Thanks for the great tips Andrew! A few more valuable tips are to: (1) Attend rehearsals before the event to learn the band's set and determine the best shots, angles and camera settings. Rehearsals are also a great time to get tight close-ups of band members playing instruments, (2) Before the concert starts, film behind the scenes footage of the band getting ready including meeting VIPS and backstage pass holders, (3) Also, film the venue's billboard and posters of the band, and film excited audience members entering the concert, and lastly (4) After the concert, run to the lobby and interview audience members as they leave to get their feedback (bands love hearing fans' feedback). It's important to understand that videographers don't just document the performance. A good videographer is a vital part of the band's marketing team. They help build the band's image and reputation. However, great videographers go even further. They help make every performances look (and sound) even better than they were in person by using exciting editing, multiple camera angles, behind the scenes footage, upbeat interviews, and visual storytelling.
Superb tips Andrew and equally as great additions Wendy. I film Musical Theatre and seeing the rehearsals is important for your positioning & framing for hand held closeup's during scene changes. Getting the audiences comments on leaving is a great idea for marketing. Awesome tip. As is filming closeups during rehearsal.
FINALLY, I the video I was looking for! Thanks for laying this out man. Im working on building my concert videography skillset. All of the things you mentioned are things Im learning the importance of.
I shoot a lot of Multicam concerts. I would agree with everything you said here, but I must admit I’ve never had to weigh down my tripods. I think one of the things I struggled with early on was color matching my cameras. Now I use two GH5’s, a GH5 Mk2 and a Panasonic AJ HPX 270 so matching cameras is less of a challenge.
Thanks Andrew. That was helpful. I also use the 3-camera setup for my annual music challenge, but film medieval musicians in an old castle! One challenge there is that my shots can look really dull thanks to some of the backgrounds (or my poor skills). Also, I can only pick up room sound with a couple of decent mics in X/Y. With multiple unamplified acts in a concert who also move around, it would be difficult to place mics specifically. From what you suggest, I might add a central redundant cardioid mic, and above all try to be more creative with the active camera. Thanks for the inspiration.
No problem, glad to hear it was helpful! Yeah that definitely sounds like a situation that'd require some experimentation to get the best audio. A few well positioned mics around the stage/band into a central recorder might be the best bet.
Thanks great advice, planning on doing a shoot soon of my own music, singer songwriter. I have 3 nikon d3200 and zoom h6, some nice mics.a few lights a great space. Wish me luck.
Thanks.. a lot of great reminders. My worst moments were all covered except one: setting at least one camera iso/aperture to be never blown out by the super-bright spotlight on the soloist…
No problem, Neal! Yeah uneven/bright lighting is always a challenge... I've had that happen to me too. My video around handling overexposure in FCPX talks about a similar experience.
With my experience, I used to try and set the white balance, now I go with auto white balance. And even with ISO, I have gotten burned while doing the sound check the lights where brighter then during the show at time it was allot more dimly lit. So now I also go with Auto ISO, I do agree with the setting focus to manual.
That's interesting, I've been burned many more times with auto-values than with manually setting them. But a lot of it is monitoring things (e.g. ISO and changing lighting conditions), or knowing how to work with the Kelvin scale. Auto ISO could certainly work with the right bounds on your min and max values.
Thank you for the useful information. So far I only have shot videos of gigs I play at myself, but I soon will be filming without playing 🙂 Loved what you said about stabilizing the tripods. Very useful! Thanks!
Thanks so much for this. I have been seriously puzzling and stressing over how I can avoid kick and bass related camera blur and could never find the right search terms to find information like this. Hearing the solution (weighing down tripod) was such a "duh!" moment. Of course! So obvious yet so elusive to a brain like mine. I was so focused on IBIS! Whilst the "problem" didn't ruin my last concert shoot (in fact it sort of adds to the rawness), I am definitely going to try this out next time. Hoping 5kg will do the job per camera. Great tips throughout the video as well, all things I routinely do - with low budget shoots, giving yourself options can be a real life-saver. One more tip - whack a wide angle GoPro or DJI Pocket at back of stage facing the audience - it's such a great angle for capturing the atmosphere of the joint and a bands-eye perspective...
I dont record concert/bar videos but there are some great tips. I assumed I would put cameras on autofocus but didnt realize like you said that people could walk past the camera and through the focus off for a while etc etc. But the tips I would be worried about doing a single or multii camera shoot would be...someone knocking over the tripod/equipment, spilling beer on the lens, or stealing some gear either during the show or at end of the show. I also wonder if more wireless mikes would be needed so fans dont trip on the mike cables or if the band allows you to plug your jacks into their PA.
Thanks! It's definitely a different strategy depending on how crowded the bar is, the band that's playing, etc. In the situation you mentioned, I'd probably have a dedicated camera operator or two and place tripods further away from the crowd, looking down over the crowd at the band. I usually don't have a problem tapping off of the PA from the band. Mic cables aren't an issue so long as it's kept to the stage area.
Great video Andrew. I'm shooting my first live performance tomorrow night, and your tips made me consider aspects which I hadn't thought about like weighing down your tripod to eliminate bass rumble shakes. It's just a bit of fun these days as opposed to money making, but anyhow your advice and expertise is certainly appreciated. Keep up the good work!
@@andrewsaraceni Thanks Andrew, it was fun but also challenging and educational. I learnt a lot about what worked and what to do better next time. Video here ua-cam.com/video/BV84ujkIw40/v-deo.html
Great video. Getting to the end of my concert videography career. Wish I would have had pointers for audio years ago and access to set up multiple cameras at shows. Its been hit or miss with the quality that I get but at least I have full memories of the shows I see .
This is a great video. Love the tips and your perspective on things so thank you.. Gives me a lot to think about. Now I do love the idea of putting weights on the tripods, genius.
Excellent tips. Thank you. What would you recommend for one on-camera mic to record everything having drums, keyboard, vocals, and audience in one mid-sized church room? Something that has bass recording without cutting and clear unmuffled sound.
No problem! I use the Rode VideoMic NTG as my main shotgun mic of choice, and it covers performances well. That said, my Zoom H6 has even more options for recording audio than an on-camera mic (e.g. XLR inputs, built-in XY mics).
So helpful, thank you! Not sure if you will see this in time, but what would you advise for camera positions with shooting a gig with just 2 cams? Would you leave one static and move around with the other?
No problem! Exactly, for two-camera setups, I've usually done one locked-off wide shot, and then a mobile angle (handheld, gimbal) that can ideally go medium/tight.
I’ve filmed a fair few live concerts and would more or less agree with all of you points. I use a crossed pair (ORTF) in a smaller venue and 4 cameras. For outside gigs I use a Tascam 4 track recorder to ensure the PA sound and the crossed pair are in sync. I then need to slip the PA sound a few ms to get the two pairs absolutely aligned. I started with 3 cameras but now use 4 as that made the edits easier.
My usual filming location has a few constraints and 3 fairly static shots and one which I change more frequently has been the best compromise. There is an audience that has paid to attend and so the filming can’t be too obtrusive.
Thank you!! I got some great points. I have been using GoPro 10 in 5k and then editing in post, i.e. pan/zoom but the batter life on those are not very good!
No problem Matthew, glad to hear it helped! Yes you'll definitely fare better with battery life on most mirrorless or DSLR cameras (e.g. 2-3 hours in 4K 24fps for me).
You......are a GOD! Thank you, because this is all of exactly what I needed to see and hear. Just a perfect, straightforward strategy for everything I needed!
I‘m trying to film my own band (while playing) and the 30min record time limit is such a pain haha So I need that camera accessible from stage while playing (wide lens from the side of the stage). And I also mount my iPhone to be above us at the very back in the center looking towards the crown (ultra wide lens). Those two angles + when someone in the crowd shoots some handheld phone footage can sometimes turn out quite interesting, but I’m still looking for more interesting places to mount my cameras for better angles.
Shots from the crowd looking towards the stage (center, sides) are great if you can manage it, even if they're locked off. Otherwise, on-stage shots (sides, specific players) are also good.
It can definitely get peak-y/clipped if you're not careful. I keep the camera mic preamp volume low, and the -20db pad on the mic to further lower the volume.
I love crane shots. They can definitely add some production value to a concert recording if you want to make it look more like a proper concert movie. With DSLR and mirrorless cameras (I own two mirrorless cameras myself), I would worry about everything staying in focus due to the shallower depth of field. Isn't this the kind of scenario where a camcorder might make sense, at least for the wide shot? I will say, a lot of these tips could also apply to filming weddings, meetings, or other live events. Good audio is so important, and so many people overlook it!
All very true! Yeah a crane/jib would be a great addition depending on the size and budget of the show. You could still do a lessened depth of field on these cameras (just ensure the f stop is adjusted), but camcorders could work for many of the wide angles with similar results.
No problem! I cover a lot of those topics around the 4:45 mark. For flicker, I'd check out my short that talks about the Variable Shutter feature. For most concerts I shoot S-Cinetone over S-Log3 to help with noise and make grading a bit easier.
Hey Andrew, have you ever checked out the metering mode feature (setting) "highlight" ??? It is supposed to be good when shooting or filming a stage that has different lighting. This metering mode option is on the A7IV. Good tips, thanks!
Thanks! I normally use multi mode 90+% of the time for metering. I could see highlight being useful for concerts, but potentially deceptive if you have a bright stage light, etc. in the shot, or anything brighter than the subject.
Amazing points but I didn't get what I was expecting for. The question is for the camera man or men: The role of manual and autofocus during the capture. How autofocus is useful or even can be harmful? How it is generally important when choosing a camera?
It all depends on how you shoot and use your cameras. I think AF is great for a shot/angle with an operator behind it, and will usually let you get more shots quicker/faster. For locked off shots it can also help, but MF will prevent other people, subjects, etc. from getting in the way and throwing off the shot unintentionally. Some people are fine with MF-only cameras, but for most of my gigs (concerts included), AF is essential and is a big reason I shoot Sony.
Hi, thanks for this video. When you plug the recorder in the soundboard, why you don't plug each instrument individually with xlr cables in the recorder (1 per track) instead of just getting the stereo mix of the board, so you can mix the tracks after? Is it because there's not enough connectors for all the intruments or there's another reason? Thanks!
No problem! That's a good question - sound engineer is usually working with a 16 or 32 input board, so not really feasible. For a bigger show, the proper way would be to capture the show digitally and do a multitrack mixdown in post. But, that's a different kind of option for a different budget of gig entirely. 🙂
Oo awesome tutorial! Hoping anyone can answer my question on the audio: how do you use both audio sources? Do you layer them? Any rules for switching back and forth?
Thanks! Usually just one at a time, but you could experiment with enabling more than one once you multicam everything. I would only switch during a song if it's critical, otherwise keep the same source (if it's good) per song.
nice tips, If you do a concert with 3 different cameras, what color profile do you recommend in the 3 cameras (sony, panasonic, canon =) so that later I can match? thanks
I would probably either pick a Rec. 709 profile (e.g. PP Off for Sony) so they're close in-camera, or pick a log profile for each camera and match them up later.
I record classical music videos, and for some reason general static angles don’t usually work for me unless I put some fake camera movement in post, what’s your take on this? I recently got a 70-200 and a 105-300 lens to be able to do medium and tight shots from far away
I actually think static angles work well, so long as you're mixing in a few of them with different focal lengths, or have one or more angles that have motion (gimbal, handheld, etc.). But slow, simple zooms in post or cropping are a great way around that.
Thank you for the video. For small concerts(audience of 300, vocalist + jazz trio), what would be the best xy alternative for a Zoom F3? I plan to use a zoom f3 for the board and one for ambience as well. Would pencil condensers like the rode m5 or lewitt 040 suffice or maybe a shotgun mic like a Rode ntg5? Would it be best to mount directly to the zoom f3 without xlr cables or use an ORTF system? Also, instead of on camera would it make more sense to mount on a mini tripod on the stage between the speakers and band as you show for larger venues on one of your other videos?
No problem! Condenser mics like the Rode M5s or Sennheiser e 614s could be great options for individual/instrument mics, or you could use them in a pair to do an ORTF setup. I'd say a lot of it depends on the setup of the band, and what you intend to do in post - e.g. an almost ready-to-go recording, vs. doing a more elaborate mixdown by track.
@@andrewsaraceni Thank you for the info! I was hoping to use a similar setup to your h6 from a distance(6-10ft from stage) to capture ambience as well as a safety track in case the board fails. Would the Tascam portacapture x8’s built in mics be comparable to your h6 setup(built in xy mic) Would the range be just as effective? I was thinking of potentially purchasing that instead of a second zoom f3.
@@andrewsaraceni Thank you! Also, I do have a question about your setup. Is there a reason you use two h6s(one with xy for ambience and one for the board) instead of one h6 mixing the board and xy mic( facing the crowd)? Does the use of two h6 recorders give you a better stereo image of the room and better manipulation in post?
@@mmaged2287 Mostly to reduce cables and clutter running everywhere, and for more redundancy. But you could get away with one unit with the right setup/circumstances.
08:05 I had no idea these cameras have recording limits. I just checked, and my Nikon D5100 has a 20-minute recording limit. I was planning to record my performance as part of a choir group and was going to set the camera on the mezzanine stage. what a shame
@@andrewsaraceni I saw you are a fan from Sony. Which entry level camera would you recommend? My target purpose is Chor presentations and evening live music.
Hi Andrew. Thanks for posting this video - it's a huge help! I have a Sony A7 iii myself and have my first live video shoot coming up. I know it's only 8-bit log but I was wondering if I could good (enough) shots using say .MOV? Was going for faster processing time and space-saving on the card. What are your thoughts?
No problem, and congrats on your first upcoming shoot! I've shot plenty with Sony's 8-bit cameras in the past, and they've still held up fine for video. S-Log2 would be better on those in terms of log, but in-camera color too with light grading (e.g. Cine4/Pro, Movie) also is a great look.
@@andrewsaraceni Thank you, Andrew! I wondered if you could answer another question? I don't have the means to use similar cameras for the shoot so it's going to be a mashup of 3 cameras - all with different capabilities. What format should I shoot in to make all three results look relatively close in post? Using a Blackmagic 6K for front/center camera, Sony A7iii on a gimbal, and the band is providing a Zoom Handy cam (which is limited to 4k/MOV). I certainly don't want to use BM6K filming in 6K but rather a comparable 4K format as with the Sony. Confused! Any help is appreciated
@@robotbarbarian I'd go for 4K 24fps, and a Rec. 709-like profile in all of them. You can leverage slightly better compression, 10-bit, BRAW, etc. in the BMPCC since it can, if you want. Regardless, it might take a bit of work to get them all to match color-wise in post.
@@andrewsaraceni Thank you so much for your help! I already feel more confident. I also considered the computer processing I would need for BRAW and Sony's S-log and wondered if there was an overall compromise that a single compressed format would be easier to work with. I have the last gen Intel 8-core MacBook Pro and tho it's wonderful, I wonder if it could handle so much RAW format stuff in post
@@robotbarbarian Haven't tried BRAW, but I could edit S-Log2/3 footage on my old Intel Mac (from the a7 III) w/o issue. It's more so the compression/codec than anything. I'd do some quick tests beforehand to see what it can handle.
This is pretty cool but i was wondering what would be the best settings for a camera that's not a DSLR like a Cinema Camera ex Sony fs5? shooting Raw etc, with the exposure as you were saying for a rock concert with all the lighting and going dark etc
If you have a cinema camera setup and the operators/time to monitor it, shooting in log would definitely give you more flexibility to grade in post. Assuming you're aware of noise, etc. and how to expose the image properly. For that, S-Log2 is probably best in the FS5.
@@hottierod 24 fps and corresponding shutter speed, definitely a shallower DOF aperture/lens like you said. That should keep your ISO at a reasonable level.
Are the lights usually daylight? I guess for indoor eat/drink places the white light could be tungsten but usually they are daylight. RGB lights are pretty much always daylight. How do you set WB?
5600K is a safe bet, but I also often find myself doing either 4000K or 4500K to compensate for other surrounding light sources, differences in lighting, etc. as you mentioned.
@@andrewsaraceni Thanks. I'll keep it mind. Maybe more towards 4500 as I filmed once inside a EDM club around at around 3200k and the lights were kinda bluish like moonlight.
Hi Andrew, This is fantastic. I was curious . Do you have a tutorial on how to use that Zoom mic to record the audio from a live venue? I want to do that for my next gig, after I get the Zoom, but I don’t know how to go about it. Also, wanted to ask if you have any affiliate links, would love for you to receive a kick back, because I am about to get those two audio recorders because of you.
Thanks Miles! I don't have a specific tutorial on it, but my Zoom H6 review video might be of help in a few of those areas: ua-cam.com/video/gIv72QRUBYE/v-deo.html And I also do offer 1-on-1 consultations for more assistance. I have affiliate links in the description of this video you can use, I appreciate it. 🙂
Hi Andrew. I’m shooting a multi-cam(2 cameras, one camera locked off in the furthest row and then a gimbal for closer to stage) camera setup for a concert in a few days and I just found out I can’t make the rounds(checking cameras to see if they are still recording) as it’s stadium style seating(have to take stairs to get back to locked off camera) in a small theater and I cant be obtrusive to audience. Do you have a solution for this? The locked off camera(GH5) does not have a recording limit, but I like to check batteries and make sure it’s recording. Thanks in advance.
I'd look into a dummy battery setup and just plug the camera into AC power in that case, or do a larger (V-Mount) to dummy battery to ensure you have enough power for the full show.
@@andrewsaraceni Thank you for the quick reply! The show is only 80min so I was going to use my s5 battery(compatible, light and gives it about 1hr 40min) and leave it recording the whole show. I’m just concerned someone could accidentally power off or turn off the recording during the show. I usually make the rounds for multi-cam setups(conferences, concerts) but this venue doesn’t give me that option. Thanks again!!
Hi, great videos! I just started watching you. I want to invest in this H6. I’m assuming this would work good for loud rock music? I typically put my camera up front with a white angle lens using a video mic Pro. But the video sound is either too loud and it distorts or if I make it lower it’s too low . I’m just starting to get into recording music like this and I honestly don’t have any idea how to set my camera sound settings up the right way . I’m shooting with a Canon EOS R5. I assume you have a video on how to set your audio up on your camera or what you want to see? But in any case this age 6 should be a nice addition, I’m assuming?
Thanks Tom! Yes the H6 would be great for capturing louder rock music. There are -20db pads for each of the XLR inputs, and the XY mic can record a -12db backup track to help with loud distortion issues. For the cameras, I basically keep my camera mic preamp volume low (e.g. at 5 on my Sony's), and then use my Rode VideoMic NTGs to control volume there, usually using the -20db pad on the mic to help with volume there.
@@andrewsaraceni hi really appreciate your response!! so on my camera I should set the internal mic to about a quarter I would imagine? Then I use the DV gain on the road microphone itself? I know when the music playing you don’t want to go above 12 DB on the meter on the camera. Do they make like a little Bluetooth adapter so I can plug that in to the microphone and put the microphone somewhere else separate from my camera? Like a little Bluetooth adapter? Sorry for these novice questions, but I’m just getting into the video and audio aspect. I’m a photographer first. But my friends that are in a band or hoping I can get better at video. Do you have a link for the piece that your H6 that sits on the camera? is that plug directly into the camera itself as well? By the way, I’m using Siri so sorry if this doesn’t look like perfect English lol. I’m trying to see if I can invest in one of these devices as I’m just doing a simple set up record on a tripod and take video. Right now I just want to make the best of my current rode video mic Pro.
@@Thomasjcolbert82 No problem! Setting it to a quarter sounds about right, settings-wise. You really want to stay under 0db - anything beyond this will clip. Not sure about any Bluetooth adapter for monitoring, but the link for the shock mount for the H6 I use is in the video description (Boya BY-C20).
Wondering how you deal with mixed Led and Tungsten lighting. I split difference and white balance at 4000k, but get a purple glow under Leds, any tips?
I usually find myself either at 3500K or 4000K for most concert situations with split lighting, so similar to you. Getting rid of specific colors/hues I leave to post, e.g. shifting the tint away from magenta, or a Hue vs. Hue or Hue vs. Sat adjustment.
Thanks 🙏 Awesome video! Can definitely relate to weighing down tripods! Definitely going get me some of those weight bags! H6 is a great tool as well. A good trick I've learned is to take a split from the bass DI, kick and main vocals wirelessly and feed to H6 with those. Thanks again! New Subbie!
Thanks for the video 🙏 Maybe you could add that most pro venues have a digital mixer witch means in most cases you can ask the sound guy for seperate audio tracks that you can get directly on to a usb if u bring one. Id take a one camera film with good audio over a 8 camera film with ambience room mics any day 😊 but you need to know how to mix and master audio ofc Again thanks!
No problem, Sebastian! Yeah, I wish more venues/sound engineers were equipped to handle multitracking; it still seems more the exception rather than the rule, in my experience. Though for any serious gig, I'd sooner have them budget for a dedicated sound engineer just to do a multitrack, mix it down, etc.
Hi so I just started going to raves and bought a DJI pocket 3 to record videos , also got the DJI mic 2 and no matter what settings I used the bass is too much for the microphone any suggestions for a better microphone I’m looking for a plug and go microphone something I don’t got to do much editing to thank you !
Pretty sure some external mics are supported via USB-C. e.g. Rode VideoMic Go 2. I use the Rode VideoMic NTG, which would be great as it has a -20db cut to help with loud volume/bass situations.
@@andrewsaraceni just watched a few videos and the -20 on the NTG should work great and it plugs into the DJI pocket 3 via USBC so ima buy it and try it out I got a festival on Monday so wish me luck! , thank you you saved me so much money I almost bought the mic pro plus just because I heard it was a good microphone
@@andrewsaraceni I have another question on the rode website there’s multiple NGT’s 1-5 do I assume it’s just the new generations so the ngt5 is the one the get correct ?
@@SWEETSTATIK Not necessarily, VideoMic NTG specifically is the one you'd want for the Pocket 3. For the NTG 1-5, they're XLR mics and each have different purposes, benefits. e.g. NTG5 is the newest, but I prefer the NTG3B (and it's still their flagship).
What setup would you prefer for concert who you only have far end location access? What camera setup, camera setting & lens will you be using and also the audio?
From far away, make sure you have good telephoto lenses (e.g. 70-200, 135 or 85mm). Settings I'd pretty much handle the same, audio though I'd definitely rely on a board feed/mix and some mics or other audio recorders closer to the stage.
Good stuff. I think some auto functions can be useful on your hand held though. Especially when you want to pan to audience and your ISO is stuck. The one function you always lock is shutter or else that footage won’t sync well and will look strange. Another thing is you’re rarely if ever going to get a good center stage image if there’s an audience there and you’re cam isn’t elevated somehow. A nice side angled shot often looks better anyway and you can see the drummer. Use a wide angle, something like 24 mm
Thanks, and great points! Yeah you'll definitely have more freedom for auto functions on any rig with an operator. e.g. I use autofocus a lot on my handheld setup.
Thanks! I know most of Sony's models released since 2019 don't have the limit. e.g. a7S III, a7 IV, a7C, a6100, a6400, a6600, etc. Mostly depends on your budget.
Thanks for the great tips Andrew! A few more valuable tips are to: (1) Attend rehearsals before the event to learn the band's set and determine the best shots, angles and camera settings. Rehearsals are also a great time to get tight close-ups of band members playing instruments, (2) Before the concert starts, film behind the scenes footage of the band getting ready including meeting VIPS and backstage pass holders, (3) Also, film the venue's billboard and posters of the band, and film excited audience members entering the concert, and lastly (4) After the concert, run to the lobby and interview audience members as they leave to get their feedback (bands love hearing fans' feedback). It's important to understand that videographers don't just document the performance. A good videographer is a vital part of the band's marketing team. They help build the band's image and reputation. However, great videographers go even further. They help make every performances look (and sound) even better than they were in person by using exciting editing, multiple camera angles, behind the scenes footage, upbeat interviews, and visual storytelling.
All great points! A lot of it depends on what the deliverables are (and what the venue, circumstances, etc. allow).
Superb tips Andrew and equally as great additions Wendy. I film Musical Theatre and seeing the rehearsals is important for your positioning & framing for hand held closeup's during scene changes. Getting the audiences comments on leaving is a great idea for marketing. Awesome tip. As is filming closeups during rehearsal.
FINALLY, I the video I was looking for! Thanks for laying this out man. Im working on building my concert videography skillset. All of the things you mentioned are things Im learning the importance of.
No problem, glad to hear that this helped!
I shoot a lot of Multicam concerts. I would agree with everything you said here, but I must admit I’ve never had to weigh down my tripods. I think one of the things I struggled with early on was color matching my cameras. Now I use two GH5’s, a GH5 Mk2 and a Panasonic AJ HPX 270 so matching cameras is less of a challenge.
Definitely, having multiples of the same camera make (and/or model) is a big time saver, in a number of ways.
Thanks Andrew. That was helpful. I also use the 3-camera setup for my annual music challenge, but film medieval musicians in an old castle! One challenge there is that my shots can look really dull thanks to some of the backgrounds (or my poor skills). Also, I can only pick up room sound with a couple of decent mics in X/Y. With multiple unamplified acts in a concert who also move around, it would be difficult to place mics specifically. From what you suggest, I might add a central redundant cardioid mic, and above all try to be more creative with the active camera. Thanks for the inspiration.
No problem, glad to hear it was helpful! Yeah that definitely sounds like a situation that'd require some experimentation to get the best audio. A few well positioned mics around the stage/band into a central recorder might be the best bet.
Thanks great advice, planning on doing a shoot soon of my own music, singer songwriter. I have 3 nikon d3200 and zoom h6, some nice mics.a few lights a great space. Wish me luck.
Thanks Gary, I'm sure you'll crush it!
Thanks.. a lot of great reminders. My worst moments were all covered except one: setting at least one camera iso/aperture to be never blown out by the super-bright spotlight on the soloist…
No problem, Neal! Yeah uneven/bright lighting is always a challenge... I've had that happen to me too. My video around handling overexposure in FCPX talks about a similar experience.
With my experience, I used to try and set the white balance, now I go with auto white balance. And even with ISO, I have gotten burned while doing the sound check the lights where brighter then during the show at time it was allot more dimly lit. So now I also go with Auto ISO, I do agree with the setting focus to manual.
That's interesting, I've been burned many more times with auto-values than with manually setting them. But a lot of it is monitoring things (e.g. ISO and changing lighting conditions), or knowing how to work with the Kelvin scale. Auto ISO could certainly work with the right bounds on your min and max values.
A good bit of information here. Haven’t ever filmed an event, but probably will still use some of this for my own work going forward.
Thanks, yeah a fair amount of this can definitely be applied to other events/shoots too.
Amazing how, in 9 minutes, you covered so many important topics!
Thanks! I try to make them short and to the point.
Thank you for the useful information. So far I only have shot videos of gigs I play at myself, but I soon will be filming without playing 🙂 Loved what you said about stabilizing the tripods. Very useful! Thanks!
No problem David, glad you found it useful!
Took a while to find a helpful video for my situation. Appreciate the different views with camera info. Thanks for this!
No problem, Matt!
Thanks so much for this. I have been seriously puzzling and stressing over how I can avoid kick and bass related camera blur and could never find the right search terms to find information like this. Hearing the solution (weighing down tripod) was such a "duh!" moment. Of course! So obvious yet so elusive to a brain like mine. I was so focused on IBIS! Whilst the "problem" didn't ruin my last concert shoot (in fact it sort of adds to the rawness), I am definitely going to try this out next time. Hoping 5kg will do the job per camera. Great tips throughout the video as well, all things I routinely do - with low budget shoots, giving yourself options can be a real life-saver. One more tip - whack a wide angle GoPro or DJI Pocket at back of stage facing the audience - it's such a great angle for capturing the atmosphere of the joint and a bands-eye perspective...
No problem! Glad to hear it helped you, and agreed, an action cam at the back of the room is also a great idea.
I dont record concert/bar videos but there are some great tips. I assumed I would put cameras on autofocus but didnt realize like you said that people could walk past the camera and through the focus off for a while etc etc.
But the tips I would be worried about doing a single or multii camera shoot would be...someone knocking over the tripod/equipment, spilling beer on the lens, or stealing some gear either during the show or at end of the show. I also wonder if more wireless mikes would be needed so fans dont trip on the mike cables or if the band allows you to plug your jacks into their PA.
Thanks! It's definitely a different strategy depending on how crowded the bar is, the band that's playing, etc. In the situation you mentioned, I'd probably have a dedicated camera operator or two and place tripods further away from the crowd, looking down over the crowd at the band.
I usually don't have a problem tapping off of the PA from the band. Mic cables aren't an issue so long as it's kept to the stage area.
Great video Andrew. I'm shooting my first live performance tomorrow night, and your tips made me consider aspects which I hadn't thought about like weighing down your tripod to eliminate bass rumble shakes. It's just a bit of fun these days as opposed to money making, but anyhow your advice and expertise is certainly appreciated. Keep up the good work!
Thanks Adam, hope you have a great first show!
@@andrewsaraceni Thanks Andrew, it was fun but also challenging and educational. I learnt a lot about what worked and what to do better next time. Video here ua-cam.com/video/BV84ujkIw40/v-deo.html
@@adam.foster Congrats Adam! Glad to see it went well. Always a learning opportunity; there's new things I learn and take away from every gig.
This was extremely helpful, I have a live event coming up and this covered all of my concerns!
Thanks Ian, glad to hear it helped!
This video was super helpful 🎉
Thanks, glad to hear it helped!
Totally agree with dual recording the show, and I weigh down my tripod.
Great video. Getting to the end of my concert videography career. Wish I would have had pointers for audio years ago and access to set up multiple cameras at shows. Its been hit or miss with the quality that I get but at least I have full memories of the shows I see .
Thanks Steven! Yeah it's a process for learning; so many things I wish I did early on that took time to figure out/find the best approach for.
Dude the BOA BAG tip is so clutch. Had this exact problem thank you so much.
No problem, Robert!
This is a great video. Love the tips and your perspective on things so thank you.. Gives me a lot to think about. Now I do love the idea of putting weights on the tripods, genius.
Thanks Jose, I appreciate that!
Excellent tips. Thank you. What would you recommend for one on-camera mic to record everything having drums, keyboard, vocals, and audience in one mid-sized church room? Something that has bass recording without cutting and clear unmuffled sound.
No problem! I use the Rode VideoMic NTG as my main shotgun mic of choice, and it covers performances well. That said, my Zoom H6 has even more options for recording audio than an on-camera mic (e.g. XLR inputs, built-in XY mics).
Thats a very good video mate, helped me a lot, thanks bud!
No problem, glad to hear it helped!
So helpful, thank you! Not sure if you will see this in time, but what would you advise for camera positions with shooting a gig with just 2 cams? Would you leave one static and move around with the other?
No problem! Exactly, for two-camera setups, I've usually done one locked-off wide shot, and then a mobile angle (handheld, gimbal) that can ideally go medium/tight.
Really great video, and just what I was looking for. Thanks!!
No problem Lisa, glad you found it helpful!
I’ve filmed a fair few live concerts and would more or less agree with all of you points. I use a crossed pair (ORTF) in a smaller venue and 4 cameras. For outside gigs I use a Tascam 4 track recorder to ensure the PA sound and the crossed pair are in sync. I then need to slip the PA sound a few ms to get the two pairs absolutely aligned. I started with 3 cameras but now use 4 as that made the edits easier.
Great points, thanks Mark! I've considered going beyond 3 cameras for future shows (depends on budget, and if there's additional shooters/cam ops).
My usual filming location has a few constraints and 3 fairly static shots and one which I change more frequently has been the best compromise. There is an audience that has paid to attend and so the filming can’t be too obtrusive.
These tips are very helpful. Thanks so much for sharing.
No problem, glad to hear they're helpful!
Such a great video. Excellent tips. Thank you
No problem, Mike!
This was great. What do you think about using a gimbal vs handheld?
Thanks! Gimbal's a great option as well. I mostly do handheld for the organic movement/look, to react quicker and get more shot variety.
thanks, lots of help, gonna try to record my wife bday party and we have a band, Very helpful tips.Wish me luck
Thanks Stewart, I'm sure you'll do great!
Thanks for the tips! Solid advice and video.
Thanks!
Thank you!! I got some great points. I have been using GoPro 10 in 5k and then editing in post, i.e. pan/zoom but the batter life on those are not very good!
No problem Matthew, glad to hear it helped! Yes you'll definitely fare better with battery life on most mirrorless or DSLR cameras (e.g. 2-3 hours in 4K 24fps for me).
You......are a GOD! Thank you, because this is all of exactly what I needed to see and hear. Just a perfect, straightforward strategy for everything I needed!
haha. Hardly a god, but thanks Kevin, I appreciate that. Glad you found it helpful!
Love the tips on doing concerts! Thanks for sharing!
No problem, Timothy; glad you liked them!
If you are local to the Chicago area I may have an opportunity to collaborate with you on a gig. Please let me know if you are near Chicago. Thanks
@@timothycasey4990 Ahh thanks, I'm based out of the Philadelphia/New Jersey area, but let me know if you're ever over my way.
I‘m trying to film my own band (while playing) and the 30min record time limit is such a pain haha
So I need that camera accessible from stage while playing (wide lens from the side of the stage).
And I also mount my iPhone to be above us at the very back in the center looking towards the crown (ultra wide lens).
Those two angles + when someone in the crowd shoots some handheld phone footage can sometimes turn out quite interesting, but I’m still looking for more interesting places to mount my cameras for better angles.
Shots from the crowd looking towards the stage (center, sides) are great if you can manage it, even if they're locked off. Otherwise, on-stage shots (sides, specific players) are also good.
how do you make the audio not saturated during a concert on the RODE VideoMic NTG Hybrid Analog
It can definitely get peak-y/clipped if you're not careful. I keep the camera mic preamp volume low, and the -20db pad on the mic to further lower the volume.
I love crane shots. They can definitely add some production value to a concert recording if you want to make it look more like a proper concert movie. With DSLR and mirrorless cameras (I own two mirrorless cameras myself), I would worry about everything staying in focus due to the shallower depth of field. Isn't this the kind of scenario where a camcorder might make sense, at least for the wide shot?
I will say, a lot of these tips could also apply to filming weddings, meetings, or other live events. Good audio is so important, and so many people overlook it!
All very true! Yeah a crane/jib would be a great addition depending on the size and budget of the show. You could still do a lessened depth of field on these cameras (just ensure the f stop is adjusted), but camcorders could work for many of the wide angles with similar results.
I've been shooting Multicam stuff for awhile now and learnt the hard way a few of things you have mentioned, good tips!
Thanks Sam! Same here, it's a quick way to learn what not to do again, that's for sure. 😂
Thank you Andrew! What about ISO - Auto ISO? what about exposure? S-log3? what abput LED flikering light? Thank you!
No problem! I cover a lot of those topics around the 4:45 mark. For flicker, I'd check out my short that talks about the Variable Shutter feature. For most concerts I shoot S-Cinetone over S-Log3 to help with noise and make grading a bit easier.
Hey Andrew, have you ever checked out the metering mode feature (setting) "highlight" ??? It is supposed to be good when shooting or filming a stage that has different lighting. This metering mode option is on the A7IV. Good tips, thanks!
Thanks! I normally use multi mode 90+% of the time for metering. I could see highlight being useful for concerts, but potentially deceptive if you have a bright stage light, etc. in the shot, or anything brighter than the subject.
Amazing points but I didn't get what I was expecting for. The question is for the camera man or men: The role of manual and autofocus during the capture. How autofocus is useful or even can be harmful? How it is generally important when choosing a camera?
It all depends on how you shoot and use your cameras. I think AF is great for a shot/angle with an operator behind it, and will usually let you get more shots quicker/faster. For locked off shots it can also help, but MF will prevent other people, subjects, etc. from getting in the way and throwing off the shot unintentionally. Some people are fine with MF-only cameras, but for most of my gigs (concerts included), AF is essential and is a big reason I shoot Sony.
Hi, thanks for this video. When you plug the recorder in the soundboard, why you don't plug each instrument individually with xlr cables in the recorder (1 per track) instead of just getting the stereo mix of the board, so you can mix the tracks after? Is it because there's not enough connectors for all the intruments or there's another reason? Thanks!
No problem! That's a good question - sound engineer is usually working with a 16 or 32 input board, so not really feasible. For a bigger show, the proper way would be to capture the show digitally and do a multitrack mixdown in post. But, that's a different kind of option for a different budget of gig entirely. 🙂
@@andrewsaraceni Ok thanks :)
Oo awesome tutorial! Hoping anyone can answer my question on the audio: how do you use both audio sources? Do you layer them? Any rules for switching back and forth?
Thanks! Usually just one at a time, but you could experiment with enabling more than one once you multicam everything. I would only switch during a song if it's critical, otherwise keep the same source (if it's good) per song.
@@andrewsaraceni Thanks, makes sense!
Thanks for sharing. I’m shooting concerts with my phone so the shaking is such a trouble. Not sure whether sandbag would solve this problem 😢
No problem! It'll definitely help, but you may need a couple of them (or a heavier bag).
nice tips, If you do a concert with 3 different cameras, what color profile do you recommend in the 3 cameras (sony, panasonic, canon =) so that later I can match? thanks
I would probably either pick a Rec. 709 profile (e.g. PP Off for Sony) so they're close in-camera, or pick a log profile for each camera and match them up later.
Thank you so much for your tips and information! Would you mind telling me what cameras do you use?
No problem! I have the gear I used in the description, but specifically for most of these it's the Sony a7S III, a7 IV, and a7 III.
@@andrewsaraceni amazing gear! Top notch
I record classical music videos, and for some reason general static angles don’t usually work for me unless I put some fake camera movement in post, what’s your take on this?
I recently got a 70-200 and a 105-300 lens to be able to do medium and tight shots from far away
I actually think static angles work well, so long as you're mixing in a few of them with different focal lengths, or have one or more angles that have motion (gimbal, handheld, etc.). But slow, simple zooms in post or cropping are a great way around that.
Thank you for the video. For small concerts(audience of 300, vocalist + jazz trio), what would be the best xy alternative for a Zoom F3? I plan to use a zoom f3 for the board and one for ambience as well. Would pencil condensers like the rode m5 or lewitt 040 suffice or maybe a shotgun mic like a Rode ntg5? Would it be best to mount directly to the zoom f3 without xlr cables or use an ORTF system? Also, instead of on camera would it make more sense to mount on a mini tripod on the stage between the speakers and band as you show for larger venues on one of your other videos?
No problem! Condenser mics like the Rode M5s or Sennheiser e 614s could be great options for individual/instrument mics, or you could use them in a pair to do an ORTF setup. I'd say a lot of it depends on the setup of the band, and what you intend to do in post - e.g. an almost ready-to-go recording, vs. doing a more elaborate mixdown by track.
@@andrewsaraceni Thank you for the info! I was hoping to use a similar setup to your h6 from a distance(6-10ft from stage) to capture ambience as well as a safety track in case the board fails. Would the Tascam portacapture x8’s built in mics be comparable to your h6 setup(built in xy mic) Would the range be just as effective? I was thinking of potentially purchasing that instead of a second zoom f3.
@@mmaged2287 The X8's mics look to be similar, adjustable XY stereo configuration to the H6's, but I haven't gotten to test them out.
@@andrewsaraceni Thank you! Also, I do have a question about your setup. Is there a reason you use two h6s(one with xy for ambience and one for the board) instead of one h6 mixing the board and xy mic( facing the crowd)? Does the use of two h6 recorders give you a better stereo image of the room and better manipulation in post?
@@mmaged2287 Mostly to reduce cables and clutter running everywhere, and for more redundancy. But you could get away with one unit with the right setup/circumstances.
08:05 I had no idea these cameras have recording limits. I just checked, and my Nikon D5100 has a 20-minute recording limit. I was planning to record my performance as part of a choir group and was going to set the camera on the mezzanine stage.
what a shame
Yeah it's definitely worth looking into a newer camera body w/o record limits if you can, or having a second camera to film with and keep continuity.
@@andrewsaraceni I saw you are a fan from Sony. Which entry level camera would you recommend? My target purpose is Chor presentations and evening live music.
@@Seeufosseumpassaro Check out the ZV-E10 II, or if your budget allows for it, the a6700 - both great options for APS-C.
Hi Andrew. Thanks for posting this video - it's a huge help! I have a Sony A7 iii myself and have my first live video shoot coming up. I know it's only 8-bit log but I was wondering if I could good (enough) shots using say .MOV? Was going for faster processing time and space-saving on the card. What are your thoughts?
No problem, and congrats on your first upcoming shoot! I've shot plenty with Sony's 8-bit cameras in the past, and they've still held up fine for video. S-Log2 would be better on those in terms of log, but in-camera color too with light grading (e.g. Cine4/Pro, Movie) also is a great look.
@@andrewsaraceni Thank you, Andrew! I wondered if you could answer another question? I don't have the means to use similar cameras for the shoot so it's going to be a mashup of 3 cameras - all with different capabilities. What format should I shoot in to make all three results look relatively close in post? Using a Blackmagic 6K for front/center camera, Sony A7iii on a gimbal, and the band is providing a Zoom Handy cam (which is limited to 4k/MOV). I certainly don't want to use BM6K filming in 6K but rather a comparable 4K format as with the Sony. Confused! Any help is appreciated
@@robotbarbarian I'd go for 4K 24fps, and a Rec. 709-like profile in all of them. You can leverage slightly better compression, 10-bit, BRAW, etc. in the BMPCC since it can, if you want. Regardless, it might take a bit of work to get them all to match color-wise in post.
@@andrewsaraceni Thank you so much for your help! I already feel more confident. I also considered the computer processing I would need for BRAW and Sony's S-log and wondered if there was an overall compromise that a single compressed format would be easier to work with. I have the last gen Intel 8-core MacBook Pro and tho it's wonderful, I wonder if it could handle so much RAW format stuff in post
@@robotbarbarian Haven't tried BRAW, but I could edit S-Log2/3 footage on my old Intel Mac (from the a7 III) w/o issue. It's more so the compression/codec than anything. I'd do some quick tests beforehand to see what it can handle.
This is pretty cool but i was wondering what would be the best settings for a camera that's not a DSLR like a Cinema Camera ex Sony fs5? shooting Raw etc, with the exposure as you were saying for a rock concert with all the lighting and going dark etc
If you have a cinema camera setup and the operators/time to monitor it, shooting in log would definitely give you more flexibility to grade in post. Assuming you're aware of noise, etc. and how to expose the image properly. For that, S-Log2 is probably best in the FS5.
ok cool Thanks how do you think is the best way in controlling the low light environment? like between f1.4 to f1.8 iso 1200?@@andrewsaraceni
@@hottierod 24 fps and corresponding shutter speed, definitely a shallower DOF aperture/lens like you said. That should keep your ISO at a reasonable level.
Are the lights usually daylight? I guess for indoor eat/drink places the white light could be tungsten but usually they are daylight.
RGB lights are pretty much always daylight. How do you set WB?
5600K is a safe bet, but I also often find myself doing either 4000K or 4500K to compensate for other surrounding light sources, differences in lighting, etc. as you mentioned.
@@andrewsaraceni Thanks. I'll keep it mind. Maybe more towards 4500 as I filmed once inside a EDM club around at around 3200k and the lights were kinda bluish like moonlight.
Thank you so much!
No problem, Andy!
Hi Andrew, This is fantastic. I was curious . Do you have a tutorial on how to use that Zoom mic to record the audio from a live venue? I want to do that for my next gig, after I get the Zoom, but I don’t know how to go about it. Also, wanted to ask if you have any affiliate links, would love for you to receive a kick back, because I am about to get those two audio recorders because of you.
Thanks Miles! I don't have a specific tutorial on it, but my Zoom H6 review video might be of help in a few of those areas: ua-cam.com/video/gIv72QRUBYE/v-deo.html
And I also do offer 1-on-1 consultations for more assistance. I have affiliate links in the description of this video you can use, I appreciate it. 🙂
I was about to order another ankle weight to use with my C-Stands, I like this Matthews Boa Bag better. Thanks
No problem! Yeah the Boa Bags are great, I use them on my C-stands too.
At 1:54 please where can I find that boya adapter? I’ve been looking for something exactly like that
I have a link to it in the video description, it's this model: amzn.to/3JTWOzS
EXCELLENT VIDEO THANK YOU
No problem, Val!
Can Zoom H6 send signal to 3.5mm of your camera jack and also record to H6 SD card at the same time?
Yes, you can do a line out from the H6 into your camera's 3.5mm jack, while still recording internally to SD card.
Musicians stomping on the floor has same decremental effect. Asked a singer to do the closeups in socks.
Yeah, good point, or any crowd movement really - I've had the same thing happen filming dancing footage on sticks, etc.
How can you both be in the vicinity of the band and also at the edge of the crowd? DO you mean in the back of the room centered?
Depends on the venue, but figure somewhere 10-30 feet back from the stage, vs. at the back of the room.
@@andrewsaraceni thanks!!!
Hi Andrew. I’m shooting a multi-cam(2 cameras, one camera locked off in the furthest row and then a gimbal for closer to stage) camera setup for a concert in a few days and I just found out I can’t make the rounds(checking cameras to see if they are still recording) as it’s stadium style seating(have to take stairs to get back to locked off camera) in a small theater and I cant be obtrusive to audience. Do you have a solution for this? The locked off camera(GH5) does not have a recording limit, but I like to check batteries and make sure it’s recording. Thanks in advance.
I'd look into a dummy battery setup and just plug the camera into AC power in that case, or do a larger (V-Mount) to dummy battery to ensure you have enough power for the full show.
@@andrewsaraceni Thank you for the quick reply! The show is only 80min so I was going to use my s5 battery(compatible, light and gives it about 1hr 40min) and leave it recording the whole show. I’m just concerned someone could accidentally power off or turn off the recording during the show. I usually make the rounds for multi-cam setups(conferences, concerts) but this venue doesn’t give me that option. Thanks again!!
Hi, great videos! I just started watching you. I want to invest in this H6. I’m assuming this would work good for loud rock music?
I typically put my camera up front with a white angle lens using a video mic Pro.
But the video sound is either too loud and it distorts or if I make it lower it’s too low .
I’m just starting to get into recording music like this and I honestly don’t have any idea how to set my camera sound settings up the right way .
I’m shooting with a Canon EOS R5. I assume you have a video on how to set your audio up on your camera or what you want to see?
But in any case this age 6 should be a nice addition, I’m assuming?
Thanks Tom! Yes the H6 would be great for capturing louder rock music. There are -20db pads for each of the XLR inputs, and the XY mic can record a -12db backup track to help with loud distortion issues.
For the cameras, I basically keep my camera mic preamp volume low (e.g. at 5 on my Sony's), and then use my Rode VideoMic NTGs to control volume there, usually using the -20db pad on the mic to help with volume there.
@@andrewsaraceni hi really appreciate your response!! so on my camera I should set the internal mic to about a quarter I would imagine?
Then I use the DV gain on the road microphone itself? I know when the music playing you don’t want to go above 12 DB on the meter on the camera.
Do they make like a little Bluetooth adapter so I can plug that in to the microphone and put the microphone somewhere else separate from my camera?
Like a little Bluetooth adapter? Sorry for these novice questions, but I’m just getting into the video and audio aspect.
I’m a photographer first. But my friends that are in a band or hoping I can get better at video.
Do you have a link for the piece that your H6 that sits on the camera? is that plug directly into the camera itself as well?
By the way, I’m using Siri so sorry if this doesn’t look like perfect English lol. I’m trying to see if I can invest in one of these devices as I’m just doing a simple set up record on a tripod and take video.
Right now I just want to make the best of my current rode video mic Pro.
@@andrewsaraceni
I also have different settings like turn on windscreen and automatic attenuation. I have to look at my camera again and tell you.
Is this even a proper microphone to use for a video and concerts? can it except all the different frequencies and bass.
@@Thomasjcolbert82 No problem! Setting it to a quarter sounds about right, settings-wise. You really want to stay under 0db - anything beyond this will clip. Not sure about any Bluetooth adapter for monitoring, but the link for the shock mount for the H6 I use is in the video description (Boya BY-C20).
Wondering how you deal with mixed Led and Tungsten lighting. I split difference and white balance at 4000k, but get a purple glow under Leds, any tips?
I usually find myself either at 3500K or 4000K for most concert situations with split lighting, so similar to you. Getting rid of specific colors/hues I leave to post, e.g. shifting the tint away from magenta, or a Hue vs. Hue or Hue vs. Sat adjustment.
Thanks 🙏 Awesome video! Can definitely relate to weighing down tripods! Definitely going get me some of those weight bags!
H6 is a great tool as well. A good trick I've learned is to take a split from the bass DI, kick and main vocals wirelessly and feed to H6 with those. Thanks again! New Subbie!
No problem, thanks for the sub!
Thanks for the video 🙏
Maybe you could add that most pro venues have a digital mixer witch means in most cases you can ask the sound guy for seperate audio tracks that you can get directly on to a usb if u bring one.
Id take a one camera film with good audio over a 8 camera film with ambience room mics any day 😊 but you need to know how to mix and master audio ofc
Again thanks!
No problem, Sebastian! Yeah, I wish more venues/sound engineers were equipped to handle multitracking; it still seems more the exception rather than the rule, in my experience. Though for any serious gig, I'd sooner have them budget for a dedicated sound engineer just to do a multitrack, mix it down, etc.
Yeah true. But bringing a usb dosent take any efort thank god 😋 so its worth the try!
Keep up the good work 🙏💪
Hi so I just started going to raves and bought a DJI pocket 3 to record videos , also got the DJI mic 2 and no matter what settings I used the bass is too much for the microphone any suggestions for a better microphone I’m looking for a plug and go microphone something I don’t got to do much editing to thank you !
Pretty sure some external mics are supported via USB-C. e.g. Rode VideoMic Go 2. I use the Rode VideoMic NTG, which would be great as it has a -20db cut to help with loud volume/bass situations.
@@andrewsaraceni just watched a few videos and the -20 on the NTG should work great and it plugs into the DJI pocket 3 via USBC so ima buy it and try it out I got a festival on Monday so wish me luck! , thank you you saved me so much money I almost bought the mic pro plus just because I heard it was a good microphone
@@SWEETSTATIK No problem, good luck on the gig!
@@andrewsaraceni I have another question on the rode website there’s multiple NGT’s 1-5 do I assume it’s just the new generations so the ngt5 is the one the get correct ?
@@SWEETSTATIK Not necessarily, VideoMic NTG specifically is the one you'd want for the Pocket 3. For the NTG 1-5, they're XLR mics and each have different purposes, benefits. e.g. NTG5 is the newest, but I prefer the NTG3B (and it's still their flagship).
So what's better, a Rode mic attached to a camera or the Zoom H6 on the camera??
Both are good, but I tend to use the audio from the Zoom and its XY mics more often.
Amazing tips
Thanks!
What setup would you prefer for concert who you only have far end location access? What camera setup, camera setting & lens will you be using and also the audio?
From far away, make sure you have good telephoto lenses (e.g. 70-200, 135 or 85mm). Settings I'd pretty much handle the same, audio though I'd definitely rely on a board feed/mix and some mics or other audio recorders closer to the stage.
@@andrewsaraceni Wow! Thank you so much for this.
I really loved this ESSENTIAL. You preciselly covered everything I need for tomorrow.
That 2 mm wide angle lens you got is nasty though ^^ ! :) ...
Thanks, hope it all goes well! haha Yeah the 20mm G can do it all.
Good stuff. I think some auto functions can be useful on your hand held though. Especially when you want to pan to audience and your ISO is stuck. The one function you always lock is shutter or else that footage won’t sync well and will look strange. Another thing is you’re rarely if ever going to get a good center stage image if there’s an audience there and you’re cam isn’t elevated somehow. A nice side angled shot often looks better anyway and you can see the drummer. Use a wide angle, something like 24 mm
Thanks, and great points! Yeah you'll definitely have more freedom for auto functions on any rig with an operator. e.g. I use autofocus a lot on my handheld setup.
😅 not me finding this video and realizing oh you need lots of equipment
😂 Start "small" (e.g. one camera, lens mic and an external recorder), and grow from there!
Great tips man! Especially your last tip: what cameras can you suggest do NOT have a time limit, that I can leave running/not access please?
Thanks! I know most of Sony's models released since 2019 don't have the limit. e.g. a7S III, a7 IV, a7C, a6100, a6400, a6600, etc. Mostly depends on your budget.
@@andrewsaraceni supercool, thanks!
@@mediacopycatkillers I believe all brands stopped that delirium by 2019 :)