3. MICROPHONE
As we note in this month’s “Frames Per Second” column
(page 96), you should ignore the built-in microphones in
DSLRs if you plan to record live sound, because the quality is
so poor they’re virtually unusable. “Assume the microphone
on the camera doesn’t exist. You really need something
else,” says Angel.
Instead, he uses the Røde Lavalier, a lapel microphone that
he connects and records to a Zoom H4n digital recorder. He
later syncs the sound to the video using PluralEyes software.
“Sound makes the movie. Sound, to me, is 50 percent of
the video. Invest as much as you can in good sound equip-
ment. It’s very hard for us, as photographers, to understand
this because it wasn’t part of our tool book.”
Angel also suggests that if you are making movies and
want to do extensive interviewing, that you hire someone
specifically to record sound. “Don’t assume that you or a
video editor knows how to deal with sound. It’s extremely
important to get a specialist.”
4. FLUID HEAD TRIPOD
Be forewarned: Your still photography tripod head will not
work for video. “You really need a fluid head tripod,” Angel
says. “The movement of the camera has to be fluid. It has to
start smoothly and stop smoothly and it’s very hard to do
that with a still tripod.” He also suggests that you go with one
that’s sturdy enough not only to support the camera with a
big lens attached but all the additional video gear you’ll be using. You don’t, necessarily, have to spend a lot of money.
“I’m very happy with the Benro KH- 25 fluid head tripod,”
he notes. “It’s a fraction of the cost of the other guys and it
works really well.”
(Editor’s note: Our Benro contact says the KH- 25 is not
available in the U.S. A comparable model that is available
here is the Benro AD71FK5, which sells for around $200.)
5. VIDEO LIGHT
Angel is still searching for the ideal video light and while he
hasn’t settled on one system yet, he likes the concept of LED
lights, which provide continuous, soft light for video productions. He also likes that LED lights are very portable and cool down quickly but says they’re hard to
modify and are expensive.
The most important thing with video
lighting is to have ample power, which
has led him to experiment with more
traditional continuous lighting. “You
can’t go as crazy with shooting at high
ISOs in video as you can with shooting
stills. Now, you’re more dependent on the
aperture.”
6. CAMERA RIG
Don’t spend too much time stressing
out about choosing a camera rig.
Most of the major brands including
Redrock Micro and Zacuto are good,
he says. You will need something,
since digital SLRs can be extremely
uncomfortable to hold for extended
periods of time. Angel’s rig of choice is
the Cinevate Simplis because it’s light and
portable and easy to fold up for travel.
7. VIEWFINDER
DSLR viewfinders, which fit over and magnify the camera’s LCD screen, are overpriced,
Angel says, but necessary if you plan to shoot HD
outside.
“Inside, you can get away without one. Most cameras
can zoom in five to ten times on the LCD screen. But if
you’re outside in bright light or if you’re chasing someone
and the camera and subject are moving, you’ll absolutely
need a viewfinder.”
