The Problem
We all use this set-up and probably all run into the same problems.  The camera is now attached to something.  The extra wires cause many inconveniences in changing set-ups and handheld work.  And, you are monitoring your sound levels and quality from a camera which is not ideal.  Shots are probably your number one concern when standing behind a camera - not audio.  This run-and-gun solution works 90% of the time.  For the other 10% when you need to impress:  You have a client/interview/film that needs a little “wow” in it.  You have an idea for something big with the “look” and being hassled with boom mic placement is a distraction that you can’t afford.

The Solution
By recording your sound independently from your camera set-up - You can be more creative,  more mobile, and more precise.  More subtleties can be realized and you free your eyes from level meters to the picture.  If you are low budget, but maybe have an extra person on hand,  make that person your sound guy/girl.  The benefits of quality of sound will outweigh what this person could attribute as extra grip.  This DIY field kit is easily set-up and operated and you can teach just about anyone how to use it.The Set-Up
There are many solutions out there that range from all-in-one field recorders to complex 12 channel boards.  The system described in this article falls somewhere between the two.  The intrical piece of the system is how sound is interfaced digitally.  This DIY kit is built around USB audio interfaces used for recording in home studios with Pro Tools - specifically the M-Audio Fast Track Pro.  It gives you dual XLR or 1/8 pin inputs, 48v phantom power, and is powered by USB.  I connect the Fast Track Pro to a Asus Netbook.  These mini notebooks have just about everything that laptops have.  You can run full operating systems like Windows 7 and since the screen is so small and the hard drive is SSD, the battery life is extraordinary (5-7 hours per charge).  With software you have a couple of options – You can use Pro Tools (M-Powered in this case) or free audio editing/recording software such as Audacity.

The Advantage
You have endless options to effect the quality of recording “live” that you are not afforded with the cameras “level” controls.  It gets your camera “wireless” from any audio devices which allows for freedom of movement.  You now have a dedicated person for audio which enables a more concentrated effort for picture and talent.  And, you have a stand alone system for grabbing natural or b-roll sounds without having to break out any camera gear.  Give it a try and shoot me a message or comment with some feedback.

|JONNYHEE|

**Here is a 35mm DOF adapter comparison chart.  The information was gathered from each manufactures website.  Remember that you still need a camera and lenses to make these work, so the price is for the adapters and accessories only.  There are many upgrade options that will add to the cost of each. 

Additional Features:

Letus Extreme
◦ Best edge-to-edge sharpness in the industry.
◦ Battery is fully enclosed and secured by 2 magnets for ease of replacement during a shoot.
◦ Optional relay offer direct mount to ENG type cameras.

SGblade
◦ Choice of 3 ROTOrazor (ground glass element) for various shooting environments.
◦ Variable speed controller for spinning element.
◦ Now offer PL mounts.

M2 Encore
◦ Rotating screen enables you to stop down to f16 without seeing the screen grain.
◦ Integrated collimating lens mount, and the adapter comes pre-collimated.
◦ Widest angle-of-view of all adapters.

Brevis35 MP.2
◦ Microprocessor controlled adapter.
◦ Interchangeable diffusers allow for a variety of looks/setups.
◦ Waterproof ABS case provided.

These numbers come from the least expensive set-up which usually includes mounts for “still” lenses like Nikon, Canon EF (OES), and Pentax K mount.  If you want to use the grossly more expensive “film” lenses, the PL mounts and others are several hundred dollars extra.  This chart is to be used as quick reference for people needing a side-by-side comparison that would usually come in the early stages of the whole process.  Please be sure to investigate before you buy so you know exactly what you are getting when making a purchase of this size.  You can leave a comment here.

|JONNYHEE|

First get juiced - The number of watts any given lighting kit will output is the key to professional results. Second is control - Once you have a kit that continuously lights at 1500 watts, you have to be able to control that power to get the results you are looking for. Lastly is price - You don’t have to pay $1500 for a kit that you can put together separately for under $300 and get the exact same results.

Step one: Be super!  The kit that I use is assembled from old Super 8 camera lights. These lights were made to be mounted onto Super 8 cameras and usually output up to 650w at 120v. This is key considering that a 650w Lowel or Arri light can cost upwards of $800 each. These “super lights,” as I call them, can be found either around town or on eBay for sometimes as cheap as $10. What’s the catch? Well, there really isn’t one. Most are made of plastic which is probably the only downfall. Some of these supers come with the hot shoe mount. That’s OK because you can buy stand mounts for around $5 here. If you take care of them, they will last a really long time. And, otherwise at $10 a pop, they might as well be disposable. So search around and find at least 3 of these “super lights” to get your kit started.

Next: Stay in control. I suggest soft boxes. You can find these at B&H or eBay. The ones I use are cowboy studio’s soft boxes. They control the light just like the Lowel Rifa soft boxes. It has the option to have two levels of diffusion (outside and inside) with the two included diffusion clothes. You need to find a way to attach the speed ring to the light. The easiest way is to screw it to the ring of the barn doors. Some of the “super lights” come with barn doors, others do not. You can find them at B&H, but with everything else they sell, they can be pricey. So, when purchasing the “super lights” try and find ones with the original barn doors.

Lastly: Take a stand. You have to have stands for all of your new lights. The ones I use are Smith-Victor and can be found relatively cheap on eBay. Think quality over cosmetics. It doesn’t matter how ugly any of these components are. What matters is how well they make your subject look on camera.

With the soft boxes and gels, you can get professional results for well under $300.  Remember that the softboxes have to attach to the light.  Some supers come with barndoors that are usually the easiest solution.  Most soft boxes have “speed rings” which will easily attach to the barndoors.  Check out the details and measurements of each component, so you are sure they will be compatible.  Questions? Leave me a comment here.

|JONNYHEE|

The pan and tilt action of this head is smooth and predictable.  The controls are conveniently located were you would expect them.  The tension for the pan is below the camera plate and the tilt tension is to the side.  Both locks are located in the back for quick access.  The camera plate is sturdy and locks in place with a release button and is secured firmly with a standard lock opposite the release.  It includes two standard sized mounting screws and has a lock pin to avoid any rotation of the camera plate to the camera base.

With the advent of the palm HD camcorder and the video ability of newer DSLR cameras, these smaller pan and tilt heads will probably become a standard for many shooters in the near future.  Most of us are used to a very large, extremely expensive tripod for ENG type cameras.  The 501 HDV is a wonderful alternative to these bulky setups that usually end up being overkill.  And, for the photographer shooting video with cameras like the D90, it steps them up to a tripod that weighs about the same as their normal non-pan-tilt tripods.  Overall, if the 501 HDV is on a sturdy “sticks”, it is a solid solution for many in the industry.