Technology and Innovation

Going Pro
What to do with all your tape? Why not turn it into a paying venture? Randy Hansen recommends handing out DVDs of your work at games, or planning a pizza party after the game and showing your work there. Then let everybody know that they can get a copy—for a fee, of course. You may not know that you can get a name brand, 600 lines of resolution, NTSC monitor for new at around $600 (see the Display/Monitor Buyers Guide, September 2006). Yet the fact remains: if you are going to get serious about video, you’re going to need to somehow acquire a professional, external NTSC monitor (PAL, if working in a PAL country or for an outlet in one).
The colors you see on your computer, no matter how expensive your computer monitor, will not look the same on a television set or in the theater. The computer has a different color range, as well as different latitude in contrast or gamma curve. Using an everyday TV monitor is not ideal, but better than no exterior monitor at all.

You’re Not Done Yet!
Don’t forget to interview the sports heroes after the game – their impressions, recap and analysis – as well as some of the fans, the coaches, and spectators. You can add voice overs to the action and have your sports hero explain what’s happening and how it felt to be there.

Don’t Get Stuck
No doubt half the parents who spy you with a video camera will suddenly become the targets of angry spouses, berating them for not thinking to videotape the game themselves. They’ll try and cajole you into giving them copies of the tape. Which is fine – just don’t get stuck spending your whole weekend duping tapes when you could be out tossing the ball with Junior or building that gazebo in the back yard. It would be useful to consider beforehand what you should charge for tape duplication and print that up on a card. There are plenty of weekend warriors out there who have turned their hobby into a small business that keeps them in the latest and greatest hardware and editing software.

Sun in your eyes?—will you be shooting into the sun from where you’re sitting? If so, you might want to consider moving, even if it puts you in the visitors’ bleachers – just try not to cheer too loudly.
Hey, down in front!—is there a space specifically for press? If not, get a seat where people won’t be standing between you and the action. When Junior makes his touchdown, you don’t want the back of some guy’s head to be the only record you have of it.
Randy Hansen, chief photographer for WINK-TV, has been videotaping sports for years and recommends that at a minimum you should have a camera with a good quick zoom and extra batteries. That, however, isn’t nearly as important as understanding the game. “That requires,” says Hansen, “you know where to be when it’s 3rd and 9 (down field about 10-12 yards). If you don’t know, I wouldn’t shoot the sport until you could learn more about it.” Randy also says it’s vital to grab a copy of the program with all the players’ names and jersey numbers to reference later.

SONY Professional HDVVTR
HVR-M15U
• HDV 1080i, DVCAM and DV SP Recording, Mini and Standard Size Cassettes
• 1080/60i to 720/60p Conversion
• Switchable NTSC/PAL • Down-convert from HD to SD •S0HVRM15U
HVR-M25U Step-up features:
• 2.7″wide 16:9 ClearPhoto LCD panel and HDMI output •SOHVRM25U

JVC Professional 3-in-1 Recorder.The SR-DVM600 is a 3-in-l video recorder with tape, DVD, and hard-disk formats in a single box. It accepts Mini DV cassettes, 1 DVD disks and it integrates a 40GB hard disk recorder  • Records to DVD-R, DVD-RW and DVD-RAM Discs
• MiniDVwith DvCAM Playback
•Auto Repeat Playback Disc Authoring • Bit-rate Optimizer for HDD to DVD Recording
• IEEE-1394 I/O Interface
•JVSROVM600US

ATW-1821 Dual Wireless Microphone System
The 1800 Series Wireless is a professional dual-channel, UHF system with a sleek, compact design and advanced features ike: 2 independent true diversity UHF receivers in a single  housing, dual balanced outputs (that can be independently assigned) and auto-frequency scanning.
Kit Includes: ATW-R1820 Dual Receiver | and (2) ATW-T1801 BodypackTransmitters
KAUATW1821

VariZoom DV Media Rig Camcorder Stabilizing System
Pro Shoulder Support for Pro HD/SD Camcorders up to 7 lbs  Articulating Weight BalarKing System  Fully Adjustable: Swiveling Shoulder Arch  Quick-Release Camera Mount  Accessory Mounting Capabilities Includes: Suspension pod, Padded Shoulder Support Rig /Quick Release Assembly, Adjustable Belt w/HolsterWAVZDVMR

After transferring all of your footage to your edit computer, you sync each of your video streams at the beginning and roll all simultaneously. Your computer is now effectively a live switcher and you are the technical director, “cutting” from wide-angle to close-up shots on the fly. In the end, you should have a finished product, less possibly some graphics and music.
While there are not many unique aspects of editing a vidcast, several workflow habits will make your job easier when editing episodic shows. First, be sure to establish a consistent filing system. Have video assets you will reuse on each show, like your open, graphics, music, credits and any other transitional elements, all in one directory. This will greatly speed up your edit session. Next, create and stick to a consistent project naming system. There’s no need to get creative here; clarity is far more important. The episode number and date work well if used like this: “2007_Ep_45_5-01″ [signifying episode number 45 was shot or will upload on May 1, 2007]. This way, when you go to sort your project files in the same folder, they will be in order even across multiple years.

In the last two issues we told you how to set up and shoot yourvidcast. In part three, we’re looking at how to edit and get that vidcast to the masses.

We talked about key production elements like set design, talent and crew, and equipment in part two in our April issue. This month, we’ll wrap up our three-part series with editing and preparing your vidcast for the web.
For Openers
Having a short catchy open that visually summarizes what your vidcast is all about is important. Since it’s the first thing a new viewer will see, it has the awesome task of compelling them to continue watching. It can be as simple as cutting together a few clips from your first show or as complex as a high-energy array of shots highlighting unique aspects of your subject matter, complete with custom graphics and logo. In either case, keep it short, say five to 15 seconds, and be sure to include at 3t your show’s title and possibly the episode number.

The 100LT system (100UPR receiver, 10BT bodypack transmitter with EX-503 lav mic) is the leader in low-cost, high-quality UHF wireless.
The system is: 63-channel user-selectable (794-806MHZ) crystal-controlled and PLL synthesized, uses 9V batteries (not supplied) and is very small (3 7/8″ X 2 1/2″ X 7/8″). The receiver comes with both snap-in shoe mount bracket and velcro.The bodypack transmitter comes with our EX-503 omni lapel mic and metal belt-clip.
“the clarity of the audio, the choice of 63 channels, the diminutive size, and the reasonable price make the Azden 100LT an excellent value for videographers!’ Wedding & Event Videography “I’ve yet to find a wireless mic system for under $500 that comes close to the quality and performance of the 100LT’ Camcorder & Computer Video