So if you read my previous blog you’ll have heard me mention that I’m not afraid of hard graft. What I am afraid of is finishing a 13 hour shift at Wembley at 9.30pm, nannying the driver with the best route back to Surrey, and then leaving home again at 3.15 the next morning for my next job. I suppose I’ve done it now, I survived, but I wouldn’t recommend it.
The day (I use the term very loosely) started badly when the driver who’d come to pick me up considered it normal to arrive 10 minutes early (at 3.15 in the morning that’s not a virtue), leave his engine running outside my house (my street is so narrow you can touch a car in the road by leaning out of the house either side of the road) and to talk to his mate on the phone with his window open. I repeat, at 3.15 in the morning. That said, there’s something quite intriguing about getting up that early; if someone asks you to get to work at 7 it’s a pain, but a 4am start is altogether more of a challenge and therefore almost…fun. Driving to work past the fleshpots of south London when they’re kicking out after a solid Saturday night is an eye opening experience, and ordering sober at 5am from a 24 hour McDonald’s almost righteous.
Again the job was with/for an old Soccer AM/Channelbee chum, this time the bearded wonder that is Robbie Knox. We’ve embarked on a similar journey so help each other out by hiring one another when we need an extra pair of hands on a shoot. His client in this case was the agency for the Spanish Tourist Board, organizers of the now annual ‘A Taste of Spain’ extravaganza which takes over Regent Street offering food, drink, entertainment and sport with an Iberian twist. The event was due to kick off at midday, leaving us 8 hours to pick up shots of the preparations. The main idea of the early start was for us to pick up a great timelapse of the street being transformed into a fiesta but in reality (and I haven’t seen Robbie’s shots yet) we’ve probably got an hour of Saturday night dregs relieving themselves outside Uniqlo and then 7 hours of vans delivering scaffolding.
The sky looked nice though, and McDonald’s did well out of us (except Jamie the runner who inexplicably for a young bloke who can get away with it has made a pact not to eat fast food throughout 2011).
Midday came and so did the throngs. I had mega rig with me
which is never easy on the move in a big crowd but I did my best. Our brief was to capture as much of the event as possible but with a focus on the sports zone, a pretty impressive collection of stands offering golf swing analysis, an F1 simulator, the World Cup, basketball matches and more. Robbie got the job of filming the massive paella and sangria stalls, for some reason, maybe because he was the boss.
That’s pretty much it really. It rained and we didn’t get any paella or sangria (well, Robbie says he didn’t and we have to take his word for it) but we did get a few pints in at the end of the day (whilst we were transferring the rushes from my camera to his laptop, in case our wives are reading this) and Jamie the runner got to guard our bags behind the motor sport stand all afternoon. We got closer to the World Cup than we probably ever will do again, and I can say I saw Regent Street sober at 4am. As for the film of the event, we’ll have to wait until it goes through the various channels but if it reflects the effort many people put in it should do the trick. I’ve long since been sold on Spain but anyone getting their first taste on Sunday will have had a treat.
Matt Le Tiss is one of my favourite footballers. Pure class on the pitch in his day, now pure gent off it. I had the good fortune to meet him a couple of times back in the Soccer AM days and our paths have now crossed twice more in the past year, first for an 888 video pre-World Cup, and back in February for an FATV shoot. Partly due to his experience on the box and undoubtedly equally because he’s generally a top bloke, you know that when you’ve got a shoot with him, he’ll give you exactly what you need without any fuss.
We were at Warsash Wasps FC, regional winners of the FA Charter Standard Development Club award last year, to help launch this year’s nomination process for the FA Community Awards http://www.thefa.com/yourgame and after a tour of the (very impressive) club he gave me an interview on his early days, influences and memories in football:
While we were there I picked up a few more bits with him including his fantasy 5-a-side team (edited by FATV):
It was the first outing for my new rig including my new Canon 70-200mm F4 IS lens which was pretty essential for the football action, and all in all I was pretty pleased with the result. Part of the problem with filming mostly ‘run and gun’, reality style pieces is that it’s tough to get those perfect shots and there’s always a degree of compromise but I think the key is to have a plan. Yes, 90% of the time that plan will change with the weather, the schedule and usually the talent, but a plan is a good place to start!
Hot on the heels of the intense post about multi-skilling comes this little gem about geeky new technology. Some would say I’ve changed, others would claim that I always had it in me. Yes I might earn more hits blogging about Richard Keys and Andy Gray, but an old boss once advised me to keep my opinions about people in the industry close to my chest and on this occasion I’m going to follow his advice.
So I have a confession to make: since last summer I’ve been having an affair. With a hard piece of black plastic. It may sound like a Channel 5 documentary but this goes somewhat deeper and I’m hoping it’ll last the course. It has certainly cost me a lot of money, there’s an argument that it may have taken its toll on my marriage (I can’t go anywhere now without bringing it along…the plastic, not the wife) and on many occasions I’ve felt inadequate right after getting it out.
The object of my affection is called HDSLR, and more specifically to me, Canon 7D. If you’re in a relationship with one, especially if you make your own videos, you’ll know what I’m about to say, and frankly there are many who say it better, but if this is news to you, it may be worth reading on.
If you read the last blog or indeed my biography you’ll know that over the last few years I’ve picked up cameras. At Channelbee we used the Sony EX1 or 3
which was a great starter as it’s really user-friendly and you get decent results for minimum effort. When I started out on my own last year I was always going to buy kit and I was heading the same way, but I wouldn’t have got much change out of £10k once I’d bought camera, tripod, mics and lights. And perhaps most importantly I probably wouldn’t have learned anything new. Then early last summer my brother, who’s a news documentary maker at the BBC, told me about a new trend for film-makers using stills cameras…and I was off on a new journey. I saw the beautiful footage people were shooting, read the blogs (links below) and took the plunge. Since then I’ve probably forked out a similar amount to what I would have done for an EX3 kit, but I think I’ve got a lot more to show for it and I believe that my skills have improved because of it, which has to be good for business in the long run.
I’ll keep the geekiness to a minimum because again others do it better and this isn’t about that, but yes, the gist of it is that some stills cameras now shoot superb video. Apparently they were originally designed to cater for news journalists who wanted to be able to grab quick video clips in the field, but since then the boundaries really have been pushed. House shot an entire episode on one (5D Mark II), a 7D-shot film has just been bought from Sundance by Paramount, and if you know what to look for you’ll see music videos, commercials and just about anything else shot on them.
The 7D is a mid-range Canon
and will set you back about £1200 without lens, but you can pick up a 60D for a lot less and your video quality will be the same. There are plenty of choices in terms of video DSLRs out there but the key to their appeal is the size of the sensor inside, which is larger than in most mid-range video cameras and therefore gives you more flexibility with light. Add to this the fact that you can pick and choose your lenses (which is the norm in the film world, and offers more creative flexibility in terms of depth of field)
rather than being stuck with the lens you’re given, and you can start to see why they’re changing the game. Then think about their size, the fact that you can shoot without anyone noticing, and you’re probably sold. And for afters, something which has been a real revelation to me is the genuinely supportive community which has sprung up in the HDSLR world; I wouldn’t have known where to start without the likes of Philip Bloom, Vincent Laforet, Shane Hurlbut and El Skid who share their expertise and opinions freely, in some cases to an extent where they have become worldwide ambassadors for the movement. I can’t think of a similar community existing in tv and it has come as a truly welcome surprise.
For all their virtues, however, shooting with an HDSLR doesn’t come easy. They’re not designed to be held like a video camera so you need to stabilise them somehow, the sound recorded is practically useless so you have to record that separately, you are limited to clip lengths of around 10 minutes, and there are some more techy issues too which I won’t bore you with. By overcoming these hurdles, most serious HDSLR shooters end up with weird and wonderful Heath-Robinsonesque rigs surrounding the actual camera; this is what I’ve based mine on, for example:
The other side issue of the limitations of HDSLR shooting is that you learn a lot more about how moving pictures (and stills, naturally), are put together. I mentioned earlier that it’s possible to pick up a modern video camera, even a prosumer one, push the red auto button and shoot away but with these it pays to learn the basics of aperture, ISO, shutter speed before you even attempt to master the rest. So it’s a steep learning curve, and as a perfectionist it’s an unsettling experience comparing yourself with very experienced cinematographers, but it’s certainly rewarding. I’m not using my 7D on every shoot, sometimes it’s just not practical, but I’m using it enough to warrant having bought it and I’m not looking back. Looking forwards, the big hitters have already cottoned on to the huge uptake in video DSLR and they’re now building the more attractive features of HDSLR cameras into their new video camera releases so where the future lies I don’t know.
So that’s my new mistress out in the open. I feel better now I’ve got that off my chest. If you haven’t seen it yet, here’s an example of my 7D in action at the recent ‘No Trousers’ day. It’s a good example to choose because it showcases the positive in that I was able to film on the tube without attracting attention (or getting permission) and the negative because as I was forced to shoot without any support, some of the shots are a tad wobbly: