Re: practical tips for dv home video production
- From: "PTravel" <ptravel@xxxxxxxxxxxx>
- Date: Thu, 18 May 2006 11:16:04 -0700
"z" <rzenetl@xxxxxxxxx> wrote in message
news:1147965744.255683.43750@xxxxxxxxxxxxxxxxxxxxxxxxxxxxxxx
I got the VX2000
primarily because I wasn't satisifed with the low-light performance of
anything else on the market.
another great point, i'm going to this think about this. although
vx2000 is a pretty serious investment, i have to say i'm too very
dissatisfied with low light performance of my camera. which
realistically is a mode i have to shoot in frequently.
I really wanted something smaller and lighter than the VX2000, but there was
simply nothing on the market that compared for low-light shooting. If I had
decided to move up from a TRV-20 earlier, I would have gotten the TRV-900,
which was a decent 3-ccd machine with good low-light characteristics.
Unfortunately, Sony had discontinued it before I decided to get a new
machine and its replacement, the TRV-950, was a dismal machine -- poor
low-light, lots of stupid gimmicks.
regarding labeling, so you just write on tape's back year/venue/# and
then on jacket some notes? do you write in pencil? or it doesnt really
matter because you never have to erase?
No notes on the jacket, only the location, date and tape sequence number on
the label. I'll use ink if a pen is handy. I don't worry about re-labeling
the tapes, as I never have need to do so.
also, you mentioned that you keep master tapes. does it mean that after
you edit on your computer you also dump master on a tape for archiving
purposes? or am i missing something?
Nope, you've got it on the nose. Editing of each project can take from a
couple of weeks to a month or more. Once it's done, I'll dump the edited
project back to a fresh tape and keep that as the edited master. I use DVDs
only as delivery media for a project, never for storage.
btw, i looked at (so far) one of your videos, the venice at night, and
i liked it alot. very nice and appropriate choice of music. and i like
how you picked your shots, zoom-ins and zoom-outs.
Thanks very much. The music is a SonicFire Pro Quicktracks selection. I
use them for the stuff on the website because it comes with a license, i.e.
I'm not infringing anyone's copyright by using it. The SonicFire Pro stuff
is pretty nice, and has the advantage of dynamically re-sizing the musical
selection to fit whatever time you want.
do you plan what and how you shoot in advance? do you sort of walk
around, scout the place and then revisit to shoot? this probably comes
with experience, and is a creative process (e.g. no rules) but i wonder
if there's a routine or some kind of tricks you've worked out for
yourself for filming while traveling?
The "At Night" clips aren't planned, other than I am already familiar with
the different cities before I do the shoot. These came about when my wife
would say, "I'm tired and want to go to bed early so we'll be ready for
[whatever it is we're doing the next day]." I reply, "Fine, I'll go out and
shoot some video." As I said, though, they're not really typical of the
travel videos I shoot, but are more of an extra "lagniape."
My interest in travel videography started when I got my first camcorder, a
Hi8 TR-600, originally purchased for my wedding. Before that, I had fooled
around with my father's old spring-wound (!) 8mm movie camera as a kid, and
had once gone on a trip with a girl-friend in the 80s and used her
incredibly heavy and awkward Panasonic "portable" video system (a heavy
camera with a cable to a heavier VCR that you carried around with a shoulder
strap). That discouraged me from video, and I only took still cameras when
I traveled. After I got married, I took the TR600 on a trip and shot a lot
of stuff just walking around with the camera held at shoulder level. My
wife and I were both surprised at how vividly these shots recalled the
ambience of the environment -- playing back the tapes put us right back at
the location at which they were shot. Everything mushroomed from there.
The videos I shoot now are, essentially, travelogues starring my wife. I do
think in terms of story arc, and make sure that each sequence has a
beginning, middle and end, even if it's something as simple as an
establishing shot of my wife entering a location and a final shot showing
her leaving. I make a point of shooting "b-roll," i.e. shots that I can
intercut with the master shot to help with continuity. This is
particularly helpful when I shoot itinerant musicians -- the idea is to make
it appear like a multiple camera shoot and the b-roll (sometimes I'll use
zoom-and-panned stills) covers the camera moves. My wife and I are art
museum fanatics, and I've developed editing techniques, setting what I shoot
in the museum to music, that keeps it interesting and flowing, and not
looking like a slide show. I've carried an MD recorder for a while, now,
but recently started putting it in my wife's pocket and clipping a lapel
mike to her. She forgets it's there, and I get good candid responses from
her without having to say, "wait, say that again for the camera."
i plan to watch your other videos later tonight.
once again, thanks alot for all your tips, this is very helpful.
Hey, video's not my hobby -- it's my obsession! ;)
.
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