Have you ever wondered the best way to mic somebody? Coming up we’ll have some tips on mic placement and outdoor shooting.
Hi, I’m Jennifer O’Rourke for Video Maker. In today’s tips and tricks we’re gonna talk about mic placement, how to diplomatically put a mic on your subject and what to do when you’ve got wind problems. Tip one, wardrobe; try to have your subject wear a button-down shirt if possible. It’s actually the best shirt to use for miking.
When wearing a button-down shirt place the mic between the top two buttons of your subject. You don’t want to have it on the collar like you see a lot of people do because they’re talking to the side. It needs to be about eight inches right below their mouth.
If your subject is wearing a t-shirt wrap the mic cable behind their neck and bring it under their t-shirt and clip it underneath so that the mic still points up. You want to make sure that the mic doesn’t point down. When it’s on a t-shirt it tends to want to do that.
Tip two, be discreet and be diplomatic. Only celebrities and politicians are used to being manhandled with microphones. Let your subject put the microphone on himself, tell him to pull the cables up under his shirt and adjust it on his lapel. After he’s got it adjusted then you calmly take it and readjust it the way you want it to go.
We just talked about wardrobe and mic placement. Now we’ll talk about voiding wind noise. Tip three, when it is windy outside, you always want to make sure your mic has a mic sock on it. Even if there’s not any wind you really need to have a little bit of it. Now if you don’t have one you can really easily make one with just a little bit of foam and a rubber band or a twist tie around that mic.
Another way to avoid some wind noise is if you have someone who can stand by and block the wind with a very large piece of poster board and try to place the subject with the wind at his back so that he can become the wind screen and always wear headphones so you can hear that hiss that might come from the wind.
There are always lots of new lenses announced at NAB every year, but this one was truly special. Most of us can’t even afford to rent some of the lenses on the show floor, let alone the camera to use them. Canon’s Compact Servo 18-80mm T4.4 is the exception. While the $5,225 price tag is nothing to scoff at, it’s a steal when compared to Canon’s other EF servo zoom lenses, which approach $30,000.
An optional add-on to the Compact Servo 18-80 is a zoom rocker grip.
The visual style of your video is usually in the director’s head from the start of production, so what happens when you bring the footage into your editing software and you can’t get it to look quite right? Well, when it comes down to crunch time, as editing tends to, any solutions that are "as easy as it gets," are often the ones that editors rely on. You need to get the right tool, and you know that big young Internet has plenty to offer, but do you really want to be searching for, learning and purchasing something you’re checking out for the first time the same day?
Testing the S-Gamut3.Cine Slog3 colour profile in the Sony a7S II. Please note this is 4K down scaled to a 1080P timeline. Canon 16-35 F4 Set to F11 on both cameras. Shutter speed used to get correct exposure. White balance 5500K
We've been screaming about this for years, but Simon Cade at DSLRguide has put it into words more eloquently than we've heard in quite some time. Simon strikes down all the buzz words we industry geeks tend to throw around like dynamic range, aliasing and 4K, but emphasizes that the they all take second fiddle to storytelling.