I’ve been traveling a lot between England and France lately. Thus I’ve had to change my equipment packing routine–which I know is a dangerous thing to do.
I’ve forgotten to bring my keyboard (so now have one in both places, plus a spare), drives that I needed (now I taken them all back and forth in a small case), my LED lights (well, can’t forget those again because they’re too expensive to just buy a spare set), battery charger cords, drive cords, etc.
All that’s pretty sorted out now, but still, traveling on Ryan Air with a couple small bags with all the equipment I need violates my run and gun principle of ‘always carry everything you might need in two small cases’.
But ‘Ryan Air small’ is a different kind of small.
So it was with great deliberation that I decided this time to leave my Sony RX10 in France.
That was the first thing that went wrong.
A couple weeks ago I went to Wales to cover the unveiling of one of my wife’s statues. I shot a lot of it on the RX10. Naturally I thought I had done what I always do after a shoot: immediately download.
So when I arrived back in England with some time before my next shoot I thought I’d sit down and put together a promo video for Laury on that last statue commission.
But it turns out half my footage and all the high quality stills were still in France. Either that or the footage evaporated off my drives in transit.
The other things that went wrong happened earlier in Wales though.
The morning we left I had a few short minutes to interview the main guy who was going to provide my narrative for the video. We met at the statue.
Suddenly my radio mic wasn’t working. It stared at me with an ominous digital error message.
I didn’t have my rifle mics either.
That left me with no choice but to use the on-board Sony PXW X70 mic. In the wind. Next to a busy road.
When you only have one choice, you have to take it.
So I worked with what I had.
Then Laury gets an email that she’s been shortlisted for another statue in Wales.
Suddenly my new video was urgent. I knew it would potentially close the deal as it was a freshly unveiled statue in Wales with some very good selling points spoken off-the-cuff by a respected Welsh solicitor (lawyer).
Footage-wise I managed with what I got on the X70.
I had to steal a still photo off the internet shot by the event photographer who was next to me as I shot the same shot on video. Hope he doesn’t mind.
For the audio I used Izotope RX6 Advanced audio repair. (really, it’s a life-saver)
And I came up with this:
Those things can happen but you did great. May I suggest this simple insurance that I use all the time? it’s a giant squid on a zoom H1 . The lavalier is omni with a great response. I do lots of interviews (lately) and when I don’t go live I place it on the journalist (not the talent) because they often forget to point the handheld mic to the right mouth. But gets the talent’s voice perfectly even if at a distance of (say) 1-1.5m.A zoom and a squid is a very inexpensive insurance and the sound is first class. Another possible solution (on x70) is a corded sony CS10 to keep on the camera. I use it to get the ambient on 1 channel when shooting a shotgun on the other channel but in emergencies the cord is long enough to clip it on the talent as well (well…the camera will have to stay closer but again it’s an emergency).
Thanks Mark, but what’s a squid?!! Link?
review by Curtis Judd : https://www.youtube.com/watch?v=MUgsFG49vts
Sounds great, would not have known there was a problem with the audio. How do like the RX10 compared to your other cameras?
I got it because it has the same sensor as the X70. Also like the ‘bridge camera’ aspect (fixed lens with quite a zoom range that amazingly holds f2.8 throughout the range, unlike any other lens. Takes great stills and is quite handy as an additional video camera or back-up, 4K capable.
Btw, is it the RX10 original or the RX10II?