Easy Setup for High Quality HDSLR Video Productions

July 31, 2010

in 7D,Audio,Gear,Lenses,T2i

I have been shooting a lot of podcast episodes for the Home Film School Student series and thought I would share how we shoot and put one of them together.

The Set

We have been shooting recent episodes in Guy Silagi‘s studio. The room has 15 foot ceilings which gave us plenty of room for lights. For the backdrop we used a 107″ x 12yds grey Background Paper mounted using a set of background stands. This backdrop is a must have for anyone shooting a lot of interviews and other sit down style productions. It allows one to use it as a canvas to sculpted custom background light configurations. More on that in a bit.

We also setup two directors chairs. These are nice because they are comfortable, and are taller than most chairs giving the camera operator more options for angles and positioning.

Lighting

Key Lights – For lights we used some borrowed lights. The two key lights are Interfit Stellar lights. Sadly they are FAR from stellar. While they are affordable, and produce decent light, we found these to be poorly made. Pieces jammed easy and are poorly designed. We also used some wrap to keep the key lights from spilling onto our background.

Background Lights – For the background we used Guy’s older Smith-Victor lights (New Equivalent). Using a color effects gel kit and black wrap, we could create different lighting patterns.

We typically shoot 2-5 episodes in a day, so this setup gives us a way to quickly change the lighting setup and get a fresh new look. One thing you could do to further diversify your lighting would be to use a cookie with the lights to give the set even more dimension.

Rim (Hair) Light – For the rim light we setup a Smith-Victor flood to help separate the subjects from the background. Mounting it was a Manfrotto Heavy Duty Boom and Stand. While this boom is a little overkill for the small light we mounted, it does come in very handy for mounting all sorts of microphones and lights.

Camera Gear Setup

For this shoot we had a Canon 7D and a Canon T2i. The T2i was used as camera A and was locked down on a bogan tripod. The 7D was mounted onto a Redrock Micro Shoulder Mount and was setup for mobile B cam. This setup allowed me to start the A Cam, pick up my shouldered B cam and shoot OTS (over the shoulder) and over angles during the interview. This triples the production value of the shoot. In the final product there is a diverse set of angles keeping the content even more interesting.

Lenses – On the T2i we had an old Pentax-A 50mm f/2.0. For the 7D I use both the Canon 50mm f/1.4 and the Canon 28-135mm f/3.5-5.6 IS USM Lens. I used the zoom for tighter framing and OTS shots because the IS made for smoother shots. I used the 50mm for wider shots so I could still maintain decent depth.

In the future I will use the Canon 50mm on the T2i because the Pentax did not maintain consistent sharpness from edge to edge.

Audio

While audio is one of the most important parts of production, audio was also the easy to set up for this shoot. I get a lot of people asking me about what mics I use and other audio gear. But for a huge amount of my podcast and other shoots I use only the Zoom H4n… Thats right. Just the H4n. I find that if you are only recording 1 or 2 people the built in microphones work just fine. Here you will see my audio setup. Just the H4n mounted on a mic stand:

 

Usually I will position the mic above the talent but in this situation it worked just to place it below them.

Work Flow

Work flow is simple. I used two 16gb Sandisk Extreme cards, back up on portable HDs. Get back to editing suite and edited the two cameras together. Exported the project and use Mpeg Streamclip’s batch feature to export versions for iTunes, Vimeo YouTube etc.

Conclustion

With this setup we can prepare the set for an interview in about 20 minutes. And with these tools we get incredible production value and a low setup time.

I hope this has been helpful and informative. If you enjoyed this let me know and I will endeavor to do more of them. Until then, you can find all the images from this shoot as well as some screen grabs from the episode below. For the full episode from the shoot visit Home Film School Student to see it.

——————————————————————————————————————————

PRODUCTION STILLS

Get Free Email Updates

 Subscribe for news and updates, chances to win free gear, exclusive deals and content!

  • Michael

    Very helpful in seeing how you set things up. I have the Zoom H1 on order to start doing some of my own audio [and maybe video] podcasts with my 7D. My daughter is into musical theater so we enjoyed the interview as well! Thanks

  • Caleb Pike

    Glad to hear it was of help!

  • http://www.greenirisstudios.com Frank Philip

    Good stuff! For me it’s always interesting to see how one can pull together great content with using modest lighting equipment. I use the Interfit Cool Lite 5 and love it. How did you like the Smith Victor lights? Smith Victor company seems to have more options versus Interfit.

  • http://learningdslrvideo.com Dave Dugdale

    Thanks for sharing, more than I expected.

  • Caleb Pike

    @Frank, I have only used the one set of Interfits, so I can’t speak for the rest of there lights. I have one S.V. light and Guy has 4 or 5. They are tough lights and work well for the kind of work we do.

  • Andy

    @Caleb, what codec(s) did you export with with Mpeg Streamclip? I can’t find balance between quality and file size. Do you use different codecs for itunes, Vimeo, and Youtube? Thanks for your help!

  • Caleb Pike

    Here is what I have found after exporting hundreds of videos. Mp4 keeps the contrast consistent through export but when compressed below 9000 kb/s pixelates pretty bad. H.264 on the other hand is sharp with much less chance of sloppy pixelation BUT there is a major gamma shift in the video which takes down the contrast and brightens the footage… Which is WAY NOT COOL! So I tend to lean toward exporting from mpeg streamclip to Mp4.

    Here are my podcast export settings:

    VIMEO/YOUTUBE:
    Mp4
    full quality
    compressed to 9000 kb/s
    1280 X 720p
    Audio at 44.1

    ITUNES:
    Full quality
    compressed to 3000 kb/s
    960 X 540p
    Audio at 44.1

    Of course depending on the length of your video you may need to compensate things. I use Mpeg for all of this because it tells me what size my final file with be SUPER handy.
    I will try to do a post on the gamma shift and a little trick I found to work around it.

  • Al

    That was really informative! Thanks for posting your setup. As a novice, it’s always interesting for me to see what it takes to prepare for a shoot.

  • http://www.videotehdas.fi Ville S.

    Hi Caleb,
    what settings do you use when you export the file to the Streamclip from FCP (or other..)? Uncompressed reference files or something completely else?

  • Caleb Pike

    @ Al glad it was of help!

    @Viile, I export to Quick Time which takes the sequence as is in the original codec and than run it through Mpeg StreamClip.

  • http://www.felipehenao.com Felipe

    Let me recomend you an outstanding quality lighting brand
    LOWEL DP and OMNI lights are made to last for ever , great
    light quality.
    Felipe

  • Matt B

    Hi,
    I record some interviews for my work every now and again and have just bought a Zoom H4 recorder. Usually I use a wireless lavalier mic for recording the audio but do you suggest that recording audio solely to the Zoom would be a better choice?

    If so, why choose that over camera attached (XLR) recording devices?

  • Caleb Pike

    Its not the best for everything. For example, when I am working on a feature set or high end corporate project I am using several different mics. But for run-and-gun, on the road style shooting, the H4n alone makes for my favorite choice. Fast high quality audio setup.

  • Matt B

    And then do you just sync in post? Is it easy to cue up the audio and video?

  • http://www.greenirisstudios.com Frank Philip

    @Caleb,

    What recording settings do you use with the H4n? Bit rate and all. 44.1, 48, 96?

  • Caleb Pike

    @Matt, Yes, pretty fast

    @Frank, 48 aways. 44.1 is for CD or web. But always start with 48.