the cyclists - while avoiding distracting noises behind you. Be careful that the tip of the shotgun mic doesn't drop down and show in the frame!

Shotgun mics are flexible enough to use for interviews, but lavalier mics are generally preferred, if you have the time and logistics to use them.

Using a lav and a camera-mounted shotgun mic together is a terrific option when shooting interviews. This gives you one source for ambient sound, with a second channel reserved for the primary interview.

If your camera doesn't have direct XLR inputs, consider a camera-mounted XLR-to-1/8" mini-adapter.

Shooting on the fly often lends itself to handheld camerawork. This style can pull viewers in and make them feel a part of your piece, but it can also be a distraction, if the camera moves too much. Always try to keep the camera still when zeroing in on the subject of your shot - it'll keep your audience focused on the image and not on your shaky camera work.

When it's essential to steady the camera, a tripod is absolutely the best option. If you don't have one handy, look around for anything that might keep the camera still, especially if you're going in for a tight zoom.

When time and mobility needs prevent you from using a tripod, a monopod is a great compromise. It's light and easy to carry, and it extends out in a snap. It can also provide a fairly stable base for tight zooms and pans.

Armed with a camera, mics and your own ambition and imagination, you're about as free as a filmmaker can be. This is where guerrilla filmmaking really shines.

Make sure you capture a variety of footage, to allow for maximum flexibility in the edit suite. Experiment and be creative with your angles. Get wide, medium and closeup shots to intersperse with your high- and low-angle shots.

When grabbing B roll, force yourself to count to ten before moving onto the next shot. That may feel like an eternity in the moment, but it'll feel just right when it comes time to edit the footage.

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