5.25.2015

Crazy Weather in Austin. Five inches of rain in four hours at my studio. (and some in my studio....)

It's another shop vac day in the neighborhood. We live up in the hills so nothing is ever going to be underwater (unless it's the end days) but with lots of elevations and grades along with super saturated soil the floors were not immune. We've had 23 days of good rain in a row, effectively curtailing the worst of the severe drought (for now).

I've spent hours today vacuuming up water and dumping it outside the studio. Nothing was damaged or destroyed inside. We have everything up on shelves and the foam mats on the floor are very helpful. All the cameras are snug in their cabinets and far from the floor.

In the downtown Austin area entire businesses are flooded and the recovery from the wide spread water damage will take time.

We're safe and sound here. My prayers go out to all the Austinites who live around Shoal Creek and other flood prone areas. I hope the worst we get is property damage and that no lives are lost.

Staying dry. Hope you are too.

A Reader Asked to See How I Was Rigging My Video Gear Around the Camera. Here's My Set-up.



This is the way I have my camera set up for shooting video on a tripod. If someone else was handling the sound it would less cluttered. If I was shooting solo I probably wouldn't use the monitor either...

This is the set up I used to shoot the video I talked about in the previous blog post. The box on the top left is the Beachtek DXA-2T which is a passive microphone mixer. I can combine both channels into one or keep the signals in separate channels. The important thing is that the Beachtek box allows me to control audio levels as needed. Always going down, never up; because there are no active preamplifiers in the box. But it also does a great job of impedance matching between the professional XLR connected microphones and the consumer level, mini-plug inputs.

Next to the blue Beachtek box is a Sennheiser receiver which is one half of the wireless microphone support set. Note that its output is connected into the mixer. 

I can add more utility shoes to the top bar of this "cage" in order to add more stuff but at a certain point more stuff makes the whole rig top heavy, plus it's already starting to look messy.... Don't try this with a little weanie tripod and head!


The Marshall monitor is a cheap one but it does a nice job. People can watch what I'm shooting without breathing down my neck and I can click on the focus peaking and see if what I'm shooting is really in focus or not. The headphones serve the same purpose only for ears. I will need to add a little hook to one of the tripod legs to hand the headphones on when we're between takes.




If I'm going to use a tripod it's really nice to have all the stuff I need right there, clustered around the camera. These are all simple and effective tools but they make a difference in the shooting. You can imagine that on bigger sets with multiple monitors and digital recorders sucking information out of the camera's HDMI socket and with the camera rigged with a follow focus mechanism and a matte box things get complex, crowded and more and more unwieldy. 

When I shoot with the Olympus stuff I don't want to wire it up like so. I want to shoot with them handheld and use the EVF finder. The D810 doesn't seem to mind the add-ons. 

Cost of stuff: The Beachtek box is about $170, the Sennheiser system, with lavaliere microphone is $700, The monitor is $349 and the grippy/cagey thing was a little less than $100. Not bad at all for stuff you can really use to make video projects work.



The Giddy Excitement of Getting Something Just Right. A video project for the theater.

A screen grab from my video project at Zach Theatre.

I have a really, really fun job and it amazes me that I can still get excited about things like getting the lighting on a subject just right, or getting the audio perfect. You would think after almost thirty years in the business that one would get a bit jaded. A bit complacent. In a short length of time yesterday, in the early evening, I had the wonderful feeling that I lined up everything correctly. Please let me share.

Zach Theatre is doing a play called, Mothers and Sons, and they cast Michael Learned in one of the starring roles. For those of you who don't know Ms. Learned she is the actress who played Olivia Walton (the Walton's mom) in the Waltons. She has been in numerous movies, is very active on the stage and has won four Emmy's for Best Actress. You've often heard people talk about someone who lights up a room by just walking in? That would be Ms. Learned.  

The production team at Zach wanted to do a thirty second TV spot featuring Ms. Learned against black, in character, for the upcoming play. The team got in touch and asked me to do the project. I immediately went into pre-production mode and got as many details as I could. We would be shooting the principal part of the spot with Ms. Learned against a black background. She would be speaking directly into camera and the audio was critical. They wanted the lighting to be natural and non-clinical. I would need to be totally set and tested by the time Ms. Learned appeared on our set as we would only have a limited amount of time to get what we needed before she had to get to another commitment. 

The first thing I needed to lock down was a black background. I checked pricing for a roll of black seamless background paper, nine feet wide. It would be $55. I checked on getting a black muslin in a 10 by12 foot size and at Amazon it was $29. Since I pay for the Prime service shipping to my studio door was free. I went with the muslin option and it was delivered in the pouring rain on Friday; just in time.

I experimented with lighting and devised a different way of lighting this video than I had used before. I also went back in time and selected one lighting instrument from antiquity that acquitted itself very well. 

I wanted a soft light that was directional so I used a 72 inch, soft white (with black backing) Fotodiox umbrella as my main light, just to the left of the camera. I lit up the umbrella with an old (very old) Lowell Tota-Light that a friend had given me years ago. When the whole combination was used as close as I wanted it to my subject to get the right balance of softness and detail I got the exposure I was looking for into the bargain. A 750 watt tungsten light is still (relatively speaking) a powerful source. 

Just to my subject's left (right hand side of the frame) I put up a very big white reflector. It's just out of camera range but it tamed the lighting ratio and added additional softness and fill to the overall image. The final piece of lighting was the chameleon in my case; the Fiilex P360 LED light. I dialed the color temperature dial all the way to tungsten (to match the main light) and used it high up and about twenty feet behind the subject, on her left side. The Fiilex makes a great backlight and is one of the few, very high quality LED products that can be used as a spot. 

In order to assess the effects of the lighting set up as we worked, my producer, Michael Ferstenfeld, acted as the stand in and was very patient as I moved lights around and finessed the subject to camera to background distances. 

I used the Nikon D810 as my video camera setting the camera to its highest quality setting and, after consultation with my editor, set the rig to 29.97 fps. The exposure was 1/60th of a second with my 85mm f1.8 G Nikon lens set at f4.0. The ISO was 320. Since the entire set was illuminated by tungsten halogen bulbs (of the equivalent) I was able to use the tungsten preset for WB. 

I had the D810 hooked up to my 7 inch Marshall monitor, via HDMI, to provide focus peaking during  set up and shooting and to provide a big monitor for the artistic director and the producer to watch as I filmed. The bigger screen, in combination with focus peaking made it easy to manually focus the 85mm and I paid close attention to both the screen and the subject's relationship to her mark on the floor while I was shooting. 

The final step was to get the audio set up and zero'd in. I wanted to use two microphones on this set up, just to cover myself. The primary unit was a Sennheiser wireless rig and you can see the mic placement on the subject in the screen grab above. This is a great wireless mic set up and one we use all the time but every once in a while an actor will get carried away and get loud enough to blast out of the safe levels and distort the audio. I wanted a second "safety" channel with a different mic set about 12 db down from the main microphone; just in case. 

As a back-up I chose the Rode NTG-2 shotgun microphone. I wired it up with an XLR cable and put it on a Gitzo microphone boom and secured that to a stout light stand. The microphone is about 18 inches above and in front of Ms. Learned. Both microphones were running through a small, passive mixer and into the camera's audio input. I use the mixer because it gives me physical knobs to twist for each channel. After we do several rehearsal takes with our actor I can quickly set the levels that work best without having to menu dive or get finger-traction on a small, rear screen. The difference between the channels ended up being about 6db as I dialed down the input from the main microphone by a bit during rehearsal. I always wear headphones when shooting speaking parts in video so I can hear anything that make make the recorded sound unusable. 

Ms. Learned came in trailed by the costumer and the theater's make-up person. She instantly memorized her lines and walked over to the mark. We shot six or seven takes but honestly, she nailed it on the very first take, everything else was just in case. Her whole time investment on set was a bit less than 15 minutes. We all reviewed the product, couldn't figure out a single way to improve it and so we wrapped up and started packing. 

The editor was on set so as soon as my gear was packed and stowed in the car I handed him the SD memory card and he downloaded the files to his laptop. I mentioned that he would have 24 hours to make back ups but I was (mostly) kidding. I'll back up anything I liked shooting....

I played the segments on my computer for the first time this morning and got that warm and happy feeling of having nailed something as well as I possibly could. Another step forward.


5.24.2015

My Ongoing learning process with Video and the Olympus OMD EM5.2. Caution: Video programming included.

EM5.2 Video Test 2 from Kirk Tuck on Vimeo.
This video is about Untitled Project

Click through to Vimeo using the links above if you want to see the test video at full res. The embedded version is limited to 800 pixels wide.

I bought the Olympus EM5.2 cameras because I am convinced that the image stabilization in those cameras will really work well with the way I like to shoot video. While some people may be able to sit down, read a review on the web or watch a YouTube video and hit the ground running, getting perfect video every time, I am not so lucky. I seem to have to work through a camera and try it in every setting before I really understand how the camera will give up its best images for me.

The EM5.2 is a classic case in point. It's a great still cameras that is both blessed and cursed with ultimately flexible configuration possibilities. But for everyone who likes to shoot video there might be a combination that makes their work look better than any other collage of settings. For me it's all about rejecting what doesn't work and focusing on what does.

My first experiments with the camera weren't bad, they just weren't as good as what I was getting out other cameras, like the Panasonic GH4 and the Nikon D810, and I had an inkling that I could do better.

The video above is my attempt to tune in my camera and make it work of the primary task I envisioned; walking around with the camera and getting wonderfully smooth, handheld footage with good sharpness and detail.

I am happy now to say that I am finally very happy with the video in the EM5.2. In the experiment above I can see lots and lots of detail in my face and hair and the overall appearance of sharpness is just right. That's a good thing. But how did I get there?

I set up the camera to record in the All-I setting. This means every frame contains the full image file and this makes editing easier even though it increases the size of the in-camera video files. It's the highest quality in-camera setting but you can get even more serious and buy an external recorder and take a clean, uncompressed video file from the HDMI port if you really need more quality and control.

My camera was set up to do 1080p video at its highest quality ISO, which is 200. The frame rate was set at 24 fps and the shutter speed was 1/50th of a second. Finally, the aperture on the 45mm f1.8 lens was set to f3.2 which should be in the optimum range of apertures for that lens. I metered myself with a Sekonic light meter which has a cine scale and used the meter's recommended settings.

Here's where I changed direction (happily) and where I think I was able get footage I liked today. I had the feeling that the noise reduction in the camera was just too strong and was killing fine detail so I set it to "off." That was one step too far and I could see noise in the mid-tones when I played test footage back on my desktop monitor. I stepped back one step and set the noise reduction to "low" and that seemed