INTRODUCTION

All event coverage requires long-form recording. During formal events, you’ll leave your cameras rolling as long as possible, aiming for the fewest number of clips to be synced together with your external audio. This also guarantees the maximum possible coverage during events, to ensure we don’t miss anything!

RECORDING SETTINGS:

All deliverables sent to our clients are rendered at a cropped, anamorphic 1080p sequence (2.39:1) at 24fps. However, our required minimum resolution to capture events during the day is 4k, 24fps.

• 4K is helpful to punch in on wider shots, especially during the ceremony!

• B-Roll should be captured at 4k, 60fps. If your primary camera is not currently capable of shooting at that resolution and framerate, you will need to upgrade soon, as we are phasing all 1080p footage out by the end of the 2023 season. You can deliver a mix of 4K and HD footage if you need to shoot 60fps in 1080.

• If possible, use guidelines for the anamorphic crop! You’ll lose a significant amount off the top and bottom of the frame.

All slow-motion footage needs to be delivered in its native frame rate, mainly to preserve audio recording through the day. We use a ton of audio in our final edits, including from b-roll sessions. Plus, if you switch off audio for b-roll, it’s really easy to forget turnt it back on for the next event!!

• 60fps is ideal for slow-motion footage. A handful of 120-180fps shots can be nice to sprinkle in, but not as the bulk of the B-Roll.

• Make sure any ‘Project Frame-Rate’ or ‘Variable Frame-Rate’ settings or similar on your camera match the rate you’re recording in, or are disabled. You should record and deliver in 60fps. DO NOT use S&Q mode!

• Make sure your shutter speed is always double your frame rate (unless you’re trying to account for flicker!)

Picture Profiles:

• Always shoot in a flat or neutral profile. Log is also allowed, if you’re comfortable working with it.

• Be extra careful to keep proper manual exposure and white balance!

• Log shooters will need to be extra careful to watch their camera settings, or use an external monitor if possible.

• Always use ND Filters for outdoor B-Roll, or whenever necessary!

Sony S-Log:

• Be wary of the locked minimum ISO, especially in bright sunlight

• ND Filters are absolutely necessary, otherwise you’ll see overexposure in all of your bright scenes!

• Watch for ISO noise, especially during receptions

• Pay close attention to white balance and color-cast in the scene

Panasonic V-Log:

• Only use 10-bit V-Log, 8-bit will not be accepted, there are compression issues that break skin tones across most lighting scenarios.

• CineD or similar neutral profiles are fine in either 8- or 10-bit, and do not have the same compression issue.

10-bit Settings:

• V-Log or CineD or similar are acceptable

• Realtime Options: C4K / 4K / 1080 @ 24p

• Slow-Motion Option: ONLY 1080 @ 60p (delivered in 60p with audio)

8-bit Settings:

• CineD or similar, NOT V-Log

• Realtime Options: C4K / 4K / 1080 @ 24p

• Slow-Motion Options: 4K / 1080 @ 60p (delivered in 60p with audio)

AUDIO SOURCES:

• All formal events (all A-Roll) require a minimum of two clean audio sources, between lapel mics or soundboard feeds.

• You can never have too many backup audio sources!

• Ideally, always have the external recorder connected to the house or DJ audio, but use the omni mics as a backup source when necessary.

• Your main camera during the day should have a shotgun mic on it at all times, and both cameras should be capturing audio all day (this is both for sync and to be able to pull natural audio!)

• All audio devices, including your camera audio, need to record at 48kHz (otherwise our syncing software won’t work properly!)

• Wireless transmitters / receivers are fine to use, but always have a usable backup in case the signal cuts out or gets dropped.

• Make sure you always have headphones to monitor your audio feeds!

• Recommended external audio recorder is a Zoom H4N or equivalent

• Recommended body-pack lavs are the Tascam DR-10L or the Rode Wireles GO

****NOTES ABOUT AUDIO SETUP****

We rely really heavily on clean audio in our final films, so audio recording is equally as important as visual coverage! This includes both voiceover as well as natural or environmental audio to help enrich each scene.

• Make sure you’re always using a broadcast loop when attaching your lav mics!

• Lav mic cables should always be neat and tucked away, and should never be hanging down in front.

• Avoid trying to place a lav mic on anyone wearing a dress when possible, if necessary for interviews or speeches, you can attach the mic near the neck or collar and drape the cable backwards, over their shoulder.

Always be friendly to any audio tech or DJ you work with, they’ll almost always be able to help figure out a solution for you if you’re struggling to find a good plugin or source!

• Don’t be afraid to push for the particular source you think you’ll need.

• XLR mix-out feeds from the back of the DJ’s speakers are always ideal! These always receive all sources, and you won’t have to worry about not being sent the mic or the music individually.

• ¼” audio jacks are the next best thing, the DJ will need to help you with these, often this means getting plugged into a spare headphone jack. Usually, this will get you the full mix as well.

• If neither of those options are working, you can try using your backup ⅛” plugs or RCA cables, or drape a lav (with the sensitivity set VERY LOW) in front of a speaker as a last-ditch solution.

Always test your audio levels beforehand with a mic check, and double-check during each event in case things change!