Achieving the TV look on an online budget

October 7, 2016

It’s 2016 and the marketeers are telling us to invest in online video. We are hearing many reasons for this:

“It will help your SEO”

“It’s cheaper than TV advertising”

“Your audience can be targeted on their commute, at home and at work”

All very good reasons, sure. But once we have accepted that we need to invest in online video, how can we make sure that our content looks good enough to be on TV yet stays within the realms of an online budget?

Whilst anyone can in theory take out their phone, shoot a video and upload it in seconds to their website and social media channels, businesses who care about their image and production values (I imagine that’s most of us) will certainly get better value from investing in professional online video. Gone are the days of dull looking corporate videos. We’re in the age where online advertising should look as good as TV!

So, how could you get the TV look on an online budget?

Through utilising cost effective technology.

Getting the TV look (or even the film look!) with the nimble DJI Ronin

One of the major benefits of opting for online content rather than broadcast media is that the fast moving digital landscape is allowing technology to be more affordable than ever before. You’ll have already experienced it with your electronic devices at home and the same applies in the video production industry. Cameras that produce beautiful images fit for broadcast are now within reach. As a result we use everything from larger cinema cameras to tiny DSLRs to portray your business in the best light. To keep things economical we buy some of the equipment outright whereas other bits are more cost effective to hire. This ensures that we can provide quality equipment all year round and still have access to anything specialist or brand spanking new when you need it, getting the best of both worlds.

Another example is in the aerial photography world. As HD cameras have gotten smaller they have been easier to attach to UAVs – aka drones! Only a few years ago aerial photography was too expensive a venture for most businesses; drones are obviously much more cost effective than helicopters!

If you have an interest in tech then you might like this article on how to choose the right camera.

It’s not just the camera: lighting & sound are important too.

One of the cons of this technology becoming affordable is that suddenly everybody considers themselves a Video Producer. Some think they can just buy an HD camera and become a professional without considering other areas of video production. What contributes immensely to creating a high value production or the ‘TV look’ is lighting and sound and at flyCreative we respect that. Just because you may be considering a less expensive option that doesn’t mean your product should be cheap!

A little bit more on lighting:

Only fairly recently have many cameras started to become good in low light conditions. However despite this, even big TV programmes today still require the use of lighting rigs. Next time you are watching X Factor take a look at the background of the wide shots. You’ll often see a large film light of some sort. Apart from being able to see the subjects, lighting is used to make people look good! Don’t you want your business to look good?

With an untrained eye it can be easy to accept a TV image as ‘real life’. Trust us though, you’ll notice the lighting when it’s gone. Or if it’s bad!

Music to the ears:

The other half of achieving the TV look is through getting good sound. When it’s not good you’ll notice it and will wish that you’d hired a professional. To maintain TV production values on an online budget we also take our sound very seriously, using broadcast quality microphones and recorders to ensure clarity and noiseless recordings. Some projects require their own sound recordist, just as in TV.

As online productions are usually smaller in scale than big TV shows, there is less of a requirement for large lighting rigs, mixing desks and huge teams of personnel which can add substantially to the cost of a production. Portable lighting kits, solo sound engineers and self shooting producers are more widely used than ever before. The number of crew required will depend on your individual requirements, but generally speaking the crews are small for online content.

Through planning and creativity, except you are in control.

Creating content for broadcast can sometimes be a little restricting. All of the major broadcasters such as ITV and SKY have strict broadcast guidelines regarding what can be considered ‘fit for broadcast’. Whilst legal issues such as libel, defamation and copyright breaches aren’t exactly blown under the carpet when it comes to producing online, the truth is by not having so many restrictions and guidelines to meet you can effectively have a lot more freedom when it comes to the kind of content you want to produce, how long that content should be and when you want to release it. With broadcast advertising you may also be competing with many other organisations, all after the same airtime. This can once again hike up the cost. Obviously, to get the most engagement from online distribution you should have a well informed social media and marketing strategy in place.

The beauty of having freedom to create whatever you want (within reason!) means that it’s easier to innovate and choose an idea that hasn’t been done before. This can increase the likelihood of your content being shared and for some, can even mean going viral. Remember, it has been accessibility to content on social media that has helped many adverts (that were originally made for broadcast) go viral. Do you think the Old Spice adverts would have had as much success if they weren’t shared on social media?

Need some inspiration? Take a look at this promo for Virgin Holidays where we got a bit creative. Cinematic slow motion cameras were used to capture members of Cirque du Soleil performing acrobatics on the streets of London.

http://mustard.education/portfolio/virgin-holidays/

The finishing touches to the TV look: post production.

To get the TV look it’s not just about the shoot itself but what we do to the footage afterwards. Colour grading, as part of the editing process, is used to enhance the images so that they help evoke a certain emotion from the audience. This can make your brand stand out from the crowd. Once this is done titles, text, motion graphics and animation can be added to further enhance the production.

The video below is a good example of how a project was really brought to life through post production. Not only did we shoot a range of material to promote London in the summer through the use of steadicams, drones and slow motion filming, but we added warm flashes of colour throughout to give off a summer flavour and produced some small animations along with the text. There’s a lot going on here and it certainly looks fit for TV.

http://mustard.education/portfolio/visit-london-summer-in-the-city/

Don’t forget..optimise your content for your chosen demographic!

Just because you’ve got your content looking like it should be on the telly you must not forget one of the key reasons for choosing to advertise online in the first place. Your creative freedom and a flexible online budget can allow you to customise your content for particular audiences; from simply adjusting the title cards for each audience to creating specific ads for each demographic. Once again, timing of release is crucial here too. What time of day are your customers most likely to be online? With so many options available, it’s down to you to decide what you would like and we will help you realise your vision.

And another thing..

The recurring theme here and the key difference between producing content for TV and online is the scale. Whilst there are many technological savings to be made and in ways a lot more freedom to produce the content you want for online, you will still have to consider the scale of your production. Hiring 50 extras to star in the background of a promo in London Victoria Station is still going to cost a fortune, regardless of whether it is for web or TV. If you are prepared to think big but balance it with realism then there is no reason why you can’t make substantial savings and still walk away with an incredible advert for your business.

To find out how we can achieve the TV look in your online production come on by and say hello!

5 ways to get better value video

September 3, 2016

In Britain we do love getting good value for money. However, investing for business can be a bit of a minefield. Whether or not video content is at the top of your list you can’t ignore the fact that the marketeers claim video is more crucial than ever. This is especially important where online presence and SEO are concerned. It’s true though; in an increasingly competitive world video can play a huge role in helping businesses stay ahead of the game. Simply put, they can engage, inform and entertain current and prospective customers much more efficiently than text.

One question many newcomers to video ask is:

How do I know I’ll get a return on investment?

The truth is, nobody can promise this. Every business investment you make, regardless of the cost and scale is a risk. However without risk there is no gain and by hiring specialists, such as a Video Production team, you can benefit from their expertise and experience in order to significantly reduce the risk and increase the likelihood of ROI.

But isn’t video expensive?

Yes, sometimes it can be, but it doesn’t always have to be. With a well defined strategy for how your video will be used, who your audience is and by using time effectively there are ways to get exceptional value out of your video content. With a bit of knowledge and planning you can get excellent value. Suddenly you’ll find your venture has been transformed from being a costly expense into a cost effective investment.

So, if you’re still on the fence about investing in video here are a few ideas how you could get more video for your money with flyCreative:

1. Give as much notice as you can.

The more notice we are given about your project the better the end result will be. Whilst we could simply turn up on the day and hope for the best a better approach might be to help you develop your idea into a script and a story board beforehand so the filming is seamless. There are also many logistical elements that are better (or only possible!) with time too; booking a good room to film in at your premises, securing people for interviews, hiring specialist crew or equipment etc. Whilst we’re no strangers to last minute projects, the more notice we are given the better the end product will be and the happier you’ll be.

Our Alumni film below for the University of Brighton would never have happened if we hadn’t have given Fatboy Slim a little bit of notice. He’s a busy man!

http://mustard.education/portfolio/uob-alumni-film/

The bottom line: Booking a video production company is like booking train tickets, do it in advance (except we’ll actually turn up on time)!

2. Get the most out of your filming days.

When you hire us to film, you get us for the full day. Why not, if you’re not already, utilise us for the time you’ve paid for? Even if you have captured everything by lunchtime, there is often so much potential for content to be captured that may be useful at a later date you might as well get it there and then! Here are some examples:

If you’re getting a promotional video made, why not schedule in some testimonials too? These could be included in the main video as well as released in their own separate videos. This means more content for your Youtube channel and consequently improved SEO (you hear that Google?!)
Filming a 1 shot interview? Let us film the subject in their day to day work to get ‘cutaway’ or connecting shots which can be used to hide cuts (so we can take out the ‘ums’ and ‘ers’). It’s OK, we don’t need to be invasive if they are busy. Interesting ‘cutaways’ are always worth getting because using them can make content more visually interesting, pacier and ultimately increase the chances of higher audience retention. They may also be useful in future content.

Not to say that we don’t ever want to go home, but utilising us effectively will give you better value in the long run and it’ll raise the bar too.

Another one for the University of Brighton; we live streamed their graduations alongside producing a highlights video for them by capturing footage in the breaks. We just love a bit of efficiency!

http://mustard.education/portfolio/university-of-brighton-winter-ceremonies/

The bottom line: We always prefer to have the footage and not need it than the other way round!

3. Release your videos at the right time & spread multiple video releases over time.

Showing off new content as soon as it’s finished can be very tempting. However, to get the most impact from a release the timing is crucial, especially where social media comes into play. Do you think your customers will more likely notice your release on a Sunday evening or a Monday morning?

If you’re releasing multiple videos (separate testimonials or FAQs for example) then sometimes it may be more beneficial to release them gradually over time as part of a carefully planned marketing/social media strategy. A video a month or even a week will have customers coming back to your site regularly which once again is great for SEO and website traffic in general. If your content is engaging and has been produced professionally, your subscribers will value your output more and will await your next release with anticipation. Even for longer videos, a 30 second teaser could be easily produced to get your audience interested in your upcoming content through social media.

We produced a series of makeup tutorials for professional make up artist Ruby Lonsdale. Just 1 days filming resulted in numerous tutorials and is a great example of how content can be used to build up an audience over time. See one of them below.

http://mustard.education/portfolio/thebodyshop/

The bottom line: Good synergy between video production and marketing is essential for getting good value.

4. Allow the professionals to produce your video content for the entire process.

We know it may be tempting to get a student to edit your video for ‘experience’ or to just shoot it on your iPhone (sigh). However if you try to cut corners then you’ll probably end up coming to the pros anyway sooner or later. ‘If you buy cheap you buy twice’ as they say and in video production there is no exception. We can’t make your shaky, grainy phone footage look or sound good I’m afraid. By getting it right from the start you can benefit from the many years of experience and industry standard equipment that the pros (us!) can offer. Maybe your project could do with some quality motion graphics or your event could be live streamed? Services such as these can really elevate your output which will impress your current and future clientele.

Fun animation and motion graphics are great ways of impressing your customers and will really show that you mean business. Here’s one we did for King’s Education:

http://mustard.education/portfolio/kings-education-pathways/

The bottom line: show your business in the best light from the start!

5. Build a relationship with your video production team.

What’s so great about working in this industry for us is that it is all about building relationships. Think about whenever you pay for a service, such as when you go to get your car fixed. How often do you find yourself going back to the same provider of the service? You may find yourself even going out of your way so that you can have that service; you know what to expect and you can trust the provider to always make you happy. For us in video production it is very much like this; many of our clients come back time and time again to use our services for that very reason: trust.

How can you benefit from this relationship? There are actually many ways! A good video production team will get to know your business, your market and your target audience much better when working together long term. We may not be experts in your field but after a period of collaboration we’ll know your business much better than if you were to hire someone new and start all over. Even on a practical level; if we already have footage, logos and an understanding of your brand, it is far easier and less time consuming for us to re edit or reuse these materials in future content than it would be to pass it on to someone else. Further down the line, retainer contracts can be excellent for both parties; you can get a set amount of video content on a regular basis at a good price. You get better value and we get the security of regular work. It’s a win win situation for all.

After producing two videos for Visit Britain we followed them up with one for Visit London. Understanding the brand values and bringing them to the screen in a creative way helped us land this one:

http://mustard.education/portfolio/visit-london-summer-in-the-city/

The bottom line: if it ain’t broke, don’t fix it. Just build on it!

Ready to increase the value of your content?

A bit of creativity and an effective marketing strategy are the real secrets here to getting better value video. Just having video content isn’t good enough this day and age; you have to stand out from the crowd. With a claim that 300 hours worth of content is uploaded to Youtube every day, there’s a lot of content to compete with. If you make good creative and marketing decisions from the outset your content will become more shareable which means a greater chance of return on investment, no matter which industry you’re in. Little things such as adding tags, descriptions and even subtitles can also help you grow your audience and improve your SEO for not much extra effort.

We may not have the secret to going viral. However we do know how to make videos that will excite, engage and entertain your audience, whoever they may be. To find out more about how we could spice up your video content in London, Brighton or further afield then drop us a line today.

How to prepare for your video interview

August 12, 2016

Whether you are preparing for your first ever interview on camera or you’ve been filmed a few times before, the prospect of being interviewed, for some, can be a little daunting. Even if you do know what to expect, the most confident and experienced of people can still find themselves stumbling as soon as the camera rolls. If you find yourself a little nervous that’s OK, you’re not alone. However, filming doesn’t have to be a strenuous task and with our guidance we’ll have you speaking confidently on camera in no time.

The purpose of this article is to give you a few quick tips about the filming process so that you don’t just leave your shoot with engaging material but you also enjoy the experience.

First things first: eyeline

Most corporate, promotional and event video interviews are carried out with the interviewee looking away from the camera rather than into the lens. Unless you are delivering a presentation or presenting a show then this is usually the best way to do it. Without having to look down the lens your interview has already become much easier as you can look directly at the person asking the questions, whether that be the videographer or someone from your own organisation. This approach helps you to forget that the camera is even there. All that it’s really doing is documenting a conversation.

Talk about what you know

It should be safe to assume that you’re being interviewed about a subject that you’re highly knowledgeable about. You will probably be saying things that you regularly talk about in your day to day work. So if there are any questions you’re unsure about, speak up and let your videographer know. Some questions might be better for a colleague!

With these first two points you may find that the interview process is already much easier than you initially thought.

Full sentences please

Now this is where it gets a little trickier. Although we should treat your interview as the “documenting of a conversation” the truth is for most promotional videos this conversation is actually going to be quite one sided. To keep up the pace of your video and deliver the crucial information, we need to cut out the interviewer’s questions so that we only hear you. To make this work, you’ll need to answer the questions in full sentences so that your answer still makes sense when the question is removed. This may involve you repeating the question in your answer.

Here are some examples.

The incorrect method:

INTERVIEWER

Do you enjoy working in video production?

~~Yes, I do.~~

This isn’t suitable because if we inserted this into a sequence nobody would know what I was saying yes to!

The correct method:

INTERVIEWER

Do you enjoy working in video production?

I enjoy working in video production because it’s a fast moving industry. It can be competitive and challenging at times, but ultimately it’s very rewarding work.

This answer is much better. Notice how I’ve expanded on my original answer a little bit and as a result it is much more interesting.

Technical matters

There are a few other things to bear in mind before you start filming. If you’ve hired video professionals such as flycreative, you won’t need to worry about the technical side of things. That’s what we’re there for! However, it is good to have some awareness of what we will be doing so it doesn’t surprise you on the day.

We want you to look and sound your best. To achieve this and avoid a costly reshoot we aim to capture the best material possible whilst we’re there. From a technical standpoint there could be a number of reasons why we might need to stop, solve an issue and repeat the question again. Our lighting might need adjusting or our microphones may be picking up a loud conversation outside the room or humming from the air con. We may ask you to repeat your answer but shorten it slightly, rephrase it to avoid repetition of certain words or allow a slightly bigger gap between the question and your answer so nobody is talking over each other. Sometimes it’s good just to have options when it comes to the edit. If your videographer does intervene, don’t worry, this is perfectly normal.

Practice makes perfect

Because filming can require a bit of setup time, you can actually use this to your advantage. If you allow yourself enough time whilst the videographer is setting up you can actually practice what you’re going to say before the camera rolls. Even if they are operating alone and are asking the questions themselves, they will still need to test their audio levels, so this is your time to practice and to talk with them about your answers. You’ll soon feel at ease.

Example interviews

If you still need a bit of reassurance, why not see how others have done it? In our Signature Airlines promo we shot multiple interviews and achieved a fast paced, informative video through applying these techniques. It may not be obvious, but the majority of the people in this video had never been filmed before!

For the purposes of the edit (e.g. pacing) your full interview may not make it into the final video. This shouldn’t alarm you; usually there isn’t enough time to feature everything in a 3 minute video! Being concise and to the point is key and our Signature Airlines video demonstrates this perfectly.

Ready to do your interview?

Remember that the beauty of video production is that you can always stop and answer your question again. There’s no need to worry, even professional actors rarely nail it on the first take!

Now that you’re armed with these tips you can relax and go into your interview feeling like a pro.

To find out more about getting a professional video made for your business drop us a line today.

So you shoot video…but can you do stills?

June 6, 2016

Many times I have been on a shoot and the client has asked if I can do photos too. Now I imagine this is a popular question for the majority of other videographers too but for me it has always been a bit difficult to answer. I’ll explain why.

Whilst it could appear that a digital professional who works in one visual medium would probably be competent in a similar one, the truth is that video and stills photography aren’t always as close to each other as many may think. In theory, anyone can take our their phone and take a picture and shoot some video with relatively no skill at all but most businesses wouldn’t choose this option if they wanted high quality content. Assuming that your photos and videos could be done by the same person is also not always the best thing if you want the highest quality from either, however it’s easy to see why those outside of the creative industries might pair the two up.

The reality is that the skills and experience required for the role of videographer and photographer are completely different, despite an overlap of certain techniques and equipment.

Hold on! There are some similarities..

Technically we – the video guys – can do your stills. The single biggest reason why is that we actually use DSLR cameras to shoot our videos! Using dedicated stills cameras for video may seem absurd but one of the main benefits can be that we have the ability get high quality images at excellent value. The Sony A7Sii and Panasonic GH4 are both good examples of DSLRs that offer 4K video capability at an affordable price and as 4K online video is still in its infancy it’s not economical for the majority of us to invest in top of the range 4K video or cinema cameras so these types of DSLRs are sensible purchases. Adding to this, many DSLRs have large sensors meaning that they are exceptional in low light which is great for event videos and can offer cinematic bokeh (background blur) which can make videos look stunning. DSLRs are also perfect for shooting high quality timelapses which can add another interesting element to video content. With these considerations it makes absolute sense that online content producers have DSLRs at their disposal.

Shot composition, framing and an understanding of the technology behind the respective crafts are essential regardless of whether someone shoots video, stills or both. Colour temperature, exposure and shutter speed (or angle) are further concepts that must be grasped by either professional.

A whole lotta’ differences..

Apart from the obvious one that videos are moving and stills are not, there are actually many other less obvious differences between the two which maybe mean no, us videographers can’t (or choose not to) do your stills.

Motion from the camera or from the subject helps to make a sequence more engrossing.

It boils down to the key ingredients for each craft which are in turn, completely different. Video needs motion, whereas photography is all about light (well actually, premium video is about light, which I talked about in an earlier article but the absolute bare bones of video production is motion). Successful business videos engage with an audience, encouraging them to react (i.e. with a like, share or comment on social media) and to help with this motion is essential to keeping their attention. Even if the subject isn’t moving a cut to another angle can be enough to create at least an element of movement. Sound is the other key skill in video production that often gets overlooked but it really is an art in itself.

Landscape photography – being in the right place at the right time..and having a bit of patience!

Photography however is all about capturing perfect moments in the best light, whether that be using natural or artificial sources or a combination of the two. Capturing a single moment that’s sharp, interesting and exposed well is an entirely different art to shooting video and for a picture to paint a thousand words, it has to be something special. Landscape photography is a good example of how difficult it can be; to get the perfect image photographers may have to wait for hours to be in the right place at the right time in order to capture the best natural light.

The post production process can be drastically different too. Photographic editing often involves retouching, fine adjustment and layers upon layers of edits even just for a single image. Car photography in a studio is a good example; to make the various parts of a car look perfect all at once each part has to be lit separately and all of the images blended together in post production to only show the best bits from each setup. Whilst this can happen in video too it is much more time consuming and processor intensive as multiple layers of correction would require key framing (and bearing in mind that PAL video is made up of 25 frames per second, that’s a lot of frames to consider!) and so only suitable for the highest end projects.

“Could you take a still image from the video?”

Another question that I get asked often. Yes, this is possible, however as the majority of online content is shot in HD, not 4K, doing this means that you will have a smaller resolution image than you would have done if you had used a designated stills camera (and not in video mode). Megapixels are more important in photography than video for sure and as a result many camcorders will have a much lower pixel count, plus if there is any movement in your video taking a still frame might leave you with a subject that’s got a bit of motion blur. For some web purposes it may be fine extracting a smaller image from a video (including in a blog for instance) but if you wanted to zoom in, enlarge the image greatly or print it professionally then it wouldn’t be a suitable option.

So in practice yes, but if you want the best quality then no.

Wedding shooters: similar equipment, different style.

5Dmkiii – a popular choice of camera for both wedding photographers and DSLR videographers

A good example of the differing styles of a videographer and a photographer would be at a typical wedding. The photographer will be capturing the key moments of the day but will also be herding the guests so they can set up and take memorable portraits that can be cherished forever. With only one opportunity to get these people together they are very much in the limelight during certain parts of the day. They would certainly need to be a people person!

The videographer however will be the complete opposite; rather than being noticeable and central to the day they will most likely be blending into the background so that they can go unnoticed. They would capture the day but not intervene with the order of events so that when the happy couple come to watch their video back they actually see the day from a whole new perspective. Events can be unpredictable so being able to foresee what’s coming and then be able to simultaneously capture the best audio and visuals is something that can take years of mastering.

Canon C100 – where stills and motion overlap. A camcorder that uses interchangeable DSLR lenses.

The editing styles of each wedding shooter role differ immensely too; the photographer will spend days editing potentially hundreds of photos whereas the videographer will most likely be editing in camera, shooting as linearly as they can on the day to keep the editing time affordable and sustainable in the long term. This is especially important as data processing could take almost as much time as the editing itself due to the large file sizes involved and the process of burning the final (often hour long or more) videos onto multiple DVDs for clients.

The bottom line

Don’t get me wrong, there is absolutely no harm in offering both video and photographic services but the point of this post is that there are different skills, workflows and to some extent, even personal qualities that can be applied to each craft and more often than not the best practice is to hire the relevant specialist. On the contrary, many experienced cinematographers in film production have backgrounds in stills photography, as do many photographers venture into video production, so there is no set rule. At the end of the day it certainly can’t hurt to have an interest in both fields but knowing and being honest about where your strengths and weaknesses lie is vital when it comes to maintaining strong working relationships, regardless of the industry you work in.

So if we were to answer to the original question: “Can you do stills?”, well yes; here at FlyCreative we rely on a trusted network of talented freelancers with a range of talents to assist us in fulfilling our moving image and other digital needs. If we can’t personally meet your requirements then we’ll certainly be able to recommend you a trusted professional.

Get in touch today to find out more about our services.

Why we use external recorders to record video

April 1, 2016

It’s rare to be able to just turn up on set, take a camera out of it’s bag and start shooting straight away. With such a vast range of accessories available to shooters for all manner of shooting situations it’s hard to keep up with, let alone afford all the technology available to us. However, one tool that appears to be cropping up more than most are external recorders. In fact, they’ve been around for a little while now yet they continue to be growing in popularity. For those who may have wondered what the point of these devices is, read on.

What is the point in recording video externally?

1. Edit friendly codecs

Do you know which codec you should be editing in?

This is the primary reason why anyone would record externally. Many consumer and prosumer cameras, notably DSLRs (except for a few exceptions), compress footage using codecs that are good for keeping file sizes down and easy playback but aren’t so good for editing and colour grading.

The Canon 5D mkiii for example records internally with the H.264 codec and it’s files can be opened easily on any computer. However, editing using this codec can prove troublesome, often resulting in glitchy or delayed playback. When colour grading the limitation of this codec results in a relatively small dynamic range, meaning that pushing or pulling the image a great deal will result in substantial noise and lack of ability to recover the highlights and shadows. Even with the likes of non linear editing applications such as Adobe Premiere allowing you to conform almost any type of video file to the editing timeline, the limitations of the original codec do not go away. Edit friendly codecs, most notably Apple Pro res 422 (and the numerous variants of it) are a good solution to improving workflow for those who often find themselves batch converting lots of files, being particularly useful for projects with a tight turnaround. These codecs can be found on all good external recorders.

Atomos Ninja blade mounted to Canon 5D mkiii for a conference. Extending the record time to over 30 minutes, using mains power and recording to Pro Res LT made the filming and editing infinitely easier.

2.Higher bit rates

The bit rate required for video footage can vary greatly, depending on what it is that you’re shooting. Live event filming may require lower bit rates for storage whereas commercials would need broadcast quality. Many lower end cameras however are limited in the bit rates that they offer, often not qualifying as ‘broadcast quality’ because their bit rate is too low (by broadcast quality, I’m referring to the minimum bit rate required for HD footage broadcast on the BBC which is 100Mbits/sec). External recorders allow cameras to deliver higher bit rates by using codecs such as pro res 422, as mentioned above. Without compressing and uncompressing footage, digital artifacts that can plague footage for broadcast can be eliminated.

External recorders can also help for those going through an offline and online editing process. Although you’ll need more storage space for footage shot with higher bit rates, shooting directly with them still allows you to use proxies (lower quality versions) so editors who are cutting large projects with substantial amounts of information can edit using lower quality files and then reconnect them with the higher quality files at a later date for colour grading and delivery. This is much more efficient and less processor intensive than editing with colossal amounts of high quality data from the outset. Although you still need to downscale to the proxy, you have one less job to do and the amount of time saved by not having to batch convert masses of data to a high quality codec can be better spent editing.

For more information on the pro res codec and the variants of it, including their effective bit rates, check out this useful article on the matter.

3. Monitoring solutions

No need to record externally with the Amira, however the PIX-E5 by Video Devices made a useful monitor. It c

No need to record externally with the Amira which records ProRes internally, however the Sound Devices PIX-E5 made a useful monitor for me. It could have also been used for low res recording for quick assembly edits.

Excluding the Atomos Ninja Star, most external recorders include a screen for monitoring purposes. Most of these are in fact larger than the inbuilt LCD screens on most cameras which make them incredibly useful even if you aren’t recording to them! For those situations when you can’t reach the viewfinder or see the screen, or another person needs to see the screen such as an assistant or client, having an extra screen can speed up the filming process.

Now, whether recorders are a suitable replacement for professional, colour accurate monitors or not is another topic entirely, however for the purposes of most shoots the extra screen is rarely going to be a hindrance. What’s more, inbuilt tools and scopes for exposure (waveforms, false colour and zebras.) and achieving critical focus (peaking and magnification) are usually offered in addition to the screen. Even if some of these features are included on the camera, the chances are there will be more on the recorder (and they will be much easier to use!).

4. Cost efficient & reliable media

Most external recorders store files on readily available HDDs and SSDs*. The former is more cost effective per gigabyte whereas the latter is often faster and more reliable with no moving parts. Either way, both these methods of storage are easy to find, purchase and change, unlike some storage media that can be extremely expensive (e.g. red mag SSDs and SxS cards). If you’re going to be recording hours of footage at high bit rates, affordable and reliable storage should be at the top of your list of priorities.

*The Atomos Ninja star is an exception, using ultra fast and reliable C Fast cards. This ultimately comes at a premium.

5. Compatible powering solutions

Dual batteries can be a godsend

Not a primary reason for using but models offered by Atomos and Video Devices in particular are well noted for their compatibility when it comes to power and in some instances can out last the camera (5D shooters, take note!). The Atomos Ninja Blade for example can be powered by Sony NPF, Canon and Nikon batteries, as well as with an AC unit. Adding to this, dual battery slots are a common feature in most recorders and allow for continuous use on location.

Do we need external recorders for every shoot?

A quality recorder can be a useful asset as well as a costly, glamorous add on. The question is, do you need one or want one?

The answer to this, as I would say about any other bit of equipment is no; there is always a time and a place. Sometimes it is simply easier to turn up with your camera and shoot. News gathering, weddings and sports are just some examples where it might just be easier to shoot in camera, especially if it means the difference between getting the shot or not. However, this is all relative to the camera you’re using in the first place (if you need some help choosing a camera it may be worth checking out an earlier article on how to choose the right camera for the job).

External recorders have been designed to get an extra lease of life out of cameras old and new and to make content producers’ lives that little bit easier. However despite this, we shouldn’t forget that every extra gadget needed to get our desired results is another item that needs to be powered, mounted, connected, protected in transit and supported with compatible media; all of which usually come at extra cost. Ultimately it’s down to you and what you shoot to determine whether a recorder is a suitable investment for you or something to hire on occasion.

In the case of the Sony A7S mark i, an external recorder was a solution to a camera that couldn't record 4K internally

In the case of the Sony A7S mark i, an external recorder was a solution to a camera that could record 4K video but not internally

Prices for external recorders can range from a few hundred to several thousand pounds, depending on the features, connections, maximum resolution and frame rates offered. Below are some of the popular manufacturers:

Tips for improving the audio in your video

February 5, 2016

The first tell tale sign of a video amateur is bad audio. It doesn’t matter how beautiful your images are, how long your steadicam shot is or how interesting your talent is; if your audience is struggling to hear the content they probably won’t give you the time of day. As sound is half of the picture it is crucial that video producers get their audio knowledge up to scratch.

So, what are some of the common causes of bad sound and how could we solve these issues?

Poor location choice

Can you rely on the natural light alone?

A thorough reccie will allow you to (somewhat) find out if you’ll be disturbed during filming

Background noise is probably the biggest problem when it comes to clean sound recording. Where ever we go, whether that be in the city or the countryside, some sort of background noise will try to interfere with our recordings. This could include traffic noise, chatter, sirens, aircraft, footsteps, air conditioning..and the list goes on.

Solution: If you are fortunate enough to do a location reccie, consider the audio elements as well as the visual. Filming under flight paths, by main roads, next to the staff room etc. should all be avoided where possible. If your location looks great but you’re going to be interrupted every 2 minutes, is it really the best place to film? Consider what time of day may be best to do the recording; if the office empties out at lunch time, why not film then? Also, turn off any appliances and equipment that you’re allowed to if they emit unwanted noise. It all goes back to a little foresight and planning before your shoot.

Poor acoustics

Recording in wide open rooms with hard floors and few furnishings can make your recordings sound reverberated. While it is easy to add reverb in post, it is much harder to remove it from a recording. Acoustically treated rooms sound much better to the listener, particularly if recording voice overs.

Solution: Where possible try to shoot in rooms with soft furnishings. Consider using old carpet to reduce the reverb somewhat and this will also reduce any sounds of footsteps. If recording voice overs, either use a studio that has been sound proofed, or set up carpet and pop shields close to the artiste to treat their voice as much as possible.

Unsuitable microphone choice & placement

Sometimes it’s good to have options

You can still record good sound if there is some background noise, but how manageable that noise is all falls down to your choice of microphone. Using the inbuilt mic on your camera is rarely the best option. These mics are often of lower quality, have poor bass response and aren’t usually that directional. High quality shotgun mics may be good alternatives but even those with the most directional pickup patterns can’t completely eliminate some background noise. Lapel mics can also be a good choice but if your subject moves a lot expect to hear a lot of rustling. You also might have trouble attaching a lapel on certain outfits!

Solution: Only ever use your camera’s inbuilt mic for reference so that you can get rid of that tinny sound and reduce the likelihood of any handling noise. Shotgun mics can be great on location, but consider whether having one attached to your camera is going to get the clearest recording or if you need to get it in closer to the subject and purchase a ‘deadcat’ or ‘fluffie’ to eliminate wind noise if you are on location. If using a radio mic, attach stickies and under/over covers to eliminate wind and clothing noise. If possible, find somewhere to attach your mic where there is less chance of your audio becoming muffled – under a tie or a shirt collar for example. If you have the luxury of both a shotgun and radio mic, record using both into separate channels so you have options! Lastly, if your camera has AGC (automatic gain control), for Pete’s sake turn it off!

Imperfect recording technique

There are numerous ways that your recording technique can affect the quality (or lack of) in your recordings. Turning your microphone’s gain up so high that there is distortion and choosing a mic input when you should be using line are both suitable examples.

Solution: Different equipment manufacturers and sound recordists will have their own opinions on what is a safe level to record at. Some may recommend your maximum recording level hit -18db as it peaks, but some may prefer it to be closer to -12db or even -6db (which is a little dangerous for my liking). It’s important to remember that once a microphone distorts it is pretty much impossible to recover, whereas sound that is recorded slightly too quietly can always be amplified. However, recording as close to your devices’ nominal level is best as too low a level will result in amplification of hiss. This page from the Final Cut Pro user guide explains it well but basically you’ll want to use microphone and recorder combinations with the lowest signal to noise ratio possible. Before you buy any audio equipment do your homework first and look out for comments made by other users regarding this.

One way I found to get a cleaner radio mic recording into my C100 was to select line input in and turn up the output of the receiver quite high

One way I found to get a cleaner radio mic recording into my C100 was to use a line input in and turn up the output of the receiver

One thing to remember is that recording into a designated audio recorder rather than a camera will in most cases give you the cleanest audio as some cameras have quite noisy preamps. On location this might not always be practical but in an acoustically treated studio this is definitely the best method. Either way it is always good to test and get to know your equipment before you go out on a shoot to see how you can get the cleanest recordings possible.

Insufficient mixing & EQ

Is the music drowning out the dialogue? Does your subject become lost amongst the layers of foley? Recording good sound at the outset is important but mixing and equalizing that sound appropriately is just as important in order to produce a product that people want to listen to.

Solution: Check your levels using the audio meters in your editing program on both your speakers and through a set of headphones. You may notice things through your headphones that you didn’t notice otherwise. Experiment with EQ and see if you can make any improvements, continually referring back to the original audio. Maybe you’ll discover something, maybe you won’t, but there’s no harm in trying things out. Use fade ins and fade outs where possible so that no source jars when it starts or stops. Find out more about EQ here.

Too much noise reduction

Ever watched a video that sounds like it was made underwater? If so, one cause of this is too much or inappropriately applied noise reduction in post. It sounds bad; worse than most cases of background noise!

Solution: Get it right at the recording stage – do what you can to reduce the background noise. If this isn’t entirely possible, utilize noise reduction and other plugins such as high pass filters to eliminate certain frequencies. The latter cuts off all frequencies below a certain level, allowing the higher frequencies to pass through which can be good for consistent low level noise from an appliance for example. With this and any audio filter be prepared to spend time tinkering if you want the best chances of reducing the unwanted frequency without affecting the voice.

Not listening!

Despite what anyone may tell you I am a good listener!

Pretty self explanatory, really!

Solution: Always wear a decent pair of headphones and be prepared to playback takes if you can to ensure you’re recording the cleanest sound possible. Other things to listen out for include unsuitable gaps between questions and answers in an interview (you need room to cut), spikes in the audio from background noise (the consistent sound of traffic may be OK but a siren will stand out) and interference.

If you have even the slightest doubt about your recording, go for another take if you can. You will thank yourself in the edit.

These tips are just the beginning and should only be the start of your research into sound recording. However, by taking these points on board and applying them to your productions you should start to see a noticeable improvement in your audio. Plan as much as you realistically can, be prepared for the unexpected and when scheduling allow for interviews and pieces to camera to take a bit longer so you can get it right the first time.

Light meters – do we need them for video?

January 15, 2016

It was my birthday earlier this week and one of the presents I received from my family was a light meter – a Sekonic Flashmate L-308s to be exact. This little gizmo is hardly the most glamorous gadget in the arsenal of video gear and probably nowhere near the top of most camera peoples’ wishlists, but nevertheless I decided that it was time to get one. Now I shoot quite a lot of video and you may be wondering why I would ever need a light meter when most video cameras have histograms, wave forms, zebras and other exposure aids built in. It’s perfectly valid to question why anyone would want to spend more money on an item that is, in theory, debatable as to whether it is really needed in these modern times.

In this digital age and with the rapid advancement of technology has the light meter become more of a relic from a bygone era rather than an essential video making tool? Do photographers even need to use them anymore now that most shoot digital? Do we really need light meters for video?

The short answer is yes. But it’s not as simple as that. Depending on what you shoot, the answer may actually be no. To decide if you do need a light meter or not it’s worth considering the reasons why one might have one in their kit bag. You may be surprised at how many reasons there are:

Sekonic – a widely adopted brand of light meters

1. To get the most accurate exposure:

First and foremost and the most obvious reason for owning one. I’m not discounting inbuilt light meters in digital cameras but the truth is a quality light meter will always be the most accurate way to measure exposure because that is their primary purpose. Inbuilt light meters usually feature modes that rely on averaging the exposure by taking several readings across the frame. Using an averaging mode can sometimes result in the camera been tricked into the wrong exposure because it averages the whole scene rather than taking a reading of the subject you are focusing on, meaning your subject could end up over or under exposed. Using a light meter here can allow you to expose the correct area of the frame first time round.

To control the highlight in this image a flag was held partially in front of the light source so it didn't wrap around the face too much.

The back light here was deliberately over exposed so that it was unrecoverable in post but if I wanted to I could have measured it so it was specifically 1 or 2 stops over the rest of his face.

2. It is easier to control your contrast:

Once you have established optimum exposure of your subject, a light meter can be used to balance the other areas of the frame to help create the look your production desires. For instance, you may want everything to be flat and even for a corporate video or high contrast and moody for drama. You could always judge by eye but knowing exactly how many stops over or under areas of your image are you can have confidence knowing that you’re being accurate. What’s more, if you know the dynamic range of your camera you can expose your images in a way that lets you have a greater degree of flexibility during colour grading if you want it.

3. You can have a more efficient location recce:

When you visit a location how do you know what equipment to bring if you don’t know how good the natural light really is? Our eyes can be deceiving and lead us into thinking the natural light can do all the work but really the only way to be fully prepared is to measure that light and then make the decision.

Metering will improve your efficiency in setting up.

4. You can light a scene before the talent arrives (and quicker):

This is a very important point. If we could only light when the talent (or a stand in) was in shot we would never get anything done. Of course, once the talent is in the frame you may want to make some small adjustments but being able to set the exposure beforehand will help save you and everybody else’s time and money. Adding to this, if you have to run back and forth between adjusting a light and viewing the histogram or waveform this can be quite time consuming.

It doesn’t matter which camera you decide to use, a light meter could assist you with exposure for any model that lets you set exposure manually

5. Video & photography skills often overlap. Embrace this:

For the DSLR video shooters out there, you’ve probably learned a thing or two about photography whilst you’ve been at it. You may have tried out long exposure and timelapse photography out of curiosity, the latter of which can certainly add an interesting element to your videos. Much of this may be a result of simple trial and error until you get pleasing results (this is certainly how I used to do it), however using a light meter can help you to reduce this method and once again save you time. What’s more, you could go further down the photography route later on and so having a greater understanding of exposure and light now could actually make you more employable in the future.

This photo of the old family dog ‘Dolly’ was taken on my old pentax 35mm film camera. Although it’s a lovely photo, if I had taken a reading off of her fur rather than relying on the inbuilt meter to average it out then it wouldn’t have appeared slightly over exposed, as being a golden lab her fur was actually a shade darker.

6. You open up the possibility of shooting on film:

Ever had that burning desire to go old school? We all have. With Kodak’s recent announcement of a new (yes, new!) Super 8 film camera you may just get tempted further into experimenting with film.

Now, many 35mm stills cameras have inbuilt spot meters, as do super 8 cameras, however, once again they may not always be the best option for you, especially if these meters calculate an exposure based on averages. Of course with digital cameras you can readjust your exposure and snap again but with rolls of film this can be an expensive thing to do so you have to be much more conservative with your shots. Taking proper exposure readings will eliminate the need for guess work and ensure you become comfortable with the format.

And finally..

7. You look like you know what you’re doing:

In other words, you look like a pro. That’s a good thing, right? Oh, and you can give accurate orders to an assistant (this is invaluable)!

So, taking these points into consideration, what kind of video shooters could benefit from using a light meter?

I believe the answer is anyone who wants or needs to light their productions to a high standard. This includes those who work in (but is certainly not limited to) commercials, drama, green screen and stills photography. Aspiring DOPs certainly need one, hence why I got one. For conferences, weddings, run and gun documentaries and corporate videos, you probably won’t need one. In these instances you can simply rely on your camera’s exposure aids and you won’t have to fork out for an expensive item that may just end up gathering dust.

At the end of the day the decision of whether you need a light meter or not is down to you and it all depends on what you shoot and/or what you want to shoot. Light meters aren’t the cheapest tools out there so, as with everything else, only get one if you really need it. If you decide that you do need one however, it could be one of the most important investments you’ll ever make in your video career.

If you would like to find out more about lighting check out this article on why good lighting can sometimes be more important than the camera and how a cheap reflector could be your most important lighting accessory (after the light meter of course!) .

Tag: video

Achieving the TV look on an online budget

Through utilising cost effective technology.

It’s not just the camera: lighting & sound are important too.

Through planning and creativity, except you are in control.

The finishing touches to the TV look: post production.

Don’t forget..optimise your content for your chosen demographic!

And another thing..

5 ways to get better value video

How do I know I’ll get a return on investment?

But isn’t video expensive?

1. Give as much notice as you can.

2. Get the most out of your filming days.

3. Release your videos at the right time & spread multiple video releases over time.

4. Allow the professionals to produce your video content for the entire process.

5. Build a relationship with your video production team.

Ready to increase the value of your content?

How to prepare for your video interview

First things first: eyeline

Talk about what you know

Full sentences please

The incorrect method:

The correct method:

Technical matters

Practice makes perfect

Example interviews

Ready to do your interview?

So you shoot video…but can you do stills?

Why we use external recorders to record video

Tips for improving the audio in your video

Light meters – do we need them for video?

Before you go..
Download our free ebook

7 Steps:
Make your school’s video
content pay for itself

Tag: video

Achieving the TV look on an online budget

Through utilising cost effective technology.

It’s not just the camera: lighting & sound are important too.

Through planning and creativity, except you are in control.

The finishing touches to the TV look: post production.

Don’t forget..optimise your content for your chosen demographic!

And another thing..

5 ways to get better value video

How do I know I’ll get a return on investment?

But isn’t video expensive?

1. Give as much notice as you can.

2. Get the most out of your filming days.

3. Release your videos at the right time & spread multiple video releases over time.

4. Allow the professionals to produce your video content for the entire process.

5. Build a relationship with your video production team.

Ready to increase the value of your content?

How to prepare for your video interview

First things first: eyeline

Talk about what you know

Full sentences please

The incorrect method:

The correct method:

Technical matters

Practice makes perfect

Example interviews

Ready to do your interview?

So you shoot video…but can you do stills?

Why we use external recorders to record video

Tips for improving the audio in your video

Light meters – do we need them for video?

Before you go.. Download our free ebook

7 Steps: Make your school’s video content pay for itself

Before you go..
Download our free ebook

7 Steps:
Make your school’s video
content pay for itself