Hello everyone. I am somewhat new to video production but this is what I have been wanting to do as a career for a long time. I'm a still photog so I'm not completely clueless.

So, I could really use some advice on getting a video camera plus all the needed extras. What I will need to do starting in about two weeks is record public events for a rather large town to use for a new gov't access channel. This will include interviews, so a wireless mic is preferred in addition to a shotgun mic for everything else. I will be the sole provider of video for this gov't access channel. I know an EX1 is certainly not required for this type of work, but my business partner wants to venture into tv commercials for local/state broadcast (he already does everything else but outsources video). With that in mind, an EX1 is looking like the best deal.

I went on B&H and quickly priced an EX1, sticks(503HDV,351MVB2K Aluminum Video Tripod Kit $650), 1-U30 & 1-U60 batteries, and at least 2 e-Films e-LCR cards + 2-32GB cards. I then looked at on-camera lighting, microphones and various other accessories, and I came to a total of ~$10,000.

What wireless mic system?
Shotgun Mic?
On-camera lighting for interviews?
Sticks/Head-any good?(for $650, it better be)

SHOULDER MOUNT? Is Redrock good? I like how Redrock is somewhat modular so I could add parts later on.

Other accessories??? Hood for LCD? Bag or hard case for EX1?

THANK YOU to everyone who responds.

Welcome to DVinfo Steve!

I don't shoot interviews so I'll leave those questions to others, but here are a few ideas:

For bags/cases, see this and also do a search for more threads: http://www.dvinfo.net/conf/sony-xdcam-ex-cinealta/117480-good-bag-ex1.html

I am using the Sony LCD hood. It folds shut and can stay on the screen if you close it in the upside down position. Only problem is it was actually made for the V1, and although the screen size is identical the case must have been a little different. It has spring loaded clips which hold it in place but it can be knocked off. A rubber band or some tape could fix this I guess. Sony | SHL-35WBP LCD Hood - for 3.5" LCD Panel | SHL35WBP (http://www.bhphotovideo.com/c/product/471040-REG/Sony_SHL35WBP_SHL_35WBP_LCD_Hood_.html)

The Manfrotto 503 is ok, but unfortunately $650 for a tripod doesn't really equate with "it's gotta be good". :-) Visit our tripod forum here. http://www.dvinfo.net/conf/tripod-sticks-heads/

There are a number of threads about EX1 tripods, but be prepared to pay $1,000 and up. FWIW, I am using a Miller DS-10 as I'm comfortable with Miller after a number of years using a DS-5 with smaller cameras. Miller | DS-10 Aluminum Tripod System | 828 | B&H Photo Video (http://www.bhphotovideo.com/c/product/274103-REG/Miller_828_DS_10_Aluminum_Tripod_System.html)

Boyd, could you give me a brief explanation why that Miller tripod is better than the Manfrotto and/or why the Manfrotto would not suffice.

I saw that LCD cover but it said its made for the V1 like you stated.

I forgot to ask about 'Mattes" - the hood thingy that goes above the lens to keep sunlight out better. I am wondering if a better hood or cover, whatever you call it, would help with outdoor events. Actually, now that I think about it, getting some sort of setup is needed for doing commercials outdoors under available light. So, any thoughts?


Normally, I go overboard on researching equipment but I have a couple of other projects I must finish before I dive into video, and the equipment can be purchased as soon as this coming Wednesday; therefore, I am relying on those with knowledge to help me.

Thanks!

EDIT: I had hoped Calumet Photo would carry the EX1 since B&H doesn't regularly stock it; so, does anyone know of another site or store that stocks it?

Hi Steve, we refer all where-to-buy questions exclusively to our trusted site sponsors. We won't recommend anyone else but them. Thanks for understanding,

for what your trying to do, stick with the manfrotto and setup. I too am new here, in fact, it's my first post. Well, actually not completely true. I've lingered in here ever since i picked up my ex1 and never signed up until recently. I have the 501HDV head and it does a great job. I made the mistake of getting sticks that don't have a bowl though so i have to level my tripod with the legs and that can be an utter pain. I've shot on the tripod your looking at and the spreader in the middle is a pain. but it's pretty decent for a cheap manfrotto tripod. I don't find enough difference between the 501HDV and 503HDV heads to justify paying the extra cost. Instead If I were in your position I would buy:

This tripod setup:
Manfrotto by Bogen Imaging | BO525MVB501H Video Tripod System (http://www.bhphotovideo.com/c/product/481941-REG/Manfrotto_by_Bogen_Imaging__BO525MVB501H_Video_Tripod_System.html)

And i would add this plate so you can make sure you have enough travel as you add components so that your balanced front to back:
Manfrotto by Bogen Imaging | 501PLONG Quick Release | 501PLONG (http://www.bhphotovideo.com/c/product/241161-REG/Manfrotto_by_Bogen_Imaging_501PLONG_501PLONG_Quick_Release_Video.html)

Also, don't focus too much on getting everything right now. Learn the camera first. Matte Box to support filters isn't terribly crucial at this point. Instead take the time to learn all about the picture profiles and how you want to paint the picture. Sometimes it seems people jump to far in buying all these accessories in order to this or that look without realizing what the camera is really capable of. I found jumping from photography to using a professional HD camera to be quite different and WAY more complex. Luckily, attending Full Sail University and having this camera I was able to take what I learned and associate it to my camera.

I think you might be going way overkill with your sxs cards. For simple interviews, commercials, etc. I'll be willing to wager that your not going to hardly ever use the second card and offloading 32gigs at a time just doesn't seem effecient. Granted if you have a machine with expresscard slot the transfer time is super quick. Aprox 2 min per 25 min. of footage. That is why I have two 8GB sxs cards. If Anything I would have 1x16GB and the standard 1x8. The 16 would take like 5 min to dump while recording on the 8 which gives me about a half hour. If you don't have an expresscard slot then you will be transferring your footage quite a bit slower through USB2 so plan on those transfer times to go up. Without dumping any footage you could fit an hour and a half. but that's the beauty of having two ports. You can dump one on your computer while recording to another.

I don't have wireless mic setup but really want one. I got a cheap shotgun mic but it actually sounds amazing but is sensitive to vibrations or handling noise more than others. I would suggest you get the RODE NTG-2 and if you buy it before Aug. 31, then you get another one for 1 dollar.

The only reason I went cheap is I do more music videos right now and the sound gets replaced, and for school projects I can check out all sorts of great audio gear, so it's not a priority. Wireless LAV is starting to become more of a priority though as I am doing band interviews and it would be a lot easier wireless.

School uses Sennheiser, and their wireless mics they let us use seem to do awesome. Although my cheapo shotgun mic is better then whatever sennheiser shotgun mic they had us use in our documentary class. Don't know which model it was but I was blown away at how bad it was from a company who is known for their sound equipment. I couldn't believe they would even release something that bad. Which instills my allegiance to RODE for shotguns. I will be getting an NTG-2 soon as that is the shotgun mic I have always wanted. I wish I had your budget.

I also went cheap and got the SWIT 8U62 instead of getting the U60. It has tradeoffs to it. For one, you have to plug it in the back and then take the cord out and plug it in the back too. However this gives you a D-Tap to add something such as an LED light from. From what I hear it gets a little more time than the U60. I rolled out around 5 hours on it. Of course you don't get the minutes until your battery is dead but there is an LED indicator on the back and it shows you the volts of the battery in your screen. I think around 12-13 your dead so just make sure you tell yourself that 13.5v is a good place to swap batteries and switch to the u30 which will get a good charge. The two batteries added together for me add up to about 7 hours. The SWIT is also slightly bigger and heavier which i like because it seems to help with the front heaviness of the EX1. My EX1 is pretty balanced now. One cool thing though is if i needed I could tuck the cord back into the battery which completes the circuit when charging on the sony charger......I haven't tested this but from what i understand you can just have the battery sitting there not plugged into anything or attached to the camera and plug the light into the D-Tap and use it for 12v accessories such such as lighting. PLUS for around $220 i had it shipped to me overnight. I purchased it around $179 dollars A little extra record time, 12v accesorries D-Tap, Better Balanced Camera. It was all a win for me. The one thing I think I'll miss the most is since I'm using the plug in the back as well as the battery I can't plug in the charger and do a hot swap of batteries anymore. It looks like there is a little delay before turning off so, I'll try and test and see if I'm wrong...it would be cool if i was.

Also, there are so many cool things to learn about the camera that is in the manual. READ THROUGH THE MANUAL FRONT TO BACK. It wasn't till months later that I found out that the "transitions" buttons were not those cheezy wipes and fades preprogrammed.....but yet one of the most cool features, IMO, on the camera. It allows you to setup the camera one way and set it to a button "a" then you can setup the camera another way under "B" and then you can choose easy-in and out if you choose and then set how long to go from one setting to the other. Quite ingenious for accomplishing technical shots such as rack focuses, push-pulls, etc. I've even used it as a run through where i needed to follow focus someone running away from me and stopping on a mark then running back. All i had to do was push two buttons and the picture looked great. Also, you could spend years learning or mastering the Picture Profiles.

Anyways, I hope this helps. WOW....what a long first post.....sorry for the book.

And if you end up ordering a Rode Mic for that deal....as a college student, i'll pay you double what that second one cost's so I can get a Rode mic too. That's TWO big ol dollar bills with your name on it. LOL.

What are you apologizing for, Nathan? That was an awesome first post! Thanks a ton!

Here is a pic of the battery and how it connects.
SWIT and WALKART are the same company from what i gather from looking online. It confused me at first when i opened it up.

https://dl-web.getdropbox.com/get/Photos/SWIT.jpg?w=1f5085ad

lol. thanks chris.

Oh yeah, and Steve, I need your address so I can send you a bill for my consulting services, so I can afford to upgrade some of my gear. LOL!!!!! Not really, but I am jealous. I wish I could just shop it all in one go and pretty much pick and choose my components. Unfortunately, I stopped working to be a fulltime student and get a Bachelor's in the field I love. So, I have pieced little by little together. I do take donations though........HA HA!

Actually, Nathan, I am jealous that you live in FL.(I have family in Winter Park and I vividly remember paying over $4 in tolls within a few miles near the W P exit) I lived in St Pete, Brandon and Bradenton a little while back and loved it.

For the SD/SxS: I will be filming events for the public/gov't access channel which will be 2hrs+ (the interviews will be during those events). I also plan on filming political events which would require a decent amount of memory.

Don't be too jealous about my budget - technically, I won't own this gear because my friend/business partner is buying it for one of his businesses. It is something I have been trying to get him to do for a while now. Especially since he spent $25k on a 30s commercial for a political candidate and the commercial was horrid(the video quality was great but the substance was lacking). I kept telling him that he can spend half that and make money for himself by buying the gear.

Thanks for the tips about the battery and certainly about the Rode mic deal.

I, too, love video/cinematography. My business partner told me about the gov't access channel and adding video production services just this last Thursday which has really impeded my current projects because all I can think about is that I'm finally getting into video.

Steve, I shoot a lot of govt. video. Here are a few things you should know.


1. The EX1 is a MARVELOUS camera for doing this kind of work. I can't name a camera I'd rather have to do it. Nothing at any price.

2. Get the better tripod. Seriously. Miller, Libec, Cartoni, whatever. Get a good tripod. It's worth it's weight in GOLD every time you have to move the camera with it recording. I've underbought TWICE (both Manfrottos) and I curse every time I have to use them outdoors or indoors while moving the camera.

3. The Sennheiser G2/G3 wireless mics are perfect for what you have to do, BUT trade the microphone that ships with them for a Countryman or a Sanken. You'll thank yourself later.

4. Shotgun mics won't be nearly as helpful as you might think. I use mine when I have to, but certainly not by preference. It is useful to use on a mic stand for interviews when I don't want to lav the talent.

5. Forget on-camera light. Get a decent light. Lowel Rifa with the FLO-3 head should be near the top of your list. Or a kino-Flo Diva.

6. Shoulder mount. There are some good one's out there, but evaluate your use first. You will find that long-form, and interview are best done on tripod.

Hi Steve,

Perrone has pretty well summed up my thoughts.. get the best tripod you can afford... I have a Manfrotto and it is soooooooo heavy to lug around. I switched to a Libec, which is far better, and much lighter.

Senny mics are fantastic, and I use mine all the time.. The shotgun an AT897 usually just sits on the camera for ambient audio, or if I have a boom op I use an Rode NTG2, not a bad mic for the money.

I went down the shoulder mount route with some success, but ultimately the rig is still really front heavy and unbalanced. It in no way gives you the balance of a shouldermount camera, and adds a lot of weight to the rig. You do get steadier shots than handheld without it but fatigue sets in fast. I was out on a stills assignment recently and several of the local TV agency guys AP, Reuters & AFP (all using small HDV cameras by the way) were toting monopods. I'd not really considered this option even though I have a couple for shooting sports photography etc...So I gave it a go on a recent video shoot and it really is a good option if you can't lug a tripod around. Steadier than handheld, but virtually as manouverable...and far far easier on the arms. The set up is much lighter than my shoulder adapter too.

Finally re: matte boxes I have the TLS Kestrel a fairly well priced model but robust enough and pretty good build quality. I got a set of Schnieder filters et voila...sorted!!

Best Regards
Gareth

Perrone,

I was thinking of the shotgun mic for the events and people talking from a distance. To be honest, I don't have a clue so that is why I need help.

The previously mentioned Miller DS-10 is looking like a good choice.

Shoulder mount: I don't know if this or a Glide cam would be better. There are two main reasons why I was wanting a shoulder mount: 1) I have a bad back and 2) I don't have steady hands. My bad back is the most important; so, whatever I get must work.
I have seen some of the Redrock videos and really like how I can take a shoulder mount and convert it to a follow focus.

Gareth, a monopod is such a great idea. So, which one?

For lighting: I won't be able to setup a light stand for most interviews.

Thanks!

Gareth, a monopod is such a great idea. So, which one?




The most underused, underappreciated, and inexpensive tool available.

You can use them for a lot of other stuff too aside from camera support.

Hi Steve
I've just been using one of my old Manfrotto's...

but the 685B seems to get good reviews... really just needs to be light, quick to extend and lock off and sturdy...
Oh and a quick release plate is essential... I just pinched the one off my Manfrotto tripod...

re: tripod : Google Philip Bloom's site he has a video review of a Miller tripod....

Cheers
Gareth

PS: A shoulder mount probably won't help your bad back much!!!

Boyd, could you give me a brief explanation why that Miller tripod is better than the Manfrotto and/or why the Manfrotto would not suffice.

Others have covered this pretty well, but here's my two bits... I used a Manfrotto 501 head and 3221WN tripod for several years with a Sony VX-2000. It was a good entry level unit at a good price. I didn't have many problems with it until I started shooting performance video at a distance of over 100 feet from the stage. First time I tried that, I ordered the Miller DS-5 the next morning. It was just impossible to get smooth movement at that distance with the Manfrotto while zoomed way in.

The 503hdv may be a little better head, although it looks similar. You don't mention what legs you were considering; there are lots of options: manfrotto 503hdv (http://www.bhphotovideo.com/c/search?Ntt=manfrotto+503hdv&N=0&InitialSearch=yes)

I still have my 3221 and use it with my DSLR and a still camera head. One thing about those legs... the locks are real killers. Can't tell you how many times I've hurt a finger when they snap open, or pinched the web of my hand when closing them! Regardless of what you get, you really need a bowl so you can quickly level the head. It's a real pain to mess around adjusting each leg otherwise.

Also consider the weight of the camera and all your other gear and be sure you are matching it to the tripod and head. The EX1 is pretty heavy for a handycam - about 6lbs. When you start adding things like microphones, receivers, big batteries, lights, adaptor lenses, it can get a lot heavier.

This is also why you should forget a glidecam (if you're talking about a handheld stabilizer like this: Glidecam 4000 Pro (http://www.glidecam.com/product-4000-pro.php)). Unless you a real bodybuilder you will not be able to get shots of more than a minute or two before you arm gives out. I used one of these with the little Sony PDX-10 which probably weighs half what the EX1 weighs. About 3 minutes was my limit. Find some object like a stone that weighs 6 pounds and hold it out from your body with your arm cocked at an angle to get an idea of what this is like. The stabilizers that have arms and a vest are much better, but now you're talking real $$$.

I would suggest you consider the differences between the EX1 and the EX3. Unless you plan to carry a monitor with you, obtaining good focus is harder with the EX1. That swayed me toward the EX3, all the other features were just icing on the cake. You might be able to mod the EX1 LCD with a sock loupe but it seems some people find them bothersome.

Also if you have a good selection of pro nikon lenses you may want to consider how they would add to the use of the EX3...

That's my 2 cents, but anything to improve the ability to focus in the field is important to me because I don't want to carry an external monitor on every shoot. Oh, and forget about autofocus with this camera. Even the focus assist feature is too slow in my opinion.

I think you will be very happy with the output of the EX camera - I am!

I will throw this one at you, if you are a Canon shooter, why not go with the 5D MK II over the EX1? then add on the appropriate accessories from there. I bet you could save a ton of money, and have a rig that kicks serious ass.

Steve, a couple more thoughts.

1. A shotgun mic used at a distance from the talent will get the talent's voice more clealy, as well as any ambient noise more clearly. Get a mic no further than a foot or two from the client or your videos will be relegated to the dustbin. This isn't a kids soccer game you're talking about. There is a reason you see the pro guys sticking mics in peoples faces. Good audio = close audio.

2. If you have a bad back, toss out the idea of a stabilizer or a shoulder mount. They'll kill you. Put that camera on something connected to the ground. Tripod, monopod, cinesaddle, something.

3. I've heard a number of people say the EX3 is easier to focus. I've not shot with one so I don't know. But I find the EX1 ridiculously easy. AND I'd MUCH rather have the option to self monitor with the LCD forward. I wouldn't trade my EX1 for an EX3 for the work I do even if the trade up was free. If I was running and gunning in the field and I was shoulder mount, then yea, maybe. For shooting talking heads, conferences, etc., no way.

4. Lighting and interviews. If you can't light them, don't shoot them. An on camera light (only) is going to look like the 6 o' clock news. You say you are a stills photog. Ok, imagine shooting portraits with a non-bounceabe, on-camera flash. That is exactly what you are about to do in video.

5. Bag. I bought a softbag for my last cam. It was ALL hardcase this time. Portabrace. Every time I had to step away from my old cam in a bag I was nervous. Any time someone else had to handle it, I was nervous. I swore never again. My hard case is heavier, but rolls. I can't begin to say how nice that is.

I've heard a number of people say the EX3 is easier to focus. I've not shot with one so I don't know. But I find the EX1 ridiculously easy. AND I'd MUCH rather have the option to self monitor with the LCD forward. I wouldn't trade my EX1 for an EX3 for the work I do even if the trade up was free.

I agree completely Perrone. The LCD screen on the EX1 is the exact same panel as the EX3 viewfinder. They have just added an eyepiece and made the whole thing really cumbersome; why couldn't they make it removable? The analog brightness and peaking controls on the EX3 are nice and the image looks great through the eyepiece. But for me, it's a joy focusing with the high res LCD on the EX1, especially after struggling with a Z1 for the last four years. And expanded focus is available full time on the EX1 which is also a big help.

I looked and played with the EX3 on a visit to B&H and it was exactly what I expected, heavy and awkward, but still without the advantage of balancing on your shoulder. Of course if you need interchangeable lenses, it's great. And it has some other very nice features in terms of manual controls vs menus and audio. It's great for some people I'm sure, but not what I wanted, and I get the same image quality with the EX1.

I looked and played with the EX3 on a visit to B&H and it was exactly what I expected, heavy and awkward, but still without the advantage of balancing on your shoulder. Of course if you need interchangeable lenses, it's great. And it has some other very nice features in terms of manual controls vs menus and audio. It's great for some people I'm sure, but not what I wanted, and I get the same image quality with the EX1.

To me, the REAL advantage of the EX3 is the multi-cam features. I'd LOVE to be able to sync my camera to another or sync up with audio since I shoot double system most of the time. But, I still wouldn't trade it for the EX1 for the work that I shoot most often.

This is certainly not to say that the EX3 isn't great for some kinds of work. It is. Or even for some people as people tend to work differently. But each shooter needs to evaluate their needs and uses and buy the one that works best.

Probably mentioned before but for an extra focus assist with my EX-1 I buy the highest magnification reading glasses I can find and use them up close to the lcd screen (always with a Hoodman for outdoor shots). Works great for me (although it occurs to me that I use lighter magnification reading glasses anyway so this may not work for everyone).

Probably mentioned before but for an extra focus assist with my EX-1 I buy the highest magnification reading glasses I can find and use them up close to the lcd screen (always with a Hoodman for outdoor shots). Works great for me (although it occurs to me that I use lighter magnification reading glasses anyway so this may not work for everyone).

Doesn't the Hoodman HoodLoupe diopter correction correct enough that you don't have to use the reading glasses with it? Seems to do that for me. BTW- finally got word after long delays that the HoodRiser attachment (now fits 3.5" LCD screens) and longer straps should be in sometime in the next two weeks. This is such a nice attachment I even use it for indoor shooting as the eyepiece allows me to focus and bring my eyes up close to the LCD screen.

Perrone and everyone else:

1) I understand the need for getting the mic close. What do you recommend for a person giving a speech at an event for A)no audio output for media and B)what would I need when there is a multbox(ie 100' cable-XLR?).

2) A monopod looks like the way to go.

3) My thinking behind an on-camera light was to be able to increase the light on interview subjects a couple stops above ambient or use as fill light. This type of interview would be like the news where we would walk around to interview some people at events(do you call it run and gun style?). I agree about the harsh contrast look from direct flash/light but I was thinking a diffuser would help. Eventually, we will get a full light rig but our budget doesn't include it just yet.

Thanks again!

Doesn't the Hoodman HoodLoupe diopter correction correct enough that you don't have to use the reading glasses with it? Seems to do that for me. BTW- finally got word after long delays that the HoodRiser attachment (now fits 3.5" LCD screens) and longer straps should be in sometime in the next two weeks. This is such a nice attachment I even use it for indoor shooting as the eyepiece allows me to focus and bring my eyes up close to the LCD screen.

I meant the Hoodman sun shade, not the Hoodloupe. I'll check it out.

Arthur, is that the H-400 lcd hood you are using on your EX1 and what are your thoughts on it?

Anyone use Hoodman's "WristShot" or other similar device to reduce wrist strain while hand holding? I have carpel tunnel flare up on occasion in my right wrist so this could possibly help?

Thanks

Hi Steve

For speeches ie. press conference type stuff, I usually run a cable to the speaker and have a mic on a mini tripod....

However if the run is too long, I just put a G2 wireless unit on the desk, lectern or whatever...A bit of gaffer will ensure it stays in place... Even if the mic is not on the subject I've found it works fine...

On camera lights while better than nothing do give you the 'Deer in the headlights' look. I find for fill they do very little only really being useful in very low light....certainly not like fill flash in stills.

The mini LED version look the way to go, I was pretty impressed by the mini Litepanel type lamp...To me daylight balance would be far more useful than tungsten...

Regards
Gareth

Gareth, for fill lighting, I was thinking mainly about outdoors and in being in the shadow. The dynamic range isn't close to still cameras so I was thinking that an on-camera light for interviews should help. I think part of it is my still photography experience that makes me hate seeing blown highlights and trying to avoid them.

I was looking at the Litepanels MicroPro LED as its light, uses little power and priced well.

Back to audio: do I need a field recorder for events & interviews or can I get by without one? When we start producing commercials, I am thinking we should have one but that won't be for 3+ months.

Glidecam or Steadicam WITH vest(Glidecam Body Pod vest) - any thoughts?

Thanks

Glidecam or Steadicam WITH vest(Glidecam Body Pod vest) - any thoughts?


If you already have a bad back, trying to operate a steadicam or glidecam with a fully loaded EX1 (wireless receiver, mattebox, micropanel light, etc) will disable you....I'm serious. The same goes with trying to handhold a fully loaded camera. An EX1 fully loaded is much heavier than you think!

Do your back a huge favor and keep the camera firmly planted on the ground with a professional tripod if your shooting will be documentary interviews.

BTW the EX1 is a professional camera, requiring a professional tripod. In my humble opinion, Bogen is not a professional tripod.

Arthur, is that the H-400 lcd hood you are using on your EX1 and what are your thoughts on it?

Anyone use Hoodman's "WristShot" or other similar device to reduce wrist strain while hand holding? I have carpel tunnel flare up on occasion in my right wrist so this could possibly help?

Thanks

I have found the Hoodman WristShot to be very helpful - would be especially useful if you have any wrist problem - it frees up your left hand for manual adjustments on the camera. There is a rather powerful on-camera LED light - Comer 1800 - 4500K - same as Sony HVL-LBP but three times as much light - has a diffuser for 3200K. For daylight fill you could adjust the white balance on the camera. - look at Photon Management on this forum - lot's of threads about it.

Wireless Mic: Sony's new UWP series wireless mic system. It's high quality and affordable. You can buy the UWP-V6 system that comes with both a lavalier microphone and belt pack AND a plug-on transmitter that can be used with a stick mic or plugged into an audio board. This system is made by Sony for the EX1/EX3 cameras.

Perrone: If you're shooting a lot of two-camera stuff, forget the EX3, you should look at the PluralEyes application from Sigular Software. ($149) I saw their booth at NAB this year and it's really amazing! You can literally have multiple camera start/stop recording a scene, drop them into your time line, run PluralEyes (a plug-in) and zap, in about 5 seconds everything is synced up. The only catch is that every camera needs to be recording audio. But it doesn't have to be great quality audio. Singular Software (http://www.singularsoftware.com/pluraleyes/) This application saves me a TON of time editing multi-camera projects.

Perrone: If you're shooting a lot of two-camera stuff, forget the EX3, you should look at the PluralEyes application from Sigular Software. ($149) I saw their booth at NAB this year and it's really amazing! You can literally have multiple camera start/stop recording a scene, drop them into your time line, run PluralEyes (a plug-in) and zap, in about 5 seconds everything is synced up. The only catch is that every camera needs to be recording audio. But it doesn't have to be great quality audio. Singular Software (http://www.singularsoftware.com/pluraleyes/) This application saves me a TON of time editing multi-camera projects.

Cool, I'll check it out! I shoot wild audio at every camera, so that's no problem.

Cool, I'll check it out! I shoot wild audio at every camera, so that's no problem.

Don't fall for it, this is a trick to get you over to the dark side. Plural eyes is a FCP plugin.

don't fall for it, this is a trick to get you over to the dark side. Plural eyes is a fcp plugin.

oh snap! Neveeerrrrrr!

Gareth, for fill lighting, I was thinking mainly about outdoors and in being in the shadow. The dynamic range isn't close to still cameras so I was thinking that an on-camera light for interviews should help. I think part of it is my still photography experience that makes me hate seeing blown highlights and trying to avoid them.

I was looking at the Litepanels MicroPro LED as its light, uses little power and priced well.

Back to audio: do I need a field recorder for events & interviews or can I get by without one? When we start producing commercials, I am thinking we should have one but that won't be for 3+ months.


I've found the biggest problem with lights in daylight is getting them bright enough to make a real difference...
I have used a Lastolite reflector regularly though and it is far cheaper and gives far more effective fill for daylight interviews IMHO than a camera light.

Re: audio... I've no experience with field recorders, but I often use an SD field mixer for mulitple mic situations. The SD302 is a brillant piece of kit, gives better audio, has better amps and better limiters than the camera...

Regards
Gareth

Gareth, thanks again. Yet another still photography technique escapes me - using a reflector. This is a great idea and rather cheap, too.

Perrone, I take it that Dark Side=Apple. I love it. So, then Steve Jobs=? I, too, will never join the Dark Side :)

I am putting together my purchase list and here is what I have now:

-EX1
-1 U60 battery
-2 of each e-LCR + 32GB SD
-EW100 G3 Wireless ENG Kit: includes Seins G3 wireless, Lav mic, Pro ENG Mic, hard case and a few other items - From B&H for $1k
-Rode NTG-2
-Cartoni SPD2 STATUS Pro Tripod + Head($1100) or Miller SOLO DV10 Tripod w/DS-10 Head($1250)

-Hoodman H-400 LCD hood
-Hoodman WristShot

What is recommended for a hard case to hold EX1 + extras in the range of $200-350?
EDIT: Sony LCEX1AME Ameripack Hard Transit Case looks really nice and is made for the EX1.

Do I need a test chart thing to white balance the camera?

Do I need any other cables or accessories? (besides a monopod and reflector)

-Hoodman H-400 LCD hood
-Hoodman WristShot



I think you might want to reconsider buying the HoodLoupe 3.0 with attaching strap when the new HoodRiser attachment is released (sometime in the next two weeks) that adapts it to a 3.5" LCD screen. This will convert the LCD into a viewfinder similar to the EX3 - I even use it indoors since the diopter adjustment on the lenses allows me to look at the screen from a very close distance.

5. Bag. I bought a softbag for my last cam. It was ALL hardcase this time. Portabrace. Every time I had to step away from my old cam in a bag I was nervous. Any time someone else had to handle it, I was nervous. I swore never again. My hard case is heavier, but rolls. I can't begin to say how nice that is.

Perrone - I sent you a message but not sure that works on this board? Could you tell me - what portabrace bag are you using, exactly? I have a kata backpack that's okay but I've been thinking of getting something a bit easier to manage when I'm not traveling or needing to take my gear somewhere off the beaten path...