I always wanted to do one of those talking dog videos…
I always wanted to do one of those talking dog videos…
I know. It’s been a while.
You’re looking at where I live when I’m not in England, home of the annual Chalabre en Sérénade music festival, now in its second year.
The founder, Vinx , lives two doors down, and we both live in the centre of the town where much of this takes place on our doorstep.
You may have seen videos I did of last year’s festival, mainly for promotional purposes to help increase sponsorship for this year’s festival and those to come.
This video tells the story of the festival in Vinx’s own words. It’s an interesting story because this festival has features not seen in any other festival in the world.
It’s my longest ever project (850 GB original material), 5 days to edit, 20 minutes final length.
I gave my Sony NX30 to a retired British local. I shot on my X70 and a bit on the Mavic Pro II drone.
And there were the usual run and gun challenges to overcome.
I’m not going to get into them all, but I do want to cover one of them: The lighting and shooting of Vinx’s interview. (that was a 45 minute interview)
I hadn’t planned to do that in the beginning. Actually, I didn’t have much of a plan at all–except to wait and see what I got and see what the footage might ‘tell me’ to do with it.
What you will see is what it told me to do.
Trouble was, I didn’t have any of my lighting kit with me, nor a tripod. That stuff was in England.
So I propped the camera up on a window sill and tilted it with a matchbook wedge.
I turned off his overhead lights to get light off the back wall and used a 50 watt halogen gooseneck reading lamp from my house to create a key on his face in the room that was otherwise lit by daylight from a small window behind me. That was enough to separate his face from the background both by light and by colour (mixing daylight and tungsten can be a good thing). Afterwards, in post, I used one of my favourite tools, the Slice X Vignette Shape Mask, to subtly vignette the background in a shape that wouldn’t be obvious. And voilà! I must say I was pleased with the result.
The other main challenge was, of course, music audio recording.
I pretty much knew at the outset that we wouldn’t be doing a ‘concert video’. For one, there were over 40 artists in multiple venues all around town. For two, I had no interest in even trying to do that.
I decided I’d do it the way I did last year: Establish one good track to tie together each of the single events into a montage.
That required at least getting some good recordings to which end I took a feed off the board at the main concert, and otherwise used the camera mic to record an act that sounded potentially good. When I was doing that, I kept still and let the other camera guy move around getting additional B roll. Ironically, the feed off the mix board I mentioned was faulty, and much of that sound had crackle and hiss on it. But I got by with the skin of my teeth despite even that.
I also didn’t hang around long at most events. Sometimes I regretted that–such as at the church sequence at the end, but I took my chances knowing I’d have to edit with the best of what I had even if I missed some really good stuff. Of course, if it was a paid gig, I’d dutifully stick around for everything, but charity shouldn’t have to kill me.
Sorry about any ads that might show up. Someone’s got a copyright claim on it and I’m trying to find out who it is so I can get permission on behalf of the festival, since we’re not trying to monetise it.
Finally, I think you might find that this 20 minutes goes by pretty quickly.
If it doesn’t, then for you, I have failed.
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:
I promised to put together a short video piece for a friend who was doing a photo exhibition in our town of Chalabre, France and then totally forgot about it until the day before.
I had been (and still am) accumulating footage of what happens in the local area for an eventual narrative-driven promo and intended to use some of that for a short piece.
As I was leaving the next day for an event in England, I had about 6 hours to get the job done.
Since it was just going to be an edit to music, and knowing I had plenty of footage, the first step was to find a piece of music that was quintessential France.
I almost exclusively use Audio Jungle for a few reasons. Other sites may have these qualities, but once I found Audio Jungle years ago, I had no reason to look further.
As with any site, you can narrow down your music search by genre and even further by instrumentation, vocals, etc.
Unlike most sites, you can also narrow it down by putting in length parameters (time). Also BPM (beats per minute).
But what I like most is that the music is graphed so that at a glance you can see if there are shifts and changes in the music. (A lot of music for corporate and such uses is rather monotonous with great use of looping and you can see it instantly on the graph). That at least helps me narrow down the options of what I’ll bother to sample because I prefer a piece with variations.
And, once I’ve found something I think will be suitable, Audio Jungle allows you to down load a preview (with audio water marks) so you can test it out in the edit.
In this case, I spent perhaps 5 minutes to find a suitable piece.
The edit was simply an assembly edit to the music.
No fancy transitions or titles. They wouldn’t have made it any better or made anyone more interested in perhaps visiting this area of France.
Watch it and tell me if this might make you want to come. Or if fancy effects would make any difference in your wanting to come.
If you do…we have Air BnB space for you to stay right in the heart of all this. Indeed our house is right on the village square where several of these scenes were filmed.
Some of you may have seen a few of the videos I’ve been doing for the Duchess of Rutland. She got the video bug all of a sudden about 6 months months ago after realising that shoot video I did for them was bringing in big spending foreigners to the Belvoir shoot.
She also got a 20-something Marketing Director in who got her all jazzed up on social media, particularly Instagram and they have a successful account going there.
So now I’m having to make 60 second versions, and sometimes exclusively a 60 second video for their Instagram account.
For their website, however, I produce longer, more informative videos on their main subjects or services (weddings, corporate events, Gardens and one on Capability Brown–England’s most famous landscape architect) whose last design happened to be for Belvoir Castle, a fact only discovered in the Belvoir Castle archives a few years ago.
Anyway, I was busy doing the usual corporate style videos for the website (Gardens and Corporate), and was asked by the Marketing Director to do an Instagram version.
In two cases I just chose some appropriate music and condensed the B roll into a 60 second edit because there was no way to edit down the narrative to 60 seconds.
In one case, I was able to make a sensible narrative in the 60 second time limit, so now I’ve done both.
I then wrote the Managing Director of another marketing company that uses me exclusively for videos and showed him what I’m about to show you–suggesting that for future contracts, we add in the offering of a 60 second version for any company that also has an Instagram account. And charge them for it, of course.
He thought it was a good idea and I’m passing it on to you, hoping that I’m not teaching my grandmother to suck eggs in the process.
So here’s the usual corporate video:
And the Instagram version:
And by the way, if anyone is reading this far:
Shot on the Sony PXW X70
All hand-held, except for sit-down interview, of course. Stabilised as necessary with FCPX.
Edited and Graded in FCPX (following Denver Riddle’s excellent video on using FCPX’s new color tools)
And, something new! I bought Izotope’s RX6 Advanced when there was a recent offer, paying only a few hundred for an upgrade from RX6 Standard (hey, I’m not rich and the price for Advanced is usually over $1000).
My oh my! I used it on the Duchess interview to handle room echo and clothes rustle. The former was not my fault, the latter was.
One click and less than a minute of processing for the entire interview and you’re listening to the otherwise UNMIXED result. (I normally–even with RX6 Standard) spend a lot of time mixing to get the sound good. The RX6 Advanced result was so good I just left it as it was. Presence, warmth, clarity.
RX6 Advanced is lightyears better than anything else and even worth the $1000 price tag to have it in your FCPX toolbox. For anyone interested, my last blog was all about that with reference to the same video above (but you can hear the before and after there.)