Hawk-Woods VL-CF3 JVC GY-HD100 battery adaptor

Transcription

FOR THOSE WHO ARE SERIOUS ABOUT DIGITAL VIDEO PRODUCTION & NON-LINEAR EDITING
I s s u e 4 • O c t ober 2006 • www.dvuser.co.uk • £3.50
Frame-grab from cover-mount DVD
Sony XDCAM HD on Land Rover G4 Challenge
Sony XDCAM HD passes first European production field test.
Engineer Phil Seymour takes us on a tour of this production adventure.
The new Libec LS38 tripod is here!
Nigel Cooper reviews this brand new budget-priced tripod from
Japanese manufacturer Libec.
Rode & Boom-Buddy marriage
Nigel Cooper reviews the new Rode mic boom
pole and the Boom-Buddy boom pole holder.
How to Setup, Light & Shoot Great Looking Interviews
Latest training DVD from Vortex Media. Nigel Cooper takes a look.
Hawk-Woods VL-CF3 JVC GY-HD100 battery adaptor
Nigel Cooper carries out a comprehensive review/tutorial on this great battery adaptor.
JVC GY-HD100 Hits The Road - Literally
Extreme cameraman Franz Pagot has been abusing the JVC GY-HD100 in Europe.
Tripod Info Base
The complete guide to tripods.
NEWS • REVIEWS • FEATURES • ARTICLES • TUTORIALS • TECHNIQUES • TIPS • COMPETITIONS
Contents
NEWS
4. All the latest news from the world of
digital video production and editing.
Opening Scene
H
ello DVuser subscribers and welcome to issue 4,
the final issue for 2006, and what a great issue it
is too. You will have noticed that there is a cover-
mounted DVD with this issue; a first for DVuser magazine.
As you know, DVuser is a free magazine, but this is not
the reason for a lack of cover-mounted DVDs in the
FEATURES
6. Sony XDCAM HD on location.
past. It would be very easy to throw together a so-called
giveaway DVD to stick on the cover to make it appear like
the magazine is better value; DVuser magazine stands up
11. Royalty Free Music - how it works.
on its own without one. I don’t know how you feel, but if
20. Don’t skimp on tripod.
I had a choice between paying £3.95 for an off-the-shelf
28. Franz Pagot abuses a JVC GY-HD100.
TIPS & INFORMATION
35. Tripod Info Base.
magazine with no DVD and £5.95 for an off-the-shelf magazine with a cover-mounted DVD that
contains nothing but futile PDF files, way out-of-date software giveaways that nobody cares
about, or pointless 30-day trial copies of software, that if you cared enough about you would go
to that company’s web site and download it anyway...
So I made a decision from the start that I would not stick any old crap on the cover of DVuser
magazine. It would have to be worthwhile, very worthwhile. Our first cover-mounted DVD is
TUTORIALS
24. Fitting a Hawk-Woods CF3 to JVC.
something I’m very proud and privileged to glue on the front. We got together with Sony UK to
bring you this superb DVD. So what’s on it and who will be interested? Anyone who is interested
in Sony’s professional HD formats including XDCAM HD, and HDV cameras such as the Z1 ,
PROFILES
A1 and the brand new V1, and anyone who appreciates high-quality HD broadcast productions.
31. Dealer Profile on B-Hague.
Zealand broadcast industry is shooting on XDCAM, and Discovery HD Channel has approved
REVIEWS
12. Libec LS38 tripod.
17. Rode boom pole & Boom-Buddy.
18. How to setup & light interviews DVD.
33. How to Shoot, Edit & Distribute HDV.
REGULAR ITEMS
40. Trade Directory.
From a personal point of view, I’m a big fan of Sony’s XDCAM HD format. Almost the entire New
the XDCAM HD format as a ‘100% acquisition format’, which basically means you can shoot an
entire programme on XDCAM HD alone and it will be acceptable for Discovery HD Channels.
To view the stunning Sony XDCAM HD footage and the behind the scenes at the 2006 Land
Rover G4 Challenge, pop the cover mounted DVD into your set-top DVD player. I say set-top as
(in my opinion) DVDs look better on TV than on a computer screen. NOTE: Although the footage
on this DVD was shot in High-Def XDCAM HD, it has been down-converted to Standard-Def
720x576 PAL as it is assumed that most people do not have the capabilities to view native HD
DVDs yet. Also read the full story that acompanies the DVD on page 6.
Also in this issue, there is a large emphasis on tripods. A review, a story, and a tripod info
base. Crazy Italian extreme cameraman Franz Pagot has been putting the JVC GY-HD101
through some seriously challenging conditions recently, as he used the camera to shoot some TV
programmes for some of the European terrestrial channels and a corporate for Mercedes Benz.
If you haven’t heard already, Sony recently announced the all-new HVR-V1E at IBC last month
(available to buy in UK November 2006). This new camera is priced a litttle lower than the Sony
Z1 (see page 4), only it shoots in HDV 1080i, and HDV1080p, that’s right, the new V1 shoots in
NATIVE 25P (Progressive) high-def; great for independent filmmakers after that great film look. It
would appear that the HVR-V1E will be the first serious competitor for the Panasonic HVX200.
Nigel Cooper Founder/Editor DVuser.co.uk
DVuser product review star ratings – how we star up our reviews.
1 star = poor, pitiful, appalling, atrocious, inexcusable - 2 stars = mediocre, second-rate, just average
3 stars = good, decent, fine, above average - 4 stars = great, first-rate, excellent, amazing, brilliant
5 stars = outstanding, exceptional, sheer brilliance, perfection, pure genius
Our final ratings are based on a combination of: build quality - durability - ruggedness - features
controls - functionality - usability - cost of ownership i.e. tapes/media cards/servicing costs etc.
©2006 DVuser. All rights reserved. No part of this
publication may be copied, reproduced, or transmitted
in any form or by means of electronic, mechanical,
photocopy, recording or otherwise, without the prior
written permission of the publishers. While every care
has been taken in the compilation of this publication, we
cannot accept responsibility for any publishing errors or
inaccuracies, or for any other loss, direct or consequential
arising in connection with any information contained within
this publication. The views herein are not necessarily
those of the publishers. Acceptance of advertisements
does not imply recommendation by the publisher.
Editor: Nigel Cooper - [email protected]
Sub Editor: Louise Wessman - [email protected]
Contributors: Franz Pagot, Phil Seymour.
Published by: DVuser, 8 Cornwall Court, Eaton Socon, St.Neots,
Cambs. PE19 8PR. Tel: 01480 374036
Advertising: 01480 374036 Subscriptions: 01480 374036 www.dvuser.co.uk/magazine.php
w w w. d v u s e r. c o . u k
The independent magazine for independent video producers & filmmakers
www.dvuser.co.uk • DVuser Magazine • October 2006 • 3
SONY INTRODUCES THE NEW HVR-V1E HDV CAMCORDER FEATURING
NATIVE PROGRESSIVE SCAN (25P) HIGH-DEF SHOOTING!
P
rogressive scan (25p) capability and full HDV
resolution. The HVR-V1E is a compact and lightweight
professional HDV camcorder - sharing similar
dimensions to the popular DSR-PD170P. The HVR-V1E is the
first Sony professional camcorder to incorporate 3 ClearVid
CMOS sensors. Coupled with Sony’s Enhanced Imaging
Processor (EIP) these sensors provide high sensitivity, low
noise and a wide dynamic range to help achieve high-quality,
smearless images. In addition to offering 1080/50i acquisition,
the V1 also provides 25p shooting - making it ideal for filmmakers with smaller budgets and those who wish to create
a more cinematic look and feel to their production. Unlike
‘progressive-look’ pictures interpolated from interlace scan
camera systems, the HVR-V1E’s “3 ClearVid CMOS Sensor”
system natively captures progressive scan images while
maintaining full HDV resolution (1080). Moreover, footage
shot using the progressive scan feature can be played back on any Sony HDV professional camcorders and VTRs and can be edited
with major current non-linear editing systems, including Sony, Adobe, Apple, Avid and Canopus. Other professional features include
timecode preset function, two XLR microphone inputs, a timecode link to synchronise time codes between multiple cameras and
HDV/DVCAM/DV recording and playback for flexible workflow options.
The HVR-V1E is scheduled for release in November 2006 and is the sister product of the HDR-FX7E, the latter is aimed at the
consumer market. The HVR-V1E is expected to be around £3,395 inc vat. For more info visit: www.sonybiz.net
NEW HANDHELD HDV1080i CAMCORDERS FROM CANON
C
anon is pleased to announce the launch of two
highly portable 1.67 Megapixel 3-CCD handheld
High Definition camcorders – the XH A1 and
the XH G1. The XH A1 features 25F (25 frame) shooting
and dedicated Cine gamma settings to achieve the look
and feel of film; the XH G1 establishes a new product
category, incorporating additional studio standard
connectivity.
The XH series offers: • HDV1080i with 1.67
Megapixel 3CCD imaging and 25F (frame) shooting for
digital film makers. • Canon L-series 20x optical zoom
lens with fluorite and Ultra-low Dispersion (UD) glass
elements and Super Range Optical Image Stabilizer (lens
shift type). • Instant AF for high-speed auto focusing
and focus Assist for manual operation. • Advanced
DIGIC DV II processor optimised for HD. • Professional
connectivity, with 2 channel XLR audio input: the XH G1
offers additional HD-SDI output, Time code input/output
and Gen lock input jacks for multi-camera setups. •
Balanced compact design, with optimal control layout. •
Internal battery system for enhanced versatility.
The quality of High Definition: Both camcorders benefit from the 1.67 Megapixel 3CCD imaging sensor first introduced on
Canon’s flagship HD camcorder, the XL H1. The HDV standard was developed as a way to store HD video on inexpensive and widely
available MiniDV cassettes – HDV1080i (1440x1080 pixels) provides the highest possible resolution under the standard. Since the
XH A1 and XH G1 use pixels with a native widescreen (16:9) aspect ratio of 1.333:1, video is actually displayed at the full 1920x1080
resolution of HD displays.
The XH A1 and XH G1 will be available from November 2006.
Price: XH A1 £3,299 inc VAT. XH G1 £4,699 inc VAT.
Canon UK – 08705 143723 - www.canon.co.uk
4 • October 2006 • DVuser Magazine • www.dvuser.co.uk
NEWS €€€
NEW RYCOTE SMOOTHIE!
R
ycote is pleased to announce the launch of a fruity new addition to the range
- the Smoothie. These new and exciting smooth windshields are available in 5
delicious flavours (blackberry, blueberry, strawberry, banana and lime) and not
only offer great wind protection, but as an optional extra they can also be personalised
with a printed colour logo of your choice!
The Smoothies comprise of a two-part foam cavity constructed of an open cell
acoustic foam base, covered by a thin foam outer skin, reducing wind noise up to
22dB. A large range of sizes are available to fit most popular shotgun and condenser
microphones (from 19 mm to 25 mm diameter), as well as a variety of on-board
camera microphones. For increased wind protection a removable fur cover (Smoothie
Windjammer) is available as an optional extra in the standard Rycote grey fur.
Smoothies: £42 plus vat
Smoothie Windjammer: £36 plus vat
For further details of the Smoothies, please visit our website at: www.rycote.com or
give us a call on: 01453 759338.
HHB ANNOUNCES NEW RØDE STEREO VIDEOMIC TO CAPTURE AUDIO
LEFT, RIGHT AND CENTRE!
A
nswering industry demand for a high-quality cameramounted stereo microphone, Australian manufacturer Røde
has announced the Stereo VideoMic (SVM) which is now
available from UK distributor HHB Communications. Aiming to build on
the unprecedented success of Røde’s existing shotgun-style VideoMic,
the SVM is designed to capture detailed stereo audio, offering the
same performance levels as its mono VideoMic counterpart.
Based on the company’s acclaimed ultra-low noise microphone
technology, the SVM features an X/Y configuration that meets the
challenge of professional stereo field recording by imposing a high
level of rear noise rejection, whilst retaining the essential ambient
sound of the recording environment.
The SVM attaches to the camera with a standard shoe-fitting, and
includes a removable high wind furry windshield (known as the ‘Dead
Kitten’) and an integral suspension mount, designed to prevent mechanical camera noise bleeding into the captured audio. Increasing its versatility,
the SVM can also be used on a stand or a boom pole, making it ideal for a wide-range of applications from interviews and electronic news gathering
to weddings and sports events. The SVM features the same low-noise circuit design as the VideoMic, 9V battery operation (with LED low-power
indicator) and a high-pass filter switch. Output is via a standard 3.5mm mini jack with a switchable –10dB pad, allowing the mic to be used on most
cameras with perfect level control.
Steve Angel, Sales Director at HHB Communications, Røde’s exclusive UK distributor, says: “While the original Rode VideoMic has rapidly
become the industry standard shotgun mic for camcorder users, it became clear that there was a similar need for a great-sounding camera mic for
those users preferring to work in stereo. The SVM meets that need in a robust, affordable, high-quality package.”
Available now from HHB, the Røde Stereo VideoMic is competitively priced at £159.00. Web site: www.hhb.co.uk
THE NEW BOOM-BUDDY - no more mic stands, counter weights or lazy arms!
T
he Boom-Buddy allows the sound recordist or one-man operation to use
a hand-held microphone boom on a lighting stand without the need to
carry a dedicated mic-stand,
lazy arm, weights or having to re-rig.
The fabric case it comes in can also
be used to hold a spare battery
should a counter-balance weight be
required. The Boom-Buddy can be
used in a clamped inverted position
where a stand would be impractical.
Price: £59.99 in VAT available
from Fleetwood films on:
01256 353444 or
visit: www.boom-buddy.com
Read full review on page 17
D
uring this year’s Land Rover G4
Challenge, Sony XDCAM HD
camcorder equipment was put to
the ultimate test of heat, cold, humidity and
dust. Spanning across four countries and two
continents, 28 days of gruelling competition
pushed the BHP Sport production team to
the limit as they filmed 18 competitors climb,
kayak, abseil, bike and drive across 4,000 km.
Here, engineer Phil Seymour, takes us on a
tour of this production ‘adventure’.
The team at BHP covered the previous G4
Challenge for Land Rover in 2003 and were
involved with its predecessor, the Camel
Trophy, as far back as 1990. Sony too has
been a long-standing partner from those early
days when we were shooting in Beta SP. While
we shot the 2003 Challenge on Beta SX, we
really wanted to embrace HD this year to
ensure the long-term commercial value of the
pictures we shot.
had never been put to such an ultimate test,
but when weighed up against the format’s
speed and workflow advantages, we decided
it was definitely worth taking the risk. The
weight saving was great too: shooting on 90
minute Professional Discs (the media used by
XDCAM) meant we not only had more room
for additional cameras, but our freight costs
(around $34/kilo) were reduced significantly.
We were also pleased at being able to fit our
75 out of the 120 boxes of kit into three Land
Rovers together with crew, driver and camping
gear with much less difficulty than 2003. No
more car boots full of tapes this time!
five units for consistency of look and tested a
range of HD lenses. It’s important to get the
colour temperature right, so the tones slightly
exaggerate the warmth and richness or the
crisp cold daylight of what you’re shooting.
Our executive producer, Simon Fitzgerald,
wanted a more golden tone to accentuate the
heat of South East Asia and a touch of blue to
mimic the cold, fresh atmosphere on the high
Bolivian plains.
Stage one in Bangkok was frenetic, bustling
and challenging. The most worrying aspect
for me and the team was the intense heat
- 40 degrees Celsius - and the humidity. It
Sony gave us a demo XDCAM HD unit in
December last year but we didn’t get our
hands on the equipment until two days before
flying out to shoot the first stage in Bangkok
last April. Our camera operators, Nick Guy and
Daryl Kibblewhite, spent a day setting up the
was crucial we didn’t get any condensation or
moisture in the cameras. Anything on the lens
could corrupt the recording, just like dirt in a
tape environment which lifts the tape away
from the record heads. They had to stay in
the same conditions throughout so we had
After discussions with Sony we opted for,
as then the unreleased, XDCAM HD and
took three PDW-F350s and two PDW-F330s
with five PDW-F70 playback decks. It was
a bit of a gamble because the technology
FEATURE STORY €€€
to maintain a constant camera temperature.
This meant no air-conditioning in hotel rooms
and vehicles. But the last thing you want with
any camera is to have to play around with
the temperature controls. We acclimatise
the cameras once and keep them that way. I
figured sweaty bodies were better than sweaty
lenses with the whole shoot ruined. We got
some great stuff in Bangkok of the competitors’
punishing tasks and were extremely happy
with the equipment and the file-based
workflow.
But the second stage shoot in a stunning
forest location in Laos proved one of the
production’s most satisfying. We headed north
from Bangkok for two weeks of isolated filming
in misty mountains and valleys along the
Mekong River. The scenery was spectacular
but it was even hotter than Bangkok at 46
degrees Celsius and 95% humidity, and we
were recording using two lenses alongside the
standard XDCAM HD PDW-330 lens – 40x1
HD lenses with image stabiliser and 20x1 HD
lenses, plus a wide angle lens. There was
also torrential rain to factor in which I found a
real pain. Again, moisture on the lens was a
major issue but we managed and the results
were fantastic. The competition at this stage
involved jungle, mud and water crossings that
provided us with exciting (and mind-bogglingly
steep) 4x4 driving action as well as lungbusting multi-sport challenges. I found the
XDCAM HD equipment really stood up well to
the tough filming locations which varied from
the vast cathedral of Tham Xiangliab Cave
- home to bats, turtles and hanging shards
of rock-like dripping candle wax - to Laos’
immense limestone pinnacles.
As well as filming the whole event for Land
Rover, we were commissioned to produce five,
30 minute internationally sold programmes.
The UK’s Channel 4 aired the series in August.
We also produced several pre-and post-event
promos; four-hour competitor specific versions
for each of the 18 competing nations and five
10-minute satellite-fed weekly Video News
Releases (VNRs), which enabled broadcasters
to cut together their own news reports or
include in magazine programmes.
After Laos came Brazil and we were all
looking forward to a bit of civilisation and a
more cosmopolitan atmosphere in Rio de
Janeiro. The competition took in the world
famous Copacabana beach with all its glamour
and energy. Here, we also used an HDW750 HDCAM camcorder predominately for
helicopter filming, which provided us with
beautiful shots of the landscape.
The Rio de Janeiro stage was an urban event
on the beach so we flew several passes to
capture the magnificent sweep of the bay. The
additional HDCAM footage was being used
for high-end commercial and potential cinema
outlets.
€€€ FEATURE STORY
After stage 3 in Brazil, we all moved on to
rugged and beautiful Bolivia. The competition
gets extremely punishing here as the
Challenge rises up into the Andes through the
vast salt plains of Salar de Uyuni to climax at
an altitude of over 4,000m. The massive salt
plain was a worry as salt is highly dangerous
and erosive to camera equipment so we had
to be extremely careful with the gear. We were
filming the competition in vehicle convoys
over rugged terrain and high-altitudes where
temperatures dropped to minus 20 degrees
overnight. And it wasn’t just the extremes of
cold on this stage of the competition. The
camcorder equipment also had to contend with
billowing dust clouds where fine dust particles
would get everywhere. I’ve never seen such
annoying, fine, chalky dust as I did during this
stage of the Challenge. Despite all this, the
XDCAM HD did its job well and we also got
stunning overhead shots of the bright orange
vehicles speeding across the snow-white
Uyuni salt flats.
We had to cover as many angles per event
as possible to fulfil different market needs
with individual competitor stories. This meant
getting some more ‘high risk’ shots during
kayaking, mountain biking or rock-climbing.
So our cameramen were also using two
HVR-Z1Es (with waterproof housing for river
shots) and an array of HVR-A1E palmcorders
for FX shots attached to the kayaks, bikes
and helmets. Our cameramen got into some
amazing situations acquiring this content, but
the shots really enhanced our final edits. The
A1s were used for obscure positions on arms
under bridges or small mats in the ground
near driving courses. These were really great
alternative angles that we couldn’t otherwise
get into. The Z1s were typically used by a
specialist camera operator who filmed on
mountain faces attached to ropes. They also
had to contend with bats and other nasty flying
insects and were sometimes asked to get into
pretty uncompromising positions to get those
killer shots.
One of our cameramen, Nick Guy, had to
get right in with the action and get shots that
were really up close to the competitors. That
meant getting himself and his camera into
some tricky positions. For example on stage
one in Laos, hanging off Sabidi Pinnacle on
a rope for half a day to shoot the abseiling
section of a competition. Nick said that in
that type of scenario he didn’t really want the
weight of the XDCAM HD on his shoulder so
instead put the Z1 to the test. There were two
XDCAM HDs covering the action from below,
another cameraman, Rene, in a clearing
directly under the cliff and another, Ollie, about
a quarter of a mile away with a 40x lens. Being
so much smaller and lighter meant Nick could
move himself and the camera around freely
and safely, while still shooting HD resolution
that would cut well with footage from the
XDCAM HD camcorders.
The same event involved the competitors
scaling the back of the pinnacle using
Via Ferrata techniques. We had another
cameraman, Eric, positioned on the lower
half with his XDCAM HD but there was simply
nowhere on the route to locate another
manned camera. The pinnacle was so heavily
covered in trees and vegetation that even
the longest lens would have struggled to get
a shot from the ground. The solution was to
deploy two of our Sony A1s at strategic points
on the route. Being so small and light meant
Nick could mount the cameras in some very
difficult spots. He clamped one half-way up a
tree overhanging one of the more sheer parts
of the route and another, using a magic arm,
to a flake of rock. These shots may have only
been a few seconds of each team but they
meant we had coverage of an exciting and
challenging part of the competition that would
otherwise have been missed completely.
Many of the events involved kayaking
or swimming. Nick used the Z1 in a Gates
waterproof housing to get right in amongst the
action. Quick moves with the camera in and
out of the water were what executive producer
Simon wanted here, so once again it was the
size of the Z1 that was the critical factor.
I was so impressed with the quality and
speed at which the images were captured.
The XDCAM HD images are of exceptional
clarity. And, with all the extra fiddling you have
to do with tape, there’s no way we’d be able
to get as much shot, finished and delivered.
Prior to each day’s shoot, we would select one
location from the six daily competition venues
as most suitable for television coverage. We’d
then split the five camera teams into positions
marked out by GPS and a map. We always
knew before setting off exactly how we were
2 PDW-F70 decks on return to the UK and
will continue to use it for the workflow benefits
it provides – chiefly the easy access to
thumbnail and footage information – combined
with the high quality production values we can
achieve. We’re also planning to begin shot
selection and logging in-camera but the sheer
volume of footage (nine x 90 minute discs per
day – 300 discs in total) and the tight daily
deadlines to deliver to post means we’ve yet to
explore this option.
Overall we were really happy with the
XDCAM HD kit. I think we combined the
benefits of shooting on disc – chiefly the
easy access to information – at the same
time as using top end lens power and robust
equipment to create programming with very
high quality production values.
going to cover the story.
Post-production was set up at base camp, in
a city for each stage of the Challenge. Editors
were based in a hotel and they moved weekly
to the next location. The camera crews were
often hundreds of kilometres away so the discs
were helicoptered back. The producer looked
through the thumbnails (Sony calls it Proxy
video) and footage information and we would
discuss the ‘story of the day’ over the phone
over tape. We were using Apple Final Cut Pro
so looking at footage in thumbnail form makes
the whole editing process more streamlined.
We just put the XDCAM HD disc in, created
the ‘ins’ and ‘outs’ on the thumbnails, hit
‘import’ (which is much faster than real time),
cut the VNR edit together and dumped it onto
SX for playout. We also edited together little
‘web vignettes’, which we laid off onto DVD
and handed to Land Rover onsite.
If you’re thinking about shooting on HD for
the first time, I would definitely recommend
it as an entry level choice. Depending on the
programme type and brief, we’ll certainly be
considering using it again at BHP Sport.
Simon Fitzgerald
Joint Managing Director of the BHP Group
so he knew what shots to look for and how the
edit should take shape.
We knew at the outset we were going to
benefit from the option of accessing clips
instantly from the disc. We could open up and
play thumbnails in-camera, discuss specific
stories with each other and begin to see how
the shots match-up. For the quick turnaround
projects like the VNRs, editors could open up
the recordings and immediately understand
what to do, which proved a huge advantage
VNR playout was usually at a local facility
booked in advance. The most harrowing
experience was in Sucre, Bolivia where I
arrived at the ‘facility’ (in the loosest possible
terms) to find a basic 1970s rack, a 21” Sony
TV, a table top and a couple of BNC cables.
Luckily, I connected our SX laptop to the
‘system’ and playout was fine. We always fed
back to London and global distribution of the
pictures happened from there.
We’re planning to acquire a PDW-F350 and
Producer Profile: BHP Sport is a highly
experienced independent producer,
specializing in productions for broadcasters
as well as numerous blue-chip clients.
Current productions include the 2006
Speedway Grand Prix series, Goodwood
Festival of Speed and Revival.
[Ed. Note] To view the stunning Sony XDCAM HD
footage, pop the cover-mounted DVD into your
set-top DVD player.
A
good music score is essential to your
production. Sourcing this music can
..be quite a headache if you go through
the normal copyright clearance channels, and
can be expensive. All music recordings are
protected by copyright and using this music
on your production requires permission from
the recording copyright owners, usually large
faceless record companies who make up rate
cards and play God on the decision to allow
you to use well known themes from a major
film or the latest pop sensation usually taking
many months to reach a decision.
Anthony Kimber Mctiffen
Director of AKM Music.
One simple and very cost-effective approach
to finding music for your next production
is to purchase direct from a Royalty Free
Music library. In the past Royalty Free Music
has been tarnished with a reputation for low
production values, and whilst there still may
exist companies churning out ropey cheesy
themes which would not sound out of place
in some seedy pornographic adventure, we
at AKM have worked tirelessly at changing
producers’ perceptions by delivering first class
music tracks that now feature extensively on
TV stations throughout the world .
Our music CDs can match traditional
production libraries to such an extent now
that the MCPS, who help clear music for DVD
and video, have had to alter their rate cards
to try and simplify music clearance. Evidence
indeed that the MCPS now view us as a real
competitor, and our presence in the ‘music for
visual’ market is now being taken seriously.
So how does royalty free music actually
work. My intention when I set up AKM Music
in 1995 was to make the procedure of using
music on a media production a hassle free
experience. It’s really quite simple. We
produce and own the copyright to over 2,000
music tracks which enables us to license the
purchaser the right to dub the music onto
their productions. Not just one production, but
many. There are no restrictions on territory or
number of copies or broadcast. You can use
the music for personal or professional projects,
massive DVD runs for distribution and sale,
TV globally and even on websites. You can
use the music for any length and can shorten
or extend it. You own the right to use the
music for your lifetime. The only restriction we
so AKM music can now be heard on nearly
every TV channel in the UK. I would be the
first to admit that our initial aim was to satisfy
the demand in the corporate, SIV market
but am delighted that our products have
now been wholeheartedly embraced by the
television sector. As some of our composers
are PRS members they are entitled to a
enforce is that the purchaser cannot sell the
music CD to another user. So we never see
our CDs on ebay, otherwise we would go out
of business. We do not even demand a credit,
but most producers add one and there’s no
better recommendation.
The approach is so different from normal
production music libraries. You do not pay per
30 second blocks which can really mount up
to a considerable cost. It does not matter how
many times you use the music from our CDs.
OK, we do not send out hundreds of free CDs
as we depend on the purchase price of the
CD or track download, but you can audition
the music from our website. Previews on the
website take little time and you can quickly
pinpoint the track or CD you need and order
and receive the CD the next day, or in the case
of a download, instantly.
The aim was to cut out all the red tape,
form filling and confusing and vague usage
restrictions and allow producers to concentrate
on the creative process of using good quality
music to enhance their productions without
the fear of treading on someone’s copyright
and at an amazing price. That’s the beauty of
simplicity.
payment from the broadcaster if the music
is used on television. This payment is not
the responsibility of the producer of the
programme, but the station that broadcasts
the music. So even when using royalty free
music in a production that is to be broadcast
on television you simply go right ahead and
use it as normal; even for TV there is no extra
fees to pay.
AKM Music at Video Forum Show
Earls Court , London 2006.
So how much does this cost? Each CD costs
only £32.95 including VAT and delivery.
Unbelievable value when you consider
production music can cost that for 30 seconds
of usage and for only one production. So for
£32.95 you receive a CD or CD Rom packed
with tracks, some with stings and sound beds,
with each CD containing a staggering 40
minutes of music. It is little wonder producers
keep coming back to us to re-stock their sound
libraries.
Keeping the price low has been a priority
but without compromising on the quality,
This new found status has attracted a fine
number of great composers who submit their
compositions in the hope that we can include
their work in our library. So when visiting AKM,
video producers are now guaranteed only the
best composers in the media industry.
The whole recording and production values
have been revolutionised at AKM as our 2
fully equipped studios allow us to use session
players to achieve our aim of only producing
good quality music that is not being cheaply
produced on a workstation in someone’s attic
bedroom.
We are just putting the finishing touches
to GLOBAL MIX, our 68th CD production,
and from the demand and interest shown, it
seems that producers are taking Royalty Free
Music very seriously. This demand will only be
sustained as long as the CDs produced are of
the highest quality and that is something we
are determined to maintain.
If you want to save hundreds on your budget
and still have a quality library of music at your
disposable, then maybe you should checkout
our previews at: www.akmmusic.co.uk
A
fter recently reviewing the new Cartoni
Focus tripod and evaluating the
Manfrotto 503/525 tripod and being
very disappointed with both, I was starting to
lose all hope of ever finding a budget tripod
that actually worked.
picture as far as a usable tripod goes, it was
time for me to phone my next potential victim
in search of a budget tripod that I could, handon-heart, recommend to people using modern
medium size/weight cameras such as the
Panasonic HVX200, Sony Z1, Canon XL H1
and JVC GY-HD111 etc.
to lug around on location. After unpacking
the tripod and removing all the cardboard
packaging and plastic wrapping I was
presented with what felt like a solid piece of
engineering finished in a classy contemporary
gun-metal-greyish colour that reminded me of
my old BMW 7 series. Also in the box was a
neat black padded zip-up case.
THE LEGS & SPREADER
Personally I’m a huge fan of the Vinten Vision
range and the higher end Sachtler models; my
preferred tripod is my beloved Vinten Vision
8 two-stage carbon model. When it comes
to tripods I’m pretty fussy and I have very
high standards. For me there is no excuse
for a head that suffers from ‘drift-back’ or
makes funny noises when tilting, or any other
abnormal characteristics that make it unusable
for any serious applications. The same goes
for the legs; if
anything more
than a minuscule
amount of ‘wind-up’
is present it should
be thrown in the
nearest skip without
delay.
So my hunt to
find a sub £800
two-stage tripod
that is actually
worth the materials
it is made out of
was starting to
look pretty thin.
So, with Cartoni
and Manfrotto well
and truly out of the
I had heard that Japanese tripod manufacturer
Libec were about to replace their LS37 with
the all-new and improved LS38. The LS38
landed on UK shores late August 2006 so by
the time you read this is should be starting to
hit the shop floors of the usual dealers up and
down the country.
I spoke to UK importers Nick Allan-Miles
and David Archibold, who promptly got a
brand-spanking- new LS38 sent out to me. I
spoke to David about the new LS38 when we
met up at the Broadcast Live show earlier in
the year. He knew how I felt about the Cartoni
Focus tripod as he had read my review, so
he was somewhat nervous about sending me
one of his LS38 tripods to review, which was
understandable. He knows where I’m coming
from. Although we are friends, and have a
laugh in person and on the phone, he also
knows that I’m not a sycophantic reviewer.
First thing on Friday morning, the UPS
courier turned up with the Libec LS38, and I
must admit that I was somewhat nervous when
opening the box as I really wanted this tripod
to be a usable one that was up to my high
standards. I knew
that if I was happy
with this tripod,
then everybody
that I recommend
it to would be too.
Basically, if I can’t
find a fault with a
tripod, it doesn’t
exist. The box
felt reassuringly
heavy, but not so
heavy that it would
be uncomfortable
The first thing I did was extend the two-stage
legs to their maximum height and open out the
floor-spreader to its widest setting. The legs
are locked-off at any given height by 2/3rds of
a turn of the chunky tough plastic dials, and
when they are locked they are really locked.
The floor spreader is also adjustable via the
usual flat dials; again once locked-off there
is no chance of the spreader slipping from
its spread setting. I was also pleased to see
position markers engraved into the spreader,
which helps make sure you have each leg
spread by exactly the same distance.
With the tripod extended fully and locked off
I carried out my first usual test. Basically I
remove the head and grip the bowl tightly with
both hands and try and turn it as if trying to
turn a stationary lorry with no power steering.
What I’m looking for here is leg ‘wind-up’ and
rigidity. In the past I’ve done this with cheap
Chinese tripods and the legs have twisted so
easily it was as if they had power steering of
their own. With cheap tripods I can turn the
head about an inch in each direction, which
is simply useless. If this happens I usually
don’t even bother looking at the head, I’ll put
REVIEW €€€
the tripod away and send it back. So how did
the Libec LS38 stand up to my stationarylorry-with-no-power-steering test I hear you
ask. Brilliant! hardly any leg wind-up at all.
Considering this tripod only costs £399 it
is hardly even worth mentioning. I’ve seen
tripods costing three times this much that had
unforgivable legs that twisted all to easily.
The LS38 legs get nine out of ten in the leg
department. I think I know why these legs
are so sturdy with virtually no twist factor
whatsoever. On closer inspection of the bowl
section, I’m inclined to think that these legs
were originally of the 100mm bowl family
of Libec legs, but have had a 75mm bowl
modification. This means that you are getting
100mm bowl stability, in a 75mm bowl tripod
kit. Although the legs come with a floor
spreader to allow for some really low-to-theground filming, you can also buy an optional
mid-level spreader if (like me) you prefer to
work this way.
THE HEAD
The head is finished to the same high
standards as the legs. It feels solid and chunky
and after playing roughly with it for 5 minutes I
got the impression that this head is not going
to fall apart any time soon. It is tough, durable
and should last an age, even in the hands
of the roughest film students, ENG guys,
and even a rattled independent low-budget
filmmaker on his last line of coke.
The head is a fairly basic no-frills design. In
fact the only levers on it are two to lock-off the
tilt and pan and another one to lock the sliding
plate into position along with a safety button
to prevent the plate sliding off whilst adjusting
it; that’s it. Although there are no adjustments
for pan and tilt drag, the factory setting for
the pan and tilt drag was spot-on; not too
stiff, but not too slack either, somewhere in
that middle stirring-a-large-bucket-of-treacle
area. From this last comment you’ve probably
gathered that this is a fluid head, and a nice
one at that. The fluid motion works beautifully
in both pan and tilt directions. Part of my
tripod test is to draw a figure of eight with the
pan-handle; pretend the pan- handle is a large
magic marker and draw the figure of eight
either bend or snap during this test; the Libec
pan-handle did neither, I could almost hear it
say “is that all you’ve got mate?”. So the panhandle test scores very highly indeed.
on an imaginary wall. With the LS38 head
this test stood up really well. I could draw my
figure of eight smoothly and precisely with
no dead-spots whatsoever. Of course, with
no camcorder mounted at this point, I could
feel that the sideways (pan) movements
were a little slacker than the up/down (tilt)
movements, but this is normal for a head with
no weight mounted on it, especially with this
head, as it has a pre-loaded spring in the head
to aid with balancing; so far very impressed
with this well-engineered head.
The next part of my test involved doing
some violently fast tilts from one extreme to
the other. I had to stand on the spreader for
this part to prevent the tripod lifting off the
ground as it is quite a vigorous test, and any
tripod in the world would lift off the ground in
this situation. What I’m looking for – or rather
listening and feeling for – are trapped air
bubbles in the head, or any other defects or
bad characteristics which show up by means
of sticky noises that sound like there is a
piece of sticky fly paper stuck inside the head
somewhere. With the LS38 head no such
gremlins showed up; great! These guys have
actually put some thought into this head and
road-tested it before going into production; well
done Libec.
The pan-handle is reversible, so you can
fix it to the left or right side of the head. This
is one of the best designs I’ve seen, and once
you give a quick twist of the locking lever, the
pan-handle is going nowhere. The pan-handle
is not a telescopic one, but it should be about
the right length for most applications and it is
solid and does not bend. I lock off the head
and grip the bowl with one hand and try and
break the pan-handle off with the other as I
try and forcefully pan the tripod head, even
though it is locked off. A naff pan- handle will
Next are the lock-off levers for pan and tilt.
The head goes from unlocked to locked-off
within about a 5mm turn of the lever. The
levers are chunky enough that they don’t hurt
your fingers and thumbs as you lever them
into or out off the locked-off position, and with
moderate pressure, the head is solidly lockedoff, well as locked-off as you would ever want
it to be anyway.
The sliding plate is brilliant and it replaces
the somewhat unusable quick-release plate
found on the LS38’s predecessor, the LS37.
This new sliding plate is just brilliant and it
works like a dream. Libec obviously listen to
customer feedback. The sliding plate has a lot
of adjustment and can be locked-off anywhere
within an 8 cm scale, which should be more
than enough to balance an unloaded (no
accessories) Canon XL H1 or JVC GY-HD111.
If you are a Sony Z1 or Panny HVX200 owner,
you won’t need anywhere near this amount
of adjustment, but it’s there if you have a fully
loaded Z1 with an additional accessories/
weight attached. The quick release plate has
a neat spring-loaded locating pin as well as
the usual fixing screw, the latter is screwed
into the base of the camcorder using a penny.
I was also pleased to see the “Made in Japan”
sticker when I removed the sliding plate;
Libec are maintaining standards here and
it is evident all over this tripod/head combo.
Finally, the head also has a spirit level bubble,
so you can level the head perfectly. It doesn’t
have a light to illuminate it, but I don’t film bats
in coalmines at midnight so I don’t care. This
€€€ REVIEW
is proof that Libec have spent the money in
areas that count and have not compromised
on quality by adding extras that people don’t
really need. This would have either upped
the price of the tripod, or compromised on
quality in other areas, so I’m glad Libec put
into this tripod what you need and left off what
you don’t. Okay so we might need a decent
balance system with amazing pan and tilt drag
controls, but this is a £399 tripod, if you want
Sliding plate safety catch.
perfect balance control and an amazing drag
system, buy a Vinten Vision 6 for £1,600.
I tested the head with my trusty JVC GYHD111 complete with Hawk-Woods V-Loc
battery pack and Chrosziel matte box system
and focus pulling rig. This set-up is about as
heavy as you could go and still retain at least
some balance with the LS38. The built in
pre-tensioned spring appears to be built for
cameras such as the Sony Z1 and Panasonic
HVX200 with a few add-on accessories. With
a standard JVC GY-HD111 camera with no
Sliding plate position markers.
matte box, but retaining the Hawk-Woods
V-Loc battery battery, the LS38 did a great
job of balancing it. I could tilt up and down
approximately 30º and the head/camcorder
stayed fixed in that position after I removed
my hand from the pan-handle with no sign of
it creeping up or down. Admittedly, I could not
tilt the camcorder straight down to the floor
Fully-loaded JVC GY-HD111 complete with
Hawk-Woods battery pack, Chrosziel Matte
box and focus pulling rig. About as much
weight as the LS38 can take.
without it creeping back up a bit, but I would
never have the need to tilt down so far anyway
so this didn’t bother me. The same applies
for extreme tilts up, don’t expect to be able
to point it up at a hovering kestrel and have
it stay there without locking it off because it
won’t, it will creep back down a bit. However,
you will be able to tilt up about 30º above the
horizon and it will remain there perfectly. This
should be more than enough for most shooting
situations. Again, you are paying £399 for a
tripod that is really well built and engineered to
do 90% of the moves perfectly. If you need the
other 10% of moves that you will rarely (if ever)
use, then you’ll have to spend an extra £1,200
and look elsewhere. Having said that, there is
a workaround, it’s called your left hand. If you
need the camera to stay in position at the end
of an extremely high or low tilt, simply hold
the tilt-locking lever with your left hand whilst
carrying out the tilt with your right, then at the
end of the movement lock the tilt lever off,
voilà. As the tilt-locking lever requires only a
few millimetres of movement and hardly any
effort to lock the head off, I was able to carry
out an extremely high tilt and lock it off once
there with no noticeable movement at the end
of the tilt. So there it is, an extra £1,200, your
left hand, an extra £1,200, your left hand, erm,
let me think about that for a minute. How many
more times do I have to say it “THE LIBEC
LS38 IS ONLY £399!”
Now for the critical part of my test, and this
is where every sub-£800 tripod I’ve tested
has come falling down miserably. I call it the
drift-back test. I mount a camcorder on the
tripod, zoom right in as far as the lens allows
as I compose the image with a subject that
has straight vertical lines in it, such as the
edge of a building. Then I fix the camcorder in
a nice horizontal position and lock it off. With
just the pan available to me I’ll gently pan
across the scene, then gently stop with the
vertical edge of the side of the building lined
up perfectly with the 16:9 safe area markers
on the either side of the flip-out LCD display on
the camcorder. When I remove my hand from
the pan-handle, I expect my alignment of brick
wall to safe area marker to say exactly there.
With many other tripods it simply won’t stay
Head-leveling adjuster.
put, instead it will drift back a few millimetres.
This might not sound like very much, but when
you are zoomed right into the side of a building
it can be as much as 2 brick widths (depending
on how far from the building you are), which
is plain noticeable and totally unacceptable. I
did not expect the LS38 to pass this test, not
for a second. So you can imagine my total
amazement when I took my hand off the pan
handle to find that the head stayed exactly
there with virtually zero drift-back. I think there
were a few people in China that couldn’t quite
hear me when I yelled “AT LAST, I’VE FOUND
IT, A BUDGET TRIPOD THAT DOESN’T
SUFFER FROM BLOODY DRIFT-BACK”. My
partner Louise came dashing down the stairs
to see what I was yelling about, she thought
I’d found the Holy Grail, I have I told her, well
a budget one anyway. A few of my peers in
REVIEW €€€
Leg-tie string.
the industry know that I’ve been looking for a
budget tripod that I can recommend to people
with limited funds. Well now I’ve found one so
if you are the proud owner of a medium size
camcorder such as: Panasonic HVX200, Sony
Z1, Canon XL H1, JVC GY-HD111 and similar
and you are on a budget for the tripod, look no
further than the Libec LS38; it just works!!
IN USE
In the 20 minutes or so that I spent filming
using the GY-HD111 camera I found the Libec
LS38 to be a dream to use. It’s quick and
easy to erect and pack away, not once did I
trap my fingers ;). Setting up the camera was
really easy as the sliding plate has a lot of
adjustment in it, even for the most front/back
heavy camcorders such as the Canon XL
range, which tend to be a bit front (lens) heavy.
The sliding plate makes it easy to balance your
camcorder over the dead center of the head,
which in turn allows the fixed balance spring
system of the head to work perfectly enough
within reason.
Unlike the old LS37, which was only a
single-stage leg design, the new LS38 is a
two-stage leg design, so getting down low to
the ground is easy, and you can get super-low,
like eye-level to a rabbit if you remove the floor
spreader altogether.
Build quality? Ah yes, I do like testing products
for build quality. I’ve been known to break the
lids off flat-bed scanners whilst testing them for
build quality before buying in PC World. I’ve
broken plastic bottle holders from inside fridge
doors in retail parks whilst shopping for a new
American style fridge. When helping the mrs
choose kitchen ware from department stores
I’ve played Uri Gella with forks and spoons
(with great success) and have snapped
handles off bone china cups. Okay you get the
point, I’m just a firm believer that if something
can be perfect, why shouldn’t it be? And if
something can be built to a high standard,
why shouldn’t it be? There is a lot of cheap
mass-produced crap filling retail park stores
these days, and I refuse to subscribe to all this
“sorry sir, it’s 3 weeks over it’s 1 year warranty
period” crap, only to have fuels burned and
the earth’s natural recourses sucked away
from her as factories churn out even more of
this plastic crap for next years mugs to come
along and buy. Okay calm down, calm down,
too much coffee
this evening,
just trying to
make a point,
and I hope
you’re getting
it. What I’m
trying to say is
the Libec LS38
passed all my
tests flawlessly.
I pulled it, I
tugged it, I
dropped it from
a great height,
I tried to bend
it, break it and
I even kicked
it over. I tried
to force the
locking levers
way past where
they were
supposed to go
in an attempt
to break the
mechanism, I
tried to pull the
rubber spreader retainers like my old Stretch
Armstrong as I attempted to snap them. I
slammed the legs open, I slammed the legs
closed in an attempt to get a bit of plastic to fly
off across the floor. This tripod simply would
not break. If I was an extreme cameraman or
had a shoot coming up in a war zone I would
have taken my violent and rigorous test to the
extremes by dowsing the thing in petrol and
throwing my Zippo at it, someday I’ll actually
do this with a piece of production equipment,
but for now I had punished the LS38 enough,
way beyond what any normal cameraman will
ever put it through.
floor-spreader has been removed. Levelling
the bowl is smooth and effortless via the large
dial under the bowl. The large bowl section
makes reaching this very easy. The panhandle has an industrial-type hard rubber grip.
Oh, and the sliding plate has ruler-markers so
it’s easy to balance your camcorder from one
day to the next.
SUMMING UP
For £399 this tripod is simply amazing. Libec
have put the money in all the right places and
it just works. If you want a budget no-frills
LS38 floor-spreader is ideal
for low-level shooting.
tripod that defies its price tag, the LS38 is it.
It will give you years of trouble-free service, it
will stand up to the rigours of tough shooting
environments, and above all it will do your
camcorder and your shots proud with its silky
smooth head. Even if you have a budget of
£1,200 or so, I would make sure the LS38 is in
the equation and should be checked out; you’d
be a fool not to just because of the price tag.
Dave Archibold of Libec UK was kind enough
to have an LS38 sent out to me on loan to
review, but if he wants his tripod back he’s
going to have to drive down here and get it;
it’s that good! ;)
WHAT ELSE ?
On the underside of the bowl there is a metal
hook to allow you to hang a bag of bricks to
help stabilize the tripod for those times that
you are filming hurricanes in the US. I’ve
already mentioned the optional mid-level
spreader, which comes with 3 rubber feet to
cover the spikes that are left exposed after the
Libec UK – Tel: 01527 596955
or visit: www.libeceurope.com
Rating:
••• Feature
T
here’s not an awful lot one can say in a
review about either or these products
so I’m going to sum them up in less
than 1000 words (954 to be exact). The first is
a microphone boom pole and the second is a
boom pole holder. With this in mind I decided
to write a double-whammy review that covers
them both. After all, they are both related, only
made by different companies. Both products
retail at a similar price of £59.95.
RODE MICROPHONE BOOM POLE:
First up is the new Rode microphone boom
pole. This is a standard 10 foot microphone
boom pole, but with a few little differences
that make it quite special when compared to
the competition i.e. Panamic and Gitzo. Firstly
the Rode only costs £59.95, which is really
cheap when compared to the £250 offerings
from Panamic and Gitzo. Sure, the Rode is
not made from carbon-fibre, instead it is made
from a lightweight alloy, which is fine in my
book as it is stronger and can be repaired if
dented or bent. Not that it will, as this Rode
boom pole is built like a piece off scaffolding
pole, but nowhere near as heavy you
understand. In fact it is only a fraction heavier
than the carbon-fibre offerings that cost much
more. But to be honest, any professional
sound recordist will tell you that even the
lightest boom pole feels like it weighs a ton
after you have been holding it over your head
for 5 minutes.
The boom pole is of the more fashionable and
easy to use telescopic type that folds down
to about a metre in length. It is extended and
locked-off by twisting the top section of each
part via large metal turnable sections with grips
on them. As I’ve already mentioned it extends
to 10 feet, which is more than enough for most
shooting/recording situations. It comes with
three 1-inch wide Velcro fasteners to fasten the
mic XLR cable to the pole, but there is another
option here, which is simply ingenious. The top
and bottom of the pole has been designed in
a way that allows you to thread your mic XLR
cable down the centre of the pole’s alloy tube.
The thick rubber cap on the bottom of the pole
can be removed to allow you to thread the
cable though, then you can replace it as there
is a small cut-out to one side for the cable to
come though. Same for the top, simply remove
the fitting whilst threading the cable through
then replace it. This way there is no unsightly
cable running down the outside of the pole.
What else, oh yes, it’s black in colour and it
has a nice long-lasting foam grip that takes
up the entire first section (about a metre long)
so you won’t get cold hands when working in
typical English weather conditions.
Well that’s about it for the Rode boom pole, not
a lot else I can say about it really. It’s well built,
light enough in weight, extends to 10 feet and
is easy to use and above all, it is really cheap;
well done Rode.
Finally, the Rode Miniboom is now shipping,
this is exactly the same construction as the
Rode boom, but it’s a three section design with
a maximum length of 1.9 metres and a RRP of
£45.00 plus vat. This new Miniboom is ideal if
you don’t need a long reach.
BOOM-BUDDY BOOM POLE HOLDER:
Next up is the ingenious invention from
Fleetwood Films, it’s the all-new BoomBuddy. So what is it? The Boom-Buddy is a
clever piece of engineering that allows you to
mount your microphone boom pole on top of
a standard lighting stand. This is great for the
one-man outfit who can’t afford to hire a sound
recordist, or who needs to put their mic boom
pole in a fixed position. The Boom-Buddy
simply fits to the top of any standard light
stand in the same way a Redhead light would.
Then you can place your boom pole into/onto
it, I say into/onto as it is the boom pole simply
rests on top of the front open part, while the
section of pole a few inches behind this goes
under the back part of the Boom-Buddy. The
weight of the front part of the boom pole forces
the back section upward, which in turn makes
the pole stay there as if by magic. Mounting
your boom pole onto the Boom-Buddy is as
easy as ABC and takes all of 3 seconds. This
is down to the clever design; in my opinion it
deserves an award.
The bag the
Boom-Buddy
comes in
doubles as
a counterweight.
Simply put a
large spare
battery in the
bag, then
slide it onto
the end of the boom-pole (opposite end to mic
of course) and Velcro it up to hold it in place. If
you have a light clamp such as the Manfrotto
verity, you can attach the Boom-Buddy to it
and suspend it upside down from the branch
of a tree for example. This way you won’t have
a stand in shot, and you can possibly get your
microphone in closer to your subject.
The Boom-Buddy has been designed to help
make a sound recordist’s job easier and to aid
the one-man operation. The Boom-Buddy will
act as an extra pair of hands in this situation.
What else can I say, it’s a tough piece of
engineering made from metal, rubber and
polycarbonate plastic that should last an
age. It’s a great design (I wish I’d thought of
it) and it is priced fairly at £59.95. Way to go
Fleetwood Films!
For more details on the Rode boom pole
visit: www.hhb.co.uk
For more details on the Boom-Buddy
visit: www.boom-buddy.com
€€€ REVIEW
Title: How to Setup, Light & Shoot Great
Looking Interviews
Presenter/Demonstrator: Doug Jensen
Price: £24.00 ($40.00)
Web site: www.vortexmedia.com
E
very now and then, another training
DVD based on camcorder shooting
techniques or lighting techniques
will appear, and the first question we ask
ourselves is “will it be any good and what will
the production quality be like?” Well I’m here
to tell you about this latest training DVD from
across the pond.
It’s entitled “How to Setup, Light, & Shoot
Great Looking Interviews”. Although this DVD
was filmed and produced in the USA, don’t let
that put you off. Playing this DVD on UK PAL
DVD players and television sets simply looks
fantastic.
The DVD was written and produced by
Doug Jensen, who is a professional freelance
cameraman and DoP. Doug has been lighting
and shooting documentary and film-style ENG
productions for over 20 years for clients such
as: NBC News, ABC News, CBS News, Fox
News, CNN, BBC, TNT, Discovery, Sci-Fi,
History Channel, Animal Planet and many
more, so what he doesn’t know about lighting
people in interview situations isn’t worth
knowing.
Right, so we have somebody who is at the
top of their game presenting the programme
and carrying out the demonstrations, but
what about the actual content? If you want to
learn more about lighting people in interview
situations, you simply won’t find a better
training DVD on the face of the planet. Lets
face it, most lighting involving people usually
means lighting them ‘head and shoulders’
style, along with other possible establishing
shots.
Doug demonstrates all the tips, tricks and
techniques for lighting people in interview
situations perfectly. The DVD encapsulates
everything you need to know about interview
lighting in 60 minutes very nicely; he leaves
nothing out. Doug talks about the equipment,
which does not include fancy expensive gear,
just bog-standard kit that is readily available.
He also covers locations and how to choose
them, choosing the best angle once there,
the back light, the key light, the fill light and
the background light and how they should all
be placed for the optimum results.
The all-important topic of depth of
field and exposure is also covered
in great detail. Many people forget
the importance of depth of field,
which is critical if you are to achieve
decent shots; Doug explains this
fantastically. White balance is
covered, but Doug explains about
the use of Warm Cards, after seeing
this demonstration I’ll never use a
white balance card again with digital
camcorder formats; this simply has
to be seen to be believed. White
balance cards were really designed
for old-fashioned tube-based TV
cameras from yesteryear. Today’s digital
formats ALWAYS give people a cold bluish
look if you use a white card for balancing,
this makes them look like they have just got
out of the freezing cold sea after a swim in
December. By using one of the three warm
cards this horrible cold look vanishes and the
skin tones take on a more natural colour and
because of this, the resolution appears to be
more ‘high def’. I can’t explain it, but it just
looks sharper, you can see the pores in the
skin and the colour saturation is amazing; the
warm card part alone is worth the price of the
DVD.
Doug also covers the use of filters and
discusses and demonstrates the effects
of using the lens at different focal lengths,
windows, practicals, eye glasses, kicker
lights, make-up, and of course composition,
which in my view is by far one of the most
important aspects of any production. Doug
covers composition very well, explaining and
demonstrating the rule of thirds, head room,
looking room and much more.
For those who are interested in the ‘behind
the scenes’ stuff, the DVD was filmed on a
combination of Sony XDCAM HD, Z1 and
Betacam camcorders. The production value of
this DVD is of the highest order; brilliantly shot.
The DVD cost just $40, which (with current
exchange rate) is a mere £23 in UK money.
This is a ridiculously low amount to pay for
what you get. You would pay £350 for a twoday training course covering everything Doug
covers in this DVD, and the DVD doesn’t have
any interruptions from the one person who
seems to ask tons of questions and demand
the instructor’s time on 2-day training courses
either.
I can’t say enough good things about this
DVD, I only wish I’d written and produced it
myself. I picked up plenty of tips from it and I’ll
never light an interview the same way again.
I guarantee that after watching this DVD
your productions will take on a much more
professional look.
My copy turned up here in the UK just 3
days after I emailed Doug for a review sample
for DVuser, so postage from the USA is pretty
fast these days. Oh, and Doug, if you think I’m
sending this little gem back, forget it ;)
I’ve been lighting interviews and small
scenes for many years now, but I picked up
some great gems off this DVD that I will never
forget. It’s certainly changed the way I’ll light
people from now on.
What else can I say, 5 out of 5 stars;
brilliant, amazing, fantastic, quite simply the
best training DVD I’ve seen in years.
To order online visit: www.vortexmedia.com
Buy your copy today, no really, drop this
magazine and get online and order one now!
Are you still here? go on order it now! why are
you still reading this? the review is over, go get
online and order the DVD now!…
Rating:
REVIEW €€€
F
or many years professionals and
amateurs alike would buy a tripod
budgeted at approximately 20% of
the value of their camera e.g. if the camera
was a Sony Digibeta costing £22,500, they
would pay around £4,500 for a tripod. If the
camera was a Sony PD170 costing £2,700,
they would pay around £450 for a tripod.
Don ‘t ask me who invented this rough
camera-to-tripod price ratio or why people
follow it – they just do.
But, it’s now time to change this ratio rule,
why? Because today’s semi-professional
cams such as the Sony Z1, Canon XL H1,
JVC GY-HD111E and Panasonic HVX200 all
produce amazing images that are snapping
at the heels of many high-end professional
broadcast cameras costing five times as
much. It’s for this reason that you should
spend more money on a professional tripod.
It would appear that after buying a semiprofessional camcorder costing around
£4,000, most people would go out and buy
a tripod priced around £400, such as a
Manfrotto 503/525P kit. Now, don’t get me
wrong, the 503 Manfrotto is a fine budget
tripod, in fact it is probably as good as
you can get for the money. But this tripod
(and many others like it) has some serious
limitations that a professional simply could
not live with. These include fluid drift-back,
leg wind-up, dead-spots within the head and
other mechanical limitations.
There are certain shooting situations that
could suffer with an inferior tripod, such as
shooting in 720P/25P mode on the Sony
V1, JVC GY-HD111E or Panasonic HVX200
cameras as the risk of ‘flicker/judder’ in
progressive 25p mode would be too great.
Another example is when shooting wildlife
videography with a Canon XL H1 or JVC
GY-HD111E with a telephoto lens attached,
the camera-wobble on a cheap tripod head
would be outrageous, producing totally
unprofessional results. These are just a few
examples of why it’s essential to use nothing
less than a professional quality tripod.
The cameras I’ve mentioned so far
all range from approximately £3,295 to
£6,000 and they all produce quality that
is dangerously close to some high-end
broadcast cameras costing much more,
and they certainly produce superior images
over cameras that cost £18,000 15 years
ago such as Betacam SP. So why skimp on
price with a budget tripod and potentially
ruin great shots, or in the case of wildlife
videography, once-in-a-lifetime shots? You
need your tripod to perform perfectly for
many years without a hitch, this means
smooth fluid movements on a sturdy set of
legs with no gremlins in the tripod design.
The only way tripod manufacturers can
eliminate such gremlins is to plough more
money into the design, materials and
production costs, which in turn means it will
cost you quite a bit more money.
I recently tested a Manfrotto 503/525P
tripod, which cost around £365. As I’ve
mentioned already, this is a great lowbudget tripod, but it could not be used for
any serious professional work. In fact, I
would go as far as to say that it is only really
usable in the ‘locked-off’ position; don’t even
attempt a pan as you will almost certainly
see the dreaded drift-back effect at the end
of the pan movement. This could be due to
inferior quality fluid or the built-to-a-budget
internal mechanics of the head perhaps?
I’m not picking on Manfrotto tripods either, I
recently reviewed the Cartoni Focus tripod,
which costs £899 and it also suffers the
same gremlins as the Manfrotto, so do many
other budget tripods. It’s simply a case of
you get what you pay for.
So which tripod should you buy to get the
full quality potential out of these great new
generation of HD and HDV camcorders?
I personally use the Vinten Vision range
of tripods, they are just amazing and they
don’t suffer from drift-back, snap-back,
or leg wind-up, not to mention creaky
noises or any of these other gremlins that
professionals can’t live with. The same can
be said for the Sachtler range of tripods
from the DV6SB and DV8SB upwards, but
these professional tripods do cost more.
This is where yesteryear’s 20% camera-totripod price ratio gets thrown into room 101.
These days that ratio should be closer to
50% i.e. £3000 on a camcorder and £1500
on a tripod; really!
There are many brands on the market
today, but in my opinion the leading two are
Vinten and Sachtler. In fact Vinten, Sachtler
and Manfrotto are all owned by the same
company, but this does not mean for one
second that a cheap Manfrotto 525/503 is
going to be just as good as a Vinten Vision
3, 6, 8 or a Sachtler DV6SB or DV8SB;
they are made in different parts of the world
including the UK for some Vinten models,
Germany for certain Sachtler models and
Italy and the far east for the Manfrotto
range. So you can see that they are not the
same thing at all. Vinten simply re-badge
low-end Manfrotto models for their Protouch
series as it makes echonomic sense for
Vinten to do this. After all, Vinten make
professional tripods and have no interest
in manufacturing budget models. For the
record, the Vinten Pro-6 and Pro-10 are
packaged with a genuine set of Vinten tripod
legs, but with a re-badged Manfrotto head.
So what is the ultimate tripod for these new
mid-size HD and HDV camcorders?
In my opinion the Vinten Vision 3 and
Vision 6 models and the Sachtler DV6SB
and DV8SB models are the ultimate
professional tripods for these new smaller
semi-professional mid-sized camcorders.
The Vinten Vision 3 and 6 models come with
either alloy or carbon legs, single-stage or
2-stage and are priced between £950 for an
alloy single stage model and £1,390 for a
2-stage carbon model. The Sachtler DV6SB
system including head, legs, spreader
and case costs around £1,395, while the
Sachtler DV8SB system costs around
£2,350. This might sound expensive when
compared to a bog-standard budget £365
tripod, but if it is any consolation, high end
professional tripods designed for full size
XDCAM HD and HDCAM type cameras
start at around £3,500 and go up to around
£6,000, and if you want a professional TV
studio pedestal, don’t expect much change
out of £30,000. So you see, £1,395 is not so
much after all, besides, the four models I’ve
mentioned here should last you a lifetime.
Vinten or Sachtler tripods are equally as
good as each other and both are incredibly
well respected in the broadcast industry. Of
course there are other tripod makers out
there, but Vinten and Sachtler are the two
professional systems that I’m most familiar
with. I’ve yet to get my hands on the Libec
and Miller range. I’ve owned and used
Vinten Vision series tripods for many years
now and they have been thrown in and out
of cars and vans, dropped, knocked over,
stood in 2 foot of muddy water. They have
been in hot and humid tropical butterfly
houses, freezing cold walk-in industrial
freezer units, dusty and gritty building
sites and 3 foot away from red-hot blazing
fires. For years they have taken all sorts of
abuse, yet I have never had to return one to
Vinten in Bury St Edmunds to be serviced or
repaired; you get what you pay for.
These professional tripods use superior
quality components, even the fluid they
use inside the head, which is not affected
by temperature and all the air-bubbles
are vacuumed out so you won’t find any
dead-spots during a pan. The drag controls
are sheer perfection and Vinten’s Perfect
Balance is just that, it works perfectly; also
the leg locking mechanisms don’t trap your
fingers…
I believe that every cameraman should
strive to own the best equipment possible;
with Vinten & Sachtler, that’s what you get.
••• Tutorial
W
hat is the Hawk-Woods VL-CF3?
The VL-CF3 was designed by UK
professional battery and charger
manufacturer Hawk-Woods. It has been
designed specifically for the JVC GY-HD100
and HD101 ProHD model camcorders.
day. So far, several manufacturers have build
these after-market V-mount battery adaptors
for the GY-HD100, but now UK battery
manufacturer Hawk-Woods have built one too,
and after taking delivery of one recently I can
only say “talk about save the best until last”.
Hawk-Woods researched the market to find
out exactly what was required and boy did they
get it right.
About Hawk-Woods:
VL-CF3 kit
The VL-CF3 camera adaptor allows GYHD100 owners to power their camera via a
single V-Lok battery. With a HawkWoods VL65 Li-Ion battery fitted, the camera will run for
in excess of 3.5 hours. See further down this
review for other larger Hawk-Woods batteries
and running time chart.
The established JVC GY-HD100
series ProHD camcorders:
There is no denying that the JVC GY-HD100
series ProHD camcorders are well and truly
established and have become a firm favorite
with the independent filmmakers because
of its 720p/25p progressive HD1 recording
capabilities and interchangeable lens system.
For those who are not familiar with the HawkWoods company, they have been designing
and manufacturing battery and charger
systems for the tv, film and video industry right
here in the UK since the very early nineties.
Hawk-Woods was founded in 1991 by Brian
Woodford and Clive Hawkins; both of whom
have been in the industry for many years
before forming the Hawk-Woods company. In
fact Clive was responsible for designing the
PAG Lok system and this fact is recorded on
the Patent belonging to PAG.
The quality of Hawk-Woods batteries is
quite simply as good as you can get. They use
only the very best Canadian Li-Ion E-1 cells
made by Moli. Moli are the Rolls Royce of
Lithium cells; the best in the world. For their
belts, boxes and NP1 NiCads Hawk-Woods
use the best Japanese cells available, which
are manufactured by Sanyo Japan. These high
end cells ensure durability, very long running
times and above all, many recharges allowing
the batteries to be reused hundreds of times
for many years. Even after which, HawkWoods in Ashford, Kent will be only too happy
to replace old cells with brand new ones. So
no need to buy new batteries.
JVC’s established GY-HD100 series
Since JVC launched the GY-HD100E and
GY-HD101E series ProHD progressive scan
camcorders, many independent manufacturers
have pounced on the opportunity to make
after-market add-ons and accessories for
them; some more useful than others.
One of the most popular independent
after-market accessories is the Sony type Vmount battery adaptor. These battery adaptors
allow the use of full size professional Sony
type V-mount batteries to be used on these
JVC camcorders. Many manufacturers have
realized the potential for such an adaptor,
and why not, after all, the small JVC battery
that comes with the camera only gives you a
record time of around 30 minutes on a good
Hawk-Woods are the main supplier of batteries
and chargers to Panavision UK and have been
for more than 10 years. Panavision UK rely
on Hawk-Woods for their durability, quality
and performance for use on their professional
35mm film cameras. So if you have seen
any James Bond or Harry Potter movie, or
Gladiator, Waterworld, Ultimate Force, or the
new Dr Who series, Hawk-Woods would have
been the power behind them all.
Since 1993 Hawk-Woods have been, and
continue to be, the industry standard for
supplying battery systems to professional
sound recordists, which allows them to power
mixers, mics and recorders all from one
source. On top of this, Hawk-Woods sell loads
of their industry standard V-Lok batteries to the
BBC and most of the big UK hire companies.
Apart from making the best batteries in
the world, Hawk-Woods also manufacturer
Chargers, Sound powering adaptors, cables
and leads as well as radio mic holders. And
of course, more recently the VL-CF3 JVC GYHD100 V-Lok battery adaptor.
The VL-CF3 design:
Hawk-Woods have learned from the various
other manufacturers V-mount battery adaptors
for the JVC, and have also consulted with the
BBC and working professional cameramen.
This has allowed Hawk-Woods to come up
with what I would say is by far the best Vmount battery adaptor available for the JVC
GY-HD100 series camcorders to date. What
makes the Hawk-Woods VL-CF3 beat the
competition hands down? First of all, HawkWoods have a reputation in the industry for
making superior quality professional batteries
for semi-professional and professional
cameras from the Sony Z1 right up to
Panavision 35mm film cameras. Secondly
the Hawk-Woods model bolts not only to the
top back-end of the GY-HD100, but also at
the bottom underneath the shoulder pad.
To secure the VL-CF3 adaptor to the JVC is
it simply a case of removing the adjustable
shoulder pad, bolting the VL-CF3 to the
camera, then replacing the shoulder pad.
Finally you also fix it to the top of the camera
via the two screw mounts. By fixing the battery
adaptor to both the top and bottom of the JVC
allows for a much sturdier and more secure
fitting that will withstand knocks a whole lot
better. What is also so fantastic about this is
that you can still adjust the adjustable shoulder
pad back and forth.
REVIEW / TUTORIAL €€€
The VL-CF3
also has a
side plate to
hold a Focus
Firestore
hard drive
or radio mic
reciever.
This is
where HawkWoods
consulted
the BBC, who have had complaints from their
freelance cameramen using other brackets
where the Firestore mounts directly on the
back. They say that if a cameraman backs up
against a wall in a tight shooting space the
Firestore bashes against the wall and can
crack or get damaged. Hawk-Woods instead
have taken the BBC’s advice and have allowed
for fitting by way of two secure bolts of a metal
plate for the Firestore to go to the side of the
battery on the outside, so it is not digging
against your ear when it is shoulder mounted.
The VL-CF3 also has an industry standard
D-Tap power socket so you can power an oncamera light, radio mics, video send or other
piece of equipment up to 35 Watts straight
from the Hawk-Woods V-Lok battery via the
VL-CF3. However, unlike a built in power
D-Tap on high end broadcast cameras, the
Hawk-Woods D-Tap on the VL-CF3 is not
regulated at 12 volts, it is in fact 16.3 volts, but
this makes little difference for on-camera lights
and radio mics and the like.
D-Tap power socket
lead of about 2 inches in length that goes
from the plate itself to a small mock-up mini
battery that actually plugs into the back of your
JVC. This short lead allows for very minute
movements of the small mock-up battery that
actually plugs into the JVC. I found that the
Hawk-Woods battery block was a better fit
than an actual JVC battery.
shoulder pad position lever on the side and
slide the shoulder pad all the way back until it
slides completely off the camcorder.
Step 2:
Remove the 3 chrome screws from the silver
shoulder pad slide adjust plate (fig.2), then
remove the silver slide plate from the camera.
fig.2
Step 3:
If you already own V-mount type batteries,
either Hawk-Woods or other brands as part of
your larger shoulder mounted Sony equipment
then you only need to buy the VL-CF3 adaptor,
which alone cost just £135 plus vat. However,
if the JVC GY-HD100 is your only camera then
you can buy a complete package made up
by Hawk-Woods. This package consits of 2 x
Li-Ion VL-65 V-Lok batteries, 1 x VL-L1 V-Lok
quick charger and of course the VL-CF3 V-Lok
JVC adaptor. The total price for this package
cost £525 plus vat.
How to fit the VL-CF3 to your JVC
GY-HD100:
Fitting the VL-CF3 is a breeze; the whole
operation takes about 5 minutes. Before
starting I would recommend removing the
viewfinder and microphone to prevent them
getting knocked or damaged whilst the camera
is upside-down. I would also recommend
placing a large pillow on the table and putting
your camera in an upside-down position onto
it. Then you are ready to begin.
Position the small black metal Spacer (fig.3)
that comes with the Hawk-Woods VL-CF3
kit, at the front end of the camcorder. Then
position the main Hawk-Woods Lower Bracket
towards the rear end of the camcorder (fig.3).
fig.3
Step 4:
Next you will have to replace the silver slide
plate that you removed in step 3, only you will
not use the original screws, you will now need
to use slightly longer screws due to the extra
2mm thickness of the Hawk-Woods Spacer
and Lower Bracket (fig.4). Position the JVC
silver shoulder pad slide back into its original
position, only over the top of the Hawk-Woods
Spacer and Lower Bracket (fig.4); the silver
shoulder pad slide will now clamp the HawkWoods Spacer and Lower Bracket into place.
Use the 3 slightly longer screws that HawkWoods provided (fig.4).
Step 1:
Anyone who owns a JVC GY-HD100E or 101E
will know that when you fit a little JVC battery
into the slot at the back, it is not the most snug
fit in the world; the small JVC batteries can
rattle around a tad whilst attached to the back.
Because of this slight movement Hawk-Woods
have designed the VL-CF3 in a way that
ensures no linkage on the camcorder will ever
be damaged. No additional cabling is required
as the adaptor connects directly via the
camera’s own battery bay similar to JVC’s own
7.2V battery. The VL-CF3 has a short patch
fig.4
Loosen the 3 shoulder pad retaining screws
(fig.1) (don’t remove the screws, just unscrew
them about 3 complete turns, just enough for
you to remove shoulder pad), then press the
fig.1
Step 5:
Replace the JVC shoulder pad by sliding it
on from the back first. You will notice that the
shoulder pad will feel stiff as you slide it on
(especially if your camera is relatively new with
an unworn shoulder pad), don’t worry about
€€€ REVIEW / TUTORIAL
this, get a good grip and push it back on. Don’t
forget to hold in the shoulder pad position
lever when you do this. Then tighten up the 3
shoulder pad retaining screws (fig.5).
fig.8
Tip:
You are now ready to use Hawk-Woods VL
series Li-Ion batteries. You might notice the
first time you use Hawk-Woods batteries
that the Voltage display number on the GYHD100’s fold out LDC screen has changed
from the usual 7.2V to 8V. This is nothing to
be alarmed about and is perfectly normal and
is well within the camcorder’s capabilities.
If anything, the small JVC battery that your
camcorder came with is slightly underpowered. The Hawk-Woods V-Lok adaptor has
very accurate regulated circuitry ensuring a
stable 8 Volts of power to the camcorder.
Hawk-Woods Battery Running Times:
I would recommend sticking with Hawk-Woods
VL series batteries, as opposed to other
braded V-Lok batteries, simply because (as
explained in the review part of this article)
Hawk-Woods are quite simply one of the best
battery makers in the world. They use only the
very best Canadian Li-Ion E-1 cells made by
Moli and they give the best running times.
Mounted to the GY-HD100 ProHD series
fig.5
Step 6:
Carefully seat the Hawk-Woods Dummy
Battery into the camcorder’s battery bay (fig.6)
in the same way you would with the small JVC
battery that came with the camcorder (this
small JVC battery will now be redundant and
sent to its permanent home in the box that it
came in).
fig.6
back into the box that your camcorder came
with. You might need them in future. Next,
secure the V-lok adaptor to the top part of the
camera using the two remaining screws that
were supplied with the Hawk-Woods VL-CF3
kit (fig.9). You will need to use the Hawkfig.9
camcorders the running times are as stated
below. Remember that the standby battery
running time on the GY-HD100 (and most
other camcorders) is only very marginally less
than the actual record running time. This is
simply because in the standby mode all that
happens is the heads move off the tape, but
continue to spin hence the voltage required
for standby mode is virtually the same as the
voltage required for actual recording.
Step 7:
Battery running times;
Make sure the short lead is not twisted around,
then secure this main V-lok adaptor to the
bottom bracket (fig.7). I found it a lot easier
securing it to the bottom bracket first using the
V-lok’s two built in screws. If you secure the
two top screws first you have to push really
hard and struggle to get the bottom screws in.
Be sure to secure it via the bottom plate first.
Hawk-Woods VL-65 Li-Ion = 3.3 hours.
Hawk-Woods VL-100 Li-Ion = 5 hours.
Hawk-Woods VL-160 = 8 hours.
fig.7
Woods screws for the same reasons as in step
4 as they are slightly longer to compensate for
the extra thickness of the V-Lok adaptor plate.
A package kit including batteries and charger
and V-Lok mount is currently available from
Hawk-Woods consisting of the following:
VL-65 Li-Ion Batteries x 2.
VL-L1 V-Lok 1-Ch Quick Charger.
VL-CF3 JVC GY-HD100 Camera Adaptor.
Prices are as follows (plus vat):
VL-CF3 JVC GY-HD100/V-Lok adaptor: £135.
VL-KT1 Kit consisting of: 2 x VL-65 V-Lok
Li-Ion batteries, 1 x VL-L1 V-Lok quick charger
and 1x VL-CF3 adaptor: £525.
Step 8:
Finally, remove the two screws and small
plastic protector located on top of the
camcorder just in front of the battery release
slide switch (fig.8). Keep the plastic protector
and 2 JVC screws in a small sealed plastic
bag and put them with the small JVC battery
For more information visit the Hawk-Woods
web site at www.hawkwoods.com, or contact
Brian on 01233 638715 or
email [email protected].
Finished and fully assembled.
Rating:
Professional cameraman Franz Pagot recently
shot a corporate video for Mercedes Benz for
their agricultural off road vehicles. Franz shot
the corporate with a JVC GY-HD100. Here he
explains why he chose to shoot the corporate
with the GY-HD100, what he liked about the
camera and what punishment it took along the
way. The corporate video had to be shot in
some really hostile environments in Europe to
demonstrate the great off road capabilities of
these amazing Mercedes vehicles. Conditions
included freezing blizzards with snow 4 foot
deep, sleet, pelting rain, dust and wind. At the
other end of the scale Franz and his camera
had to tolerate blisteringly hot and humid
sunny days at sweat-dripping temperatures.
I
remember the very first time I picked up
a camera, it was an old Mitchell 35mm
film job and it weighed a ton. I was really
surprised, as it didn’t look very heavy. When I
first picked up the JVC GY-HD100 I was again
surprised, but this time at how light it was. A
lightweight camera is not necessarily a good
thing, as operating a lighter camera can make
camera moves less fluid, which can cause
problems that you wouldn’t get with a heavier
camera. However, my back appreciates the
lesser weight. Another thing that impressed me
about the JVC is that it looks the part.
Most prosumer DV and HDV cameras feel
like toys and behave like toys. The viewfinder
is often not sharp enough, or in the wrong
place; the controls are too exposed to the
elements and it’s all to easy to knock buttons
accidentally when you don’t mean to, and the
ergonomics are usually a design joke. But
not the JVC, it looks and feels like a smaller
version of a Digibeta or HDCAM, and is
designed with the professional cameraperson
in mind i.e. all the buttons and switches are
in the right places, just where you’d expect to
find them.
GY-HD100 wrapped
in cling-film
When I picked the camera up from the rental
house they asked me if I had a car with a big
enough boot for the case and accessories. I
pointed outside to the production vehicle, a
massive Mercedes off road job. I loaded the
camera gear, climbed onboard and set off just
Franz hanging off Mercedes industrial vehicle with GY-HD100
as a big storm was coming in.
So what was I going to shoot? exactly
that; the storm. More precisely, what the
Mercedes off road vehicle can do in extreme
environments under impossible conditions.
At the initial production meeting we went
through several possible cameras to shoot this
corporate on. The director is used to working
fast, really fast. He knows what he wants and
he usually wants it in a flash. Initially the Sony
Z1 was considered as it’s a brilliant camera
that I have used on many occasions with great
success, but I also pointed out that considering
we were going to be working mainly at he long
end of the lens, we should use something with
a proper lens that is easy to focus manually
for my assistant, and I needed a camera that
could be operated easily when shouldermounted as well as holding it by the handle.
The JVC GY-HD100 is fully adjustable on the
shoulder; you can slide the shoulder pad back
and forth according to your physique, and it’s
fairly well balanced, while the equivalent Sony
(Z1) and Canon (XL H1) models are quite front
heavy; especially the Canon.
Big deal you might say, add some extra
bits, do this, adjust the other and balance
it out. This is not always practical. If you’re
working in a freezing blizzard or in extremely
hot midday sun, the last thing you’ll want to
do is to fine tune bits and pieces with frozen
hands or worry about sand getting inside lens
attachments and onto the glass, not to mention
having to constantly replace gaffer tape as it
falls off due to the heat/cold. You just want to
grab the camera, secure your harness, jump
out and shoot. And being able to find the
record button easily is always a plus.
Did I say that there was going to be a lot of
hanging around on this shoot? As in strapped
to a harness while the stunt guy drives at
speed through hellish roads that were not built
for anything to actually drive on. Helicopter,
motorbike, trike and a microlite were also part
of the tracking vehicles car park. Fun? maybe
the first few seconds, then you start wondering
when the next branch is going to whack you
on the helmet, or when the next stone is going
to flick up off the road and hit your hand. Not
to mention the harness twisting your private
parts, already absorbing all the bumps that the
huge shock absorbers can barely cope with.
Fun? think again.
The next question was how we were going to
protect the camera, especially from the rain
spraying off the road, dust, water and whatever
else the weather was going to throw at us, not
to mention cold slush and snot spraying up off
the massive Mercedes wheels, which in turn
passed on to me with an evil spin; the answer?
cling film! nothing beats it. I considered a
special housing, but my tests proved that the
good old transparent stretchy plastic does the
job just fine, and by using some clever padding
in the right places it’s quick to use and leaves
all functions easily accessible.
To keep water and debris off the lens I
simply fitted a clear filter to the front. As for
power, I didn’t bother with the small standard
battery that the camera comes with as the
run times are just too little, instead I used a
professional V-Loc version with an adaptor,
which was essential as the cold environment
meant battery times were reduced; big time.
To say that I put this camera though hell
is really an understatement. At one point I
was operating the camera from a helicopter
by actually hanging outside with a harness.
According to my clever watch, with built in air
temperature readout, the temperature was
as low as -25º C. Although my goggles would
freeze over, I could still achieve accurate
focus thanks to the clever focus assist mode,
a godsend of a button that turns the image
to black and white giving you the contours
in bright blue to indicate that the image is
in perfect focus (red and green can also be
selected via the menus). I found this feature to
be invaluable, especially when I was struggling
to see the camera, let alone the image.
The 0.44” viewfinder delivers a very decent
image and the adjustment knobs on it are real
helpers, giving you focus assist, brightness,
peaking and monitor adjustment. I have to
admit that at one point my assistant pulled
focus for me, braving the elements, because
viewing the extra 9” monitor inside the
helicopter he noticed I was not performing as
well as the camera. My excuse was that my
body is 42 years old, the camera a mere few
months. In the scorching desert the bright
sun meant the camera’s fold-out LCD panel
was totally useless, so I always worked using
the viewfinder with an absorbent pad on the
eyecup, my sweat was literally raining on it. If
you have the means it’s always better to work
with an extra big field monitor, especially if
using the lens on telephoto and shooting in
challenging light situations. The 3.5” LCD on
board monitor is good, but not that good, this
is just the nature of LCD screens, they don’t
mix with bright sunlight very well.
I tend to use the zoom manually as the
servo is too slow and doesn’t respond quickly
enough. Shooting action you must be able to
adjust the speed of the zoom to the movement
of your subject, never the same twice, never
Franz filming from helicopter
constant throughout; this is just my preferred
working method. The zoom is a very decent
Fujinon 16x that produces stunning results,
but I’d also recommend getting the additional
wide-angle lens if you intend shooting
landscapes etc, well worth having.
So what settings did I use on this corporate
job? The camera allows you to have some
presets, three in total, having colour-bars as
a preset is useful; change tape, hit the preset
and it’s done. Having two different temperature
presets is also useful, to cool down an
incoming sunset or warm up an early sunrise.
The camera is really well built, especially
considering the price. I did not come across
anything flimsy and my GY-HD100 did take
some beating without fuss, and it certainly took
the abuse from the elements better than I did.
It’s cleverly designed and has obviously
been put together with feedback from
professional cameramen.
All its controls are in the
same places as its bigger
and more expensive
relatives, it really feels
and handles like a scaled
down Digibeta.
I was impressed by the
cameras 16:9 resolution
3-CCD 1280x720 high-def
chips. Overall I was very
happy with the final results
from this camera. The
lens performs really well,
delivering a very good
digital picture to the CCD.
The JVC performed really
well and never missed a
beat. We saw the final cut
projected on a mammoth
plasma screen and it
looked really good. We shot bright orange
vehicles in bright sunny lit snow and we could
clearly see the wind shaped patterns on the
white blanket of snow. We recorded fast action
moving vehicles spraying water at 70mph on a
motorway at night and we could still appreciate
the finest detail. The sunset over the Jordanian
desert came out with all the palette you could
wish for on the screen.
I shot the entire project in 720p mode, which
resulted in a really nice filmic look, especially
because there was so much movement. I also
used quite a lot of filters, especially NDs, to
keep a shallow depth of field to add to that
overall film look.
I set the JVC up as follows: master black on
normal, keeping the black stretch off, detail
was set at –3, the level of the gamma was
at –1, and all other settings were at default.
€€€ FEATURE STORY
Tutorial
E
stablished in 1860, B. Hague &
Co. Ltd. are precision engineers,
manufacturing and supplying a variety
of products to the trade and direct to the end
user. Although trading under the name of
Hague, the company is owned and run by
two brothers, John and Robert Scotton, who
are the fourth generation of Scottons to be
involved in the company. Over the years B.
Hague & Company has had to adapt to the
changing trading conditions, so from the early
days of making parts for hosiery machines,
Hague now make industrial and home linking
machines, yarn winders, plus many other
aids for the machine knitter. However, as the
knitting industry has continued to decline
they have diversified into the manufacture of
camera grip equipment.
Following a review of the Jib in Camcorder
User, August 1994, in which it received a
95% Gold award, they found the majority
of their enquiries came from corporate
and professional users who were using
heavier full size camcorders, so a Pro-Jib to
support heavier camcorders up to 14kg was
introduced. Since then they have increased
•••
and can usually adapt mounts if necessary. All
items are usually available from stock.
The company employs eight people with a
sales team of Kath, John and Robert. Robert
is also in charge of new video products which
are always being developed. They have
recently brought out a handy accessory for
the Sony HS1 which simply converts the
small Sony accessory shoe to a standard size
accessory shoe enabling other manufacturer’s
microphones, lights etc to be attached to the
camcorder. They’ve also engineered a tripod
adaptor that enables you to change tapes in
the Sony HC1 or A1 without removing it from
the tripod.
their range of grip equipment for both the
It was in 1994 that Hague first started
manufacturing camera grip equipment. Robert
Scotton had been a keen amateur moviemaker
for quite a few years and was keen to get
more professional shots into his movies. After
looking at jibs and tracking dollies he realised
that these were all priced way beyond the
reach of most amateur movie makers, so
he decided to look into producing a range of
similar products, aimed at the amateur movie
maker, at a price they could afford. Their first
Jib was designed for lightweight camcorders to
support a maximum weight of 6kg. Robert who
is a member of a local video club, Nottingham
Moviemakers, and of the IAC Film & Video
Institute ( www.theiac.org.uk ), thought this
would be ideal for the market.
professional and amateur user.
Their factory and sales office is located on the
outskirts of Nottingham, on the edge of the
Colwick Industrial Estate. The company also
owns additional warehouse space located
nearer the city centre. They also have a
showroom, with easy off-street parking, where
customers are welcome to visit and try out the
equipment by prior appointment. The products
Hague manufacture now include a range of
jibs and cranes with the new Multi Jib being
one of their best sellers as it can be used at
three different lengths. There are also three
tracking systems and a large range of vehicle
suction mounts, clamps and brackets.
The company is now one of the country’s
leading suppliers of Manfrotto tripods, clamps,
brackets and camcorder controllers. They
also supply other camcorder accessories,
including high capacity batteries for the most
popular camcorders, wide angle lens adaptors,
microphones, lights, power heads, monitors,
bags etc.
They have made specialist grip equipment for
hospitals to film operations, and developed
custom accessories for Police Forces across
the country. They also supply Colleges and
Universities with a range of camera grip
equipment for use by students on their film and
media courses, as well as supplying the BBC
and Independent TV companies with specialist
equipment from stock or custom built.
Hague also stock products by Manfrotto, Libec,
Ianiro, Rode, Sennheiser, Lowepro, Kata, Swit,
Vari-zoom, Redeye, Raynox, Hama, Cullmann.
Hague also stock all sorts of specialist camera
mounts that are quite often difficult to get
hold of, as many retailers do not stock this
type of item. They also specialize in mounting
cameras in unusual places, including vehicles,
Contact details: Web: www.b-hague.co.uk
.Address: B. Hague & Co. Ltd. Mile End Road,
.Colwick, Nottingham. NG4 2DW.
Phone: 0115 987 0031 Fax: 0115 987 2900
.E-mail: [email protected]
Title: How to Shoot, Edit & Distribute HDV
Author: Andrew Lock
Publisher: FPPC
ISBN: 0-9777441-0-8
Price: £14.99
Web site: www.hdvbook.com
T
here is no doubt that many people
are cashing in on the whole HDV
revolution. There are books, training
DVDs, web sites and a whole lot more; some
good, some not so good, some brilliant, some
just plain lousy. The book ‘How to Shoot, Edit
& Distribute HDV’ that I am reviewing here falls
into the ‘Brilliant’ category.
Author Andrew Lock is a professional
video producer, consultant and trainer with
over 12 years experience in the industry. He
has produced video marketing projects for
corporate clients such as Sony and British
Airways. Lock is a recognised advisor in
the video production and film industry and
his numerous articles and books are highly
regarded. Lock was born in the UK, but now
resides in the USA. Over there, he has a
reputation for his frank, honest and direct
approach and has been dubbed by his peers
as the ‘Simon Cowell’ of the video industry.
Lock doesn’t forget about his roots and us
Brits, he makes regular reference to PAL.
How to Shoot, Edit & Distribute HDV has
23 chapters over 140 pages with plenty of
photographic illustrations scattered throughout.
The book starts with a bit of history and how
we got to where we are today with HDV and
HD, which makes for an interesting read from
a historical point of view. Lock doesn’t bang
on and on with the history lesson (thank god),
instead he makes it brief and to the point, and
what he does say is valid and worth knowing.
He then gets stuck into the technical aspects
of HDV covering the usual pixel count and
other resolution related stuff as well as frame
sizes and frame rates and the 24p trend and
an overview on the HDV audio codec. He also
touches on Panasonic’s P2 HD technology,
even though it is not HDV.
The next 36 pages cover the current crop
of HDV camcorders, both professional and
consumer; Lock does a good job of listing
them by Pro and Consumer category. The
HDV cameras include the Sony Z1, FX1 &
A1, JVC GY-HD100, Canon XL H1 and many
others. The next section is entitled ‘Shooting
HDV’ and although there are only 12 pages
that make up this section, this chapter alone
is worth the £14.99 asking price as it points
out many things that many newbies to HDV
(as well as established HDV shooters) won’t
Editor digesting HDV info.
be aware of. These include important factors
such as widescreen, focusing, panning &
camera moves, exposure, filters, direct-to-disc
recording, audio and a brief bit on lighting – all
of which differ greatly from shooting regular
SD such as Mini-DV and DVCAM.
Chapter 16 has 9 pages dedicated to ‘the
film look’ and how to achieve it with HDV. This
is a brilliant chapter that encapsulates getting
the ‘film look’ in a quick 10 minute read. I’ve
read many a post on the usual forums out on
the internet with people asking how they can
get the film look and I’m amazed at the usual
responses to this question such as “convert
to 24p in post-production”. To many, getting
the film look all boils down to converting your
interlaced footage to 24p, or shooting in some
sort of progressive mode to start with. Well,
there is a whole bunch more to it than that
such as: lighting, filters, exposure, depth of
field, aspect ratio, gamma curves, camera
support e.g. Steadicam and tripods, grain &
artefacts, grading and film colourization, oh
yes, and a 24p frame rate. Lock does a great
job of explaining all the above and why there is
a lot more to it than a progressive 24p framerate alone.
Chapter 17 and 18 covers the topic of
editing HDV and the hardware and software
available and how it differs. Chapter 20
covers some of the useful HDV devices and
accessories that can be bought including
decks, chroma-keying software and 35mm
lens adaptors. Then the book moves swiftly
onto the subject of HDV monitoring and the
various monitors that are available for editing
and colour grading in post-production with
a comparison between Plasma and LCD
screens and the advantages/disadvantages of
both with make/model recommendations and
the usual technical advice on pixel count for
HDV viewing. Chapter 22 covers the topic of
‘how to distribute HDV’ and the various options
available. This part of the book covers the
various options e.g. ‘shoot DV/DVCAM – edit
DV/DVCAM ‘ shoot HDV – edit DV/DVCAM’
‘shoot HDV – edit HDV’ and the pros and cons
with all of them. Lock also explains about the
upcoming format war between Blu-Ray and
HD-DVD, the pros and cons to both. Luckily
for us, we won’t have to concern ourselves
with the pros and cons part as both these
formats are radically different with regard to
the playback and record technologies; so there
can be only one winner in the end. This will
surely be dictated by who is supporting which
format and the usual marketing muscle, as
opposed to which one is the best; does VHS
vs. Betamax ring any bells? Well, Betamax
was by far the superior format, yet VHS won.
It’s about to happen all over again. Lock gives
his thoughts on these two formats, covering
the technical issues and which big companies
are backing which of the two.Lock does not
own a crystal ball so he has no way of knowing
who will win this format battle in the long run,
but his insights are a fascinating read and
he has some interesting views on Blu-Ray
discs and HD DVD discs. This chapter is
short and to the point, Lock does not go into
any technical details here, he simply gives
the reader a brief insight into the two formats.
All this is just another part of the whole HDV
revolution that Lock covers in this book.
So, there it is, if you are confused by all
the conflicting information surrounding HDV
then you could do a lot worse then order
a copy of this great little book by Andrew
Lock. It’s an easy read, I got through the 140
pages in a single sitting and by the time I had
finished I didn’t feel like I’d been stuffed with
an abundance of irrelevant technical jargon.
My brain was comfortably stimulated by the
content, much of it I knew already, but there
were some great little gems that I did not know
about too. Lock has done an excellent job of
encapsulating the entire HDV workflow from
concept to completion.
To order a copy visit: www.hdvbook.com
Summary: A fantastic book covering all
aspects of HDV. The 140 pages are clearly
written by UK-born author Andrew Lock.
If you are new to HDV this book is a must,
if you are already on the HDV bandwagon,
this book will clarify things that you might
not have known about. This book is a
fast-track way to get up to speed with HDV
and everything it stands for. At just £14.99
you simply can’t go wrong. My book was
shipped from the USA but by the time you
read this there will be a stock in their UK
office for cheaper shipping.
Rating:
Nigel Cooper gives you the low-down on tripods and accessories
All serious camera operators understand the importance of a good quality tripod. All
professional video work will require a tripod, at some stage, therefore it’s important to
choose the right tripod for the job. A tripod consists of a head and a set of legs. These are
separate components, although most tripods are usually sold as a package made up of
the head, legs, a spreader and case.
Selecting A Tripod
In most cases a good tripod will outlive your camera – by many years. Most tripod
manufacturers make a range of tripods designed for use with different size/weight
camcorders so it’s important to choose your tripod accordingly. It would be no good
buying a tripod designed for a full-size shoulder mounted camcorder such as a Sony
XDCAM HD model, to use with a smaller lighter camcorder such as a Sony V1, as it
simply won’t balance right.
Try not to penny-pinch and compromise too much with your tripod. For many years,
professionals and amateurs alike would buy a tripod budgeted at approximately 20% of
the value of their camera e.g. if the camera was a Sony Digibeta costing £22,500, they
would pay around £4,500 for a tripod. If the camera were a Sony PD170 costing £2,700,
they would pay around £450 for a tripod. Don ‘t ask me who invented this rough camerato-tripod ratio or why people follow it – they just do.
But, it’s now time to change this ratio rule, why? Because today’s prosumer and
semi-professional camcorders such as the Sony Z1, Canon XL H1, JVC GY-HD111E and
Panasonic HVX200, produce images so good they are snapping at the heels of many
high-end professional broadcast cameras. It’s for this reason that you should be spending
more on a tripod – because your camcorder is worth it.
Tripod Components
The tripod is made up of the head, legs and spreader. The head supports the camera and provides the movement. It should be noted here that
all tripods heads are not created equal. If you’ve got the money it’s definitely worth investing in a quality, fluid head tripod. The fluid head, as its
name implies, provides fluid (smooth) movement during panning and tilting. You’ll really appreciate this feature when trying to video subjects when
zoomed in close. Tripod legs come in many varieties. The main differences are with their height, weight and general sturdiness. They come in
single-stage or two-stage, mid-spreader or floor-spreader, alloy or carbon fibre. Some have
a claw ball bowl design that allows the head to be levelled on the tripod legs with the aid of a
spirit-levelling bubble.
The Head
The first thing you will need to establish is whether to go for a 75mm or 100mm ball base
size head. This will be determined by the size/weight of your camcorder. See under ‘75mm or
100mm bowl opening legs’ further down the page. For small to mid-sized camcorders such as
the Sony Z1, Panasonic HVX200, Canon XL H2, JVC GY-HD100 etc, you will need a 75mm
bowl/ball base head and for larger/heavier full size shoulder mounted camcorders such as a
Sony XDCAM HD and DSR450 you will need a 100mm bowl/ball base head.
Drag Control
Most video tripod heads have drag controls for the pan and tilt. The drag controls
allow you to adjust the amount of resistance during a pan or tilt movement. This
varies from a very tight/stiff control with lots of resistance to a very loose/free control
with virtually no resistance at all. You can set the drag control for the pan and tilt
to anywhere in-between these two extremes. There are two types of drag control
systems; continuous and step. Continuous means you can set the drag precisely
via a dial, you simply turn the dial until the desired amount of drag is reached. Step
drag systems work differently. With a step system there will be a number of fixed
positions to choose from, this could be 3, 5, 8 etc. Obviously the more step choices
you have the better the chances of you being able to choose a drag setting that suits
the shooting situation. It’s usually better to go for the continuous type as you have
much more control over setting up the head. With both continuous and step drag
control systems, you can set the drag controls for both pan and tilt separately i.e. you
might prefer a tighter setting for the tilt, but a looser setting for the pan, or vice-versa.
The more control you have over these head settings, the better. Some of the more
expensive heads also have a counter-balance system to help balance your camera
perfectly (see balance on next page).
€€€ TRIPOD INFO BASE
Fluid or Friction?
Tripod heads come in two varieties, fluid or friction. This refers to how
the drag controls work i.e. setting the drag controls for the pan and tilt to
achieve more or less resistance. The friction based method for controlling
drag is the cheaper option and is usually found on budget priced tripods.
The friction drag control method works okay, but it is a relatively cheap
manufacturing process and is found on tripods that are built to a budget,
and it is nowhere near as smooth or effective as a fluid controlled head.
Fluid heads use an internal fluid to create the dampening effect for
the pan and tilt controls. Because the manufacturing process for a fluid
tripod head is more complex, the heads are more expensive; but there is
still a difference between a lower priced fluid head and a more expensive
professional fluid head. There is no doubt that a bottom of the range fluid
head will work better than a top of the range friction head. However, a
cheaper fluid head such as the Manfrotto 503 (£300) will not work as
precisely as a more expensive professional model such as a Vinten Vision
6. An out-and-out professional fluid head such as any of Vinten’s Vision
range (£650 and upwards for head only) or the more expensive Sachtler range (£650 and upwards for head only) are manufactured under stringent
condition and are built for professional use; and professionals are a real fussy bunch when it comes to tripod heads. The Vinten and Sachtler range
have all the air bubbles vacuumed out of the fluid during the manufacturing stage and the fluid used is of a superior kind and is different from the
fluid used in lower priced fluid heads. Unlike the cheaper fluid heads that have irritating characteristics such as ‘creep’ (where the head creeps back
in the fluid a few millimetres at the end of a pan) and ‘dead spots’ (where there are moments during a pan or tilt that you don’t feel the fluid i.e. you
hit an air pocket, or a sudden temperature change from indoors to outdoors affects the fluid), the more expensive professional fluid heads don’t
have any of these niggly characteristics or problems hence they are built for out-and-out professional work where only the very best will do.
Quick Release or Sliding Plate?
Tripod heads come with two types of release plates, this can take the form of a
camera plate fixed to the bottom of the camera that clicks on and off the tripod
head, or a sliding plate fixed to the bottom of the camera that slides on and off the
tripod head. These are known as the quick release plate and the sliding plate. In
reality they are both quick and easy to release from the tripod head. With the quick
release type you usually press a safety button in, then pull a release lever. With
the sliding plate type you usually loosen a lever half a turn then slide the plate off
towards the back of the head whilst pressing in a safety button. There is not much
difference in the amount of time it takes to release your camcorder from the head
with either of these systems, so if you need to get from a tripod shot to a handheld
shot quickly there is not much in it.
A quick-release mechanism is more common on stills photographic tripod heads
and video tripod heads designed for much smaller camcorders such as the Sony
HVR-A1E or similar size/weight palmcorders. The quick release mechanism is also
found on lower priced video tripod heads. This allows you to quickly remove the
camera from the tripod, but it leaves no room for balancing the camcorder on the head as you cannot slide it back and forth and lock it into position
like a sliding plate.
The sliding plate variety is found on the better and more expensive professional tripods. The sliding plate design assures the camera is mounted
to the head in a much more secure manner; it feels sturdier and safer. The sliding plate also allows for a degree of balance as you can slide the
plate back and forth within about an 8-centimetre range, then clamp it into place. This means that you can get the camera’s centre of gravity directly
above the tripod head even if the camcorder is front or back heavy. The sliding plate system allows for finer adjustment, which equates to superior
balance and better performance.
Perfect Balance
Some tripod heads have a counterbalance system that prevents the
camcorder from slowly tilting backward or forwards when you remove
your hand from the pan bar. Tripod manufacturer Vinten call their system
‘Perfect Balance’. These special tripod heads have a large spring inside
them, which forces the head back to its horizontal position when you take
your hand off the pan bar. Once you have your camcorder mounted on
the tripod head and have adjusted the tension of the spring via a large
external knurled knob (Vinten Vision series except Vision 3), you can then
tilt the camcorder up or down into any position, let go of the pan bar, and,
as if by magic, the camcorder and tripod head will remain in that position.
This feature comes into its own if you have to tilt up or down into a shot,
then hold the shot for a few seconds. Trying to hold a shot like this steady
with a non-balancing head would be incredibly difficult.
TRIPOD INFO BASE €€€
The Legs
Obviously the legs must be sturdy enough to hold the weight of the camera and any
additional accessories that might be attached. Modern tripod legs are much lighter these
days due to the use of alloy tubing or carbon fibre options, and take the form of either a
single-stage or two-stage design. Single-stage legs have just one sliding section to the
construction and are generally slightly cheaper than two-stage models. The advantage of
a single-stage tripod is that they are easier to set up and pack away as there is only one
locking section to each leg. However, they don’t pack away quite as small as a two-stage
tripod, as the leg sections have to be a bit longer.
Two-stage legs have two sliding sections to the construction, which allow the legs to
collapse down to a shorter length taking up less room when folded away. The two-stage
tripod is also better for lower to the ground shooting angles due to its three shorter leg
sections as opposed to the two longer leg sections of a two-stage model. If you shoot
corporate videos and weddings and the like and have no need for really low shooting
angles and don’t mind the overall length being about 7 inches longer when packed away,
save yourself some money and go for a single-stage design as they are easier to use. If
however you need to shoot from a very low to the ground angle and/or need your tripod to
fold up that little bit smaller (perhaps to fit in a small boot of a car) then go for a two-stage
tripod.
75mm or 100mm bowl opening legs?
The ‘Bowl’ is the circular concave opening at the top of the legs that
the head fits into. The standard bowl sizes (openings) are 75mm
and 100mm. Although bowl sizes come in larger sizes than this
i.e. 150mm, they are for much larger cameras i.e. 35mm film. The
75mm and 100mm bowl designs cover cameras from small hand
held models right up to full size professional shoulder mounted
models. The larger 100mm bowl allows for a larger head to be fitted,
which will accommodate full size shoulder mount cameras such as
Sony Digibeta, XDCAM and HDCAM models. The larger 100mm
bowl does a better job of supporting larger camcorders due to its
larger diameter opening. However, a 100mm bowl is not necessary
for smaller or mid-sized camcorders. For smaller/medium size
camcorders such as the Sony Z1, Panasonic HVX200, Canon XL H1
and JVC GY-HD111 a 75mm bowl tripod will be perfect. If you buy a
set of tripod legs with a 75mm bowl opening you will need to buy a
tripod head with a ball base size of 75mm. If you buy a set of tripod
legs with a 100mm bowl opening you will need to buy a tripod head
with a ball base size of 100mm.
Tripod legs bowl opening and head ball base size
compatibility chart.
75mm bowl/ball base size is suitable for small to mid size/weight
camcorders such as:
Sony HVR-Z1E, HVR-V1E, DSR-250
Panasonic HVX200, DVX100
JVC GY-HD111E, GY- DV5000E
Canon XLH1, XL2 and similar size/weight camcorders.
100mm bowl/ball base size is suitable for larger full size shoulder
camcorders such as:
Sony DSR450, DVW-970P, PDW-530P, F350 XDCAM HD
Panasonic AJ-SDX900, AG-HDX400 and similar size/weight
camcorders.
Alloy or Carbon?
What are the advantages/disadvantages with alloy and carbon
tripod legs?
Alloy legs are more durable, can be repaired if the tube gets bent,
drop more easily after deploying legs, and they are cheaper to buy.
Carbon legs, on the other hand, weigh less, don’t corrode in salt
water, it’s a sexier material, and it’s much stiffer. However, carbon
legs are more expensive than alloy ones.
€€€ TRIPOD INFO BASE
The Spreader
The spreader is a brace that is fitted between the three
legs of the tripod. There are two types of tripod spreader,
the floor-spreader and the mid-level spreader. The midlevel spreader is positioned halfway up the tripod legs.
This allows the bottom section of the legs to be adjusted
on uneven ground. This configuration is recommended for
outdoor use or for use when shooting on uneven ground
or where space is not available and one or more legs
have to be set to different lengths to compensate.
The floor-spreader is ideal when shooting on flat surfaces,
such as indoors or in a studio environment. In conjunction
with the two-stage tripod leg design the floor-spreader will allow the tripod to go down to really low level shooting angles.
Dollies & Tracks
If you have ever tried to track a subject while walking, you’ll have noticed the
unavoidable camcorder shake that this entails. It’s pretty unavoidable and for
this reason most professionals use a tracking system or dolly when they shoot
objects that are moving. A dolly is a wheeled cart on which the camcorder and
tripod is mounted, the dolly is then pushed along as you film. When using a
wheeled dolly directly on the ground i.e. not on tracks, the surface has to be
smooth for obvious reasons. Big film studios mount the dolly on a track system
and employ an extra person to push/pull it; these people are called grips. These
high-end professional tracking systems can cost thousands of pounds but there
are many cheaper options available from companies such as ABC and B-Hague.
It’s possible to improvise a cheap DIY dolly using such items as a shopping
trolley or better still, a wheelchair, the latter was used by Robert Rodriguez
during the making of his low-budget film El Mariachi.
A very effective dolly shot is to move backwards as actors move towards you,
capturing the look on their faces as they move through the scene. You would also need a dolly for pulling off the contra zoom (or Spielberg shot).
This is where you start on a wide shot, then as you dolly in you simultaneously zoom out. This creates a distorted perspective on the background,
as the subject remains perfectly framed.
Lanc controllers
The Lanc, or sometimes referred to as the Lens controller, is a device that is fitted to the
tripod’s pan handle. A cable then goes from the lanc controller and plugs into the camcorder
(or lens, in the case of shoulder mounted professional cameras). This allows you to operate
various features on the camcorder, but directly from the lanc controller that is conveniently
mounted on the tripod’s pan handle. These features include start/stop record, zoom in/out with
adjustable zoom speeds, ret (for viewing last 5 seconds recorded and/or parking on last frame
of tape after changing tapes). It is much easier and more convenient to operate such features
directly from the tripod’s pan handle as your hand it already on it, it saves reaching around the
camera and fumbling for the zoom and start/stop controls. Lanc controllers are available for
most prosumer/semi-professional camcorders and broadcast 1/2 inch and 2/3rd inch lenses.
Lanc manufacturers include Manfrotto, Libec, Varizoom, BeBob and of course Canon and
Fujinon.
Setting Up Your Tripod
Unpack your tripod and unclip the leg restraints/restraint. These can take the form of a clip on each leg or
a single string that stops the legs from opening out during transit. Open out the legs and spreader slightly
then undo all the leg locks, then lift the tripod by the head to the required height and allow the legs to
drop, then retighten the leg locks. Adjust the floor or mid-level spreader so the legs are wide enough to
safely prevent the camera/tripod from toppling over.
Undo the bowl-locking knob positioned underneath the head and in-between the legs, this will allow
you to level the head using the spirit-levelling bubble. Once the head is level, lock-off the bowl. Now
adjust the angle of the pan bar so it is in a comfortable operating position; 45° downwards is a good
starting point. Now lock both the pan and tilt locking knobs while you mount the camcorder onto the
tripod.
Fix the sliding plate (or quick release plate) to the base of the camera as close to the camcorder’s
centre of gravity as you can, then tighten it up.
Now place the camera on the tripod. Make sure the drag control for tilt is set to minimum (off with no
drag resistance whatsoever), then while holding the pan bar, loosen the tilt-locking lever off altogether
and slide the camcorder back/forth along the head of the tripod (note: quick release plate designs can’t
TRIPOD INFO BASE €€€
do this) until the camera sits perfectly horizontal without falling forward or backward; this is known as finding the camera’s centre of gravity. Be
sure to hover your hand over the pan handle in case the head/camcorder falls back/forth. Once the camcorder is balanced in the dead centre of
the head, lock off the sliding plate to prevent further movement. Adjust the pan and tilt drag tensions to your desired settings, experimenting with
different levels of drag. In general, use lighter drag tension for close or fast-moving subjects. Use heavier drag tension for slow moves, longer
zooms, or if you’re having difficulty keeping the shot steady.
Remember to use the pan and tilt locks to lock the tripod off when you are not using the camera otherwise there could be a danger of the camera
falling (tilting) forward or backward into one of the tripod legs; especially if you are using a tripod that doesn’t have a ‘perfect balance’ system like
those found on the Vinten Vision range or higher end Sachtler and Libec models.
Tripod Manufacturers
Vinten (made in England) - www.vinten.co.uk
Sachtler (made in Germany) - www.sachtler.co.uk
Libec (made in Japan) - www.libec.co.uk
Miller (made in Australia) - www.millertripods.com
Cartoni (made in Italy) - www.cartoni.com
Manfrotto (made in Italy) - www.manfrotto.com
Tripods suitable for smaller prosumer/semi-professional camcorders i.e.
Sony HVR-Z1E & HVR-V1E, Canon XH G1 & XH A1, Panasonic HVX200.
Vinten Vision 3 system with number 2 spring – from £995 inc VAT
Vinten Pro 5 – (budget series tripod, up to 6 kg capacity) £345 inc VAT
Manfrotto 503/525 kit – (budget series tripod, up to 6 kg capacity) £345 inc VAT
Sachtler DV4 system (only 1 step balance) – from £950 inc VAT
Sachtler DV6 system (multi step balance) – from £1250 inc VAT
Cartoni Focus – from £799 inc VAT
Miller DS10 systems – from £850 inc VAT
Libec LS38 system (suitable for cameras up to 4kg) – from £399 inc VAT
Libec TH-950DV (suitable for cameras up to 4kg) – from £199 inc VAT
Libec LS-22DV (suitable for cameras up to 4kg) – from £269 inc VAT
Tripods suitable for smaller shoulder-mount semi-professional camcorders i.e.
JVC-GY-HD111E, Canon XL H1
Vinten Vision 3 with number 2 spring (fixed balance system) – from £970 inc VAT
Vinten Vision 6 – (continuous balance system) from £1,595 inc VAT
Manfrotto 503/525 kit – (budget series tripod, up to 6 kg capacity) £345 inc VAT
Sachtler DV6 system (multi step balance) – from £1250 inc VAT
Cartoni Focus (continuous balance system) – from £795 inc VAT
Miller DS10 or DS20 systems – from £850 inc VAT
Libec LS38 (suitable for cameras 4 to 8kg) - £399 inc VAT
Tripods suitable for shoulder-mount ENG type camcorders i.e.
Sony DSR450, Panasonic AG-SDC615, AJ-D400, JVC GY-DV5100E
Vinten Vision 6 (continuous balance system) – from £1550 inc VAT
Vinten Vision 8 (continuous balance system) – from £2,150 inc VAT
Miller DS25 system – from £2,100 inc VAT
Libec LS-55 (suitable for cameras 6 to 8kg) – from £599 inc VAT
Tripods suitable for full-on broadcast-professional camcorders i.e.
Sony Digibeta, XDCAM HD & HDCAM, Panasonic DVCPRO50 & AJ-D910, JVC D9, Thomson Viper HD
Libec LS-70 (suitable for cameras 5 to 14kg) – from £1149 inc VAT
Libec H85Z (suitable for cameras 5 to 17kg) – from £2049 inc VAT
Miller DS60 system – from £4,250 inc VAT
AUDIO EQUIPMENT
Beyerdynamic UK Ltd
17 Albert Drive, Burgess Hill,
West Sussex RH15 9TN
Tel: 01444 258 258 Fax: 01444 258 444
Web: www.beyerdynamic.co.uk
Canford Audio PLC
Crowther Road, Washington,
Tyne & Wear. NE38 0BW
Tel: 0191 418 1000 Fax: 0191 418 1001
Email: [email protected]
Web: www.canford.co.uk
Digital Village
86 Mill Road, Cambridge,
Cambs. CB1 2AS
Tel: 01223 316091 Fax: 01223 353857
Web: www.dv247.com
First Sense Broadcast & Film Gear
The Television Centre, Bath Road
Bristol. BS4 3HG
Tel: 0117 980 3500 Fax: 0117 972 2217
Web: www.firstsense.co.uk
HHB Communications Ltd
73 - 75 Scrubs Lane,
London, NW10 6QU.
Tel: 020 8962 5000 Fax: 020 8962 5050
Web: www.hhb.co.uk
Media Atlantic
PO Box 5050, Derby. DE23 8ZW
Tel: 0870 161 5050 Fax: 0870 161 5051
Web: www.mediaatlantic.com
River Pro Audio
Unit 3, Grange Yard, London. SE1 3AG
Tel: 020 7231 4805
Web: www.riverproaudio.co.uk
Rycote Microphone Windshields Ltd
Libby’s Drive, Slad Road, Stroud
Gloucestershire. GL5 1RN
Tel: 01453 759338 Fax 01453 764249
Web: www.rycote.co.uk
Sennheiser U.K Ltd
3 Century Point, Halifax Road,
High Wycombe, Bucks. HP12 3SL
Tel: 01494 551 551 Fax: 01494 551 550
Web: www.sennheiser.co.uk
Soundgenie
Unit 2, Heybridge Enterprice Center, The
Street, Heybridge, Maldon,
Essex. CM9 4NN
Tel: 01621 843200
Web: www.wirelessmics.co.uk
Soundkit
12 Earle Place, Canton, Cardiff. CF5 NZ
Tel: 02920 342907 Fax: 29020 231235
BATTERIES & POWER
Web: www.soundkit.co.uk
Total Audio Solutions
3 Woden Court Park, Saxon Business
Park, Hanbury Road, Bromsgrove,
Worcs. B60 4AD
Tel: 01527 880051
Web: www.totalaudio.co.uk
BATTERIES & POWER
DS Video Facilities
Unit 27, Metro Centre, Britannia Way,
Coronation Road, London. NW10 7PR
Tel: 020 8965 8060
Web: www.dsvideo.co.uk
JVC Professional Europe
JVC House, JVC Business Park,
12 Priestley Way, London. NW2 7BA
Tel: 020 8208 6200
Web: www.jvcpro.co.uk
Canopus Europe
Unit 4, The Duran Centre, 14 Arkwright
Rd, Reading, Berkshire. RG2 0LS
Tel: 0118 921 0150
Web: www.canoups-uk.com
Hawk-Woods Ltd
Briscall House, Wotton Road,
Ashford, Kent. TN23 6LW
Tel: 01233 638715
Web: www.hawkwoods.com
Panasonic Broadcast Europe
West Forest Gate, Wellington Road,
Wokingham, Berkshire. RG40 2AQ
Tel: 0118 902 9200
Web: www.panasonic-broadcast.com
CVP Imaging Solutions Ltd
Priory Mill, Castle Road, Studley,
Warks. B80 7AA
Tel: 01527 854222
Web: www.creativevideo.co.uk
IDX Technology Europe Ltd
34 Taunton Road, Metropolitan Centre,
Uxbridge, Middlesex. UB6 8UQ
Tel: 020 8813 1666 Fax: 020 8813 1777
Web: www.idx.tv
Sony Pro Broadcast UK
The Heights, Brooklands, Weybridge,
Surrey. KT13 0XW
Tel: 01932 816 275
Web: www.sonybiz.net
Datavision Ltd
Russell Farm, New Road, Maulden,
Bedfordshire. MK45 2BG
Tel: 01525 406886
Web: www.datavision.co.uk
PAG
565 Kingston Road, Raynes Park,
London. SW20 8SAww
Tel: 020 8543 3131
Web: www.paguk.com
Pro-X
P.O. Box 2035, Watford,
Hertfordshire. WD18 9WZ
Tel: 01923 712712 Fax: 01923 712777
Web: www.dvbuyer.co.uk
Rhino Power & Light Ltd
Pinewood Studios, Pinewood Road,
Iver Heath, Buckinghamshire. SLO 0NH
Tel: 01753 651444 Fax: 01753 651334
Web: www.rhinopower.tv
BLANK TAPES, DVDs, CDs & MEDIA
DVDR.CO.UK
1 Ravenscourt Park, London, W6 0TZ
Web: www.dvdr.co.uk
Double Vision Group
The Studio, Half Key Farm, Malvern,
Worcestershire. WR14 1UP
Tel: 01886 830084 Fax: 01886 833783
Web: www.dvtapes.co.uk
KVJ Fairdeal
76 Whitechapel, High Street,
London. E1 7QX
Tel: 020 7247 6029 Fax: 020 7247 5099
Web: www.kvjfairdeal.com
MVS Video
Alkham Valley Road, Folkestone,
Kent. CT18 7EH
Tel: 01303 891468
Web: www.mvsvideo.com
Penridge Milti-Media
The Barn, Rashwood Meadow,
Droitwich Spa,
Worcestehrsire. WR9 0BS
Tel: 01527 861911
Web: www.penridge.com
Pricebusters
27 Springfield Road, Harrow
Middlesex. HA1 1QF
Tel: 0870 800 3444 Fax: 020 8930 8782
Web: www.pricebuster.org.uk
CAMCORDER MANUFACTURERS
Canon UK Ltd
Woodhatch, Reigate, Surrey. RH2 8BF
Tel: 08705 143723 Fax: 01737 220022
E: [email protected]
Web: www.canon.co.uk
CASES & BAGS
CP Cases
Worton Hall Industrial Estate,
Worton Road, Isleworth,
Middlesex. TW7 6ER
Tel: 020 8568 1881 Fax: 020 8568 1141
Web: www.cpcases.com
Kata Cases
Official UK reseller: Proactive UK Ltd
1 Eastman Way,
Hemel Hempsted. HP2 7DU
Tel: 01442 253313 Fax: 01442 260913
Web: www.proav.co.uk
Pyser-SGI Ltd (Portabrace)
Broadcast Products Division,
Fircroft Way, Edenbridge,
Kent. TN8 6HA
Tel: 01732 864111 Fax: 01732 865544
Web: www.pyser-sgi.com
TV Cases
9 Elmsdale, Wightwick, Wolverhampton.
West Midlands. WV6 8ED
Tel: 07976 369776
Web: www.tvcases.co.uk
Digital Video Computing Ltd
Phoenix House, 17-19 Norway Street
Portslade, Sussex. BN41 1GN
Tel: 01273 707200 Fax: 01273 439985
Web: www.dvc.uk.com
Edirol Europe
Studio 3.4, 114 Power Road,
London. W4 5PY
Tel: 0870 3501515
Web: www.edirol.co.uk
Holdan Ltd
Unit 2 Waterside Business Park,
Waterside, Hadfield, Glossop,
Derbyshire. SK13 1BE
Tel: 0845 1304445
Web: www.holdan.co.uk
Pinnacle Systems
Building 7, The Grand Union Office Park,
Packet Boat Lane, Uxbridge,
Middlesex. UB8 2GH
Tel: 01895 424210
Web: www.pinnaclesys.co.uk
CHROMAKEY & BACKGROUNDS
Planet PC
The Old School, 690 Bradford Road,
Birkenshaw, West Yorkshire, BD11 2DR
Tel: 01274 713400
Web: www.planetdv.net
Bristol UK Ltd
Unit 3, Sutherland Court,
Tolpits Lane, Watford. WD18 9SP
Tel: 01923 779333 Fax: 01923 779666
Web: www.bristolpaint.com
Siren Technology
178 Radcliffe New Road, Whitefield,
Manchester. M45 7RG
Tel: 0161 796 5279 Fax: 0161 796 3208
Web: www.sirentechnology.co.uk
Colorama Photodisplay Limited
Unit 7, Ace Business Park,
Mackadown Lane, Kitts Green,
Birmingham. B33 0LD
Tel: 0121 783 9931 Fax:0121 783 1674
Web: www.coloramaphotodisplay.co.uk
Ulead
PO Box 835, Canterbury,
Kent. CT2 7WE
Tel: 01227 379 481
Web: www.ulead.co.uk
Lastolite Professional
1 & 2 Vulcan Court, Hermitage Ind Est,
Coalville, Leicestershire. LE67 3FW
Tel: 01530 813 381 Fax: 01530 830 408
Web: www.lastolite.com
ZEN Computer Services
3 Carolina Way, Salford Quays,
Manchester. M50 2ZY
Tel: 0161 736 5300 Fax: 0161 736 5303
Web: www.zenvideo.co.uk
COMPUTER HARDWARE/SOFTWARE
DVD DUPLICATION & REPLICATION
Adobe Systems UK
3 Roundwood Avenue, Stockley Park,
Uxbridge. UB11 1AY
Tel: 020 8606 1100 Fax: 020 8606 4004
Web: www.adobe.co.uk
24-7 DVD Ltd
1 Ravenscourt Park, London. W6 0TZ
Tel: 020 8748 2247 Fax: 020 8237 1247
Web: www.24-7dvd.co.uk
Apple Computers UK Ltd
2 Furzeground Way, Stockley Park Ind
Est, Uxbridge, Middlesex. UB11 1BB
Tel: 020 8218 1000 Fax: 020 8218 1310
Web: www.apple.com/uk
Disc Makers
Units 15/16 Raynham Road Trading Est.
Bishops Stortford, Herts. CM23 5PD
Tel: 0845 130 2200 Fax: 01279 657115
Web: www.discmakers.co.uk
Avid Technology UK
3rd Floor, Swan House, 52 Poland
Street, London. W1F 7NH
Tel: 020 7534 2800 Fax: 020 7534 2801
Emai: [email protected]
Web: www.avid.co.uk
Double Vision Group
The Studio, Half Key Farm, Malvern,
Worcestershire. WR14 1UP
Tel: 01886 830084 Fax: 01886 833783
Web: www.doublevisiongroup.co.uk
Get your company list e d h e r e , c a l l s a l e s o n 0 1 4 8 0 3 7 4 0 3 6
Lemon Media Ltd
Hub, Warne Road, Weston Supermare,
Somerset. BS23 2UU
Tel: 01934 423 023 Fax: 01934 645 834
Web: www.lemonmedia.co.uk
Prokit
111 Power Road, Chiswich,
London. W4 5PY
Tel: 020 8995 4664 Fax: 020 8995 4656
Web: www.prokit.co.uk
MVS Video
Kent. CT18 7EH
Tel: 01303 891468
T2 Direct
Bridge House, Royal Quay, Park Lane,
Harefield, Middlesex. UB9 6JA
Tel: 01895 855655 Fax: 01895 822232
Web: www.t2direct.com
Penridge Milti-Media
The Barn, Rashwood Meadow,
Droitwich Spa,
Worcestehrsire. WR9 0BS
Tel: 01527 861911
Web: www.penridge.com
TNP Broadcast Sales
P.O. Box 2035, Watford,
Hertfordshire. WD18 9WZ
Tel: 01923 712 712 Fax: 01923 712777
Web: www.tnpbroadcast.co.uk
Planet Duplication Ltd
Unit 6, Woodlands Business Village,
Basingstoke, Hampshire. RG21 4JX
Tel: 01256 474234 Fax: 01256 819076
Web: www.planetduplication.co.uk
Visual Impact
Units 3-4 Teddington Business Park,
Station Road, Teddington,
Middlesex. TW11 9BQ
Tel: 0 20 8977 1222 Fax: 020 8943 5307
Web: www.visuals.co.uk
EQUIPMENT SERVICE & REPAIRS
EQUIPMENT RENTAL COMPANIES
Kitroom Monkey Ltd
Ealing Film Studios, Ealing Green,
London. W5 5EP
Tel: 0845 166 2509
Web: www.kitroommonkey.co.uk
River Pro Audio
Unit 3, Grange Yard, London. SE1 3AG
Tel: 020 7231 4805
Web: www.riverproaudio.co.uk
EQUIPMENT RETAILERS & DEALERS
Creative Video Productions
Priory Mill, Castle Road,
Studley, Warks. B80 7AA
Tel: 01527 854222
Web: www.creativevideo.co.uk
Clyde Cunningham Broadcast Eng.
96 Downs Road, South Wonston,
Winchester, Hampshire. SO21 3EW
Tel: 01962 881740
E: [email protected]
Web: www.dvcamservice.co.uk
MVS Video
Kent. CT18 7EH
Tel: 01303 891468
True Lens Services
20 Bank Terrace, Barwell,
Leicester. LE9 8GG
Tel: 01455 848411 Fax: 01455 848 311
Web: www.truelens.co.uk
INSURANCE COMPANIES
CKE Distribution Ltd
Crown House, John Street, Shipley,
West Yorkshire, BD18 3HU
Tel: 01274 533996 Fax: 01274 533997
Web: www.cke.co.uk
Anchorman Insurance Consultants
Buddle Lane, Hatherleigh,
Devon. EX20 3HX
Tel: 01837 810909 Fax: 01837 811135
Web: www.anchormaninsurance.co.uk
Gearhouse Broadcast
Unit 14, Olympic Industrial Estate,
Fulton Road, Wembley. HA9 0TF
Tel: 020 8795 1866 Fax: 020 8795 1868
Web: www.gearhousebroadcast.com
AUA Insurance
De Vere H ouse, 90 St Faiths Lane,
Norchich. NR1 1NL
Tel: 01603 623227 Fax: 01603 665516
Web: www.aua-insurance.com
H Preston Professional Video
103 Worcester Road, Malvern,
Worcester. WR14 1EP
Tel: 01684 575486 Fax: 01684 575594
Web: www.hpreston.co.uk
Towergate Camerasure
Funtley Court, Funtley Hill,
Fareham, Hants. PO16 7UY
Tel: 0870 4115511
Web: www.towergate.co.uk
Mitcorp UK Ltd
23 Shield Drive, West Cross Ind Est,
Brentford, London. TW8 9EX
Tel: 020 8380 7400 Fax: 020 8380 7410
Web: www.mitcorp.co.uk
Proactive UK Ltd
1 Eastman Way,
Hemel Hempsted. HP2 7DU
Tel: 01442 253313 Fax: 01442 260913
Web: www.proav.co.uk
Production Gear
Millennium Studios, Elstree Way
Borehamwood, Herts. WD6 1SF
Tel: 020 8236 1212 Fax: 020 8236 1414
Web: www.productiongear.co.uk
LENSES, MATTE BOXES & FILTERS
Canon UK Ltd
Woodhatch, Reigate, Surrey. RH2 8BF
Tel: 08705 143723 Fax: 01737 220022
Web: www.canon.co.uk
Pyser-SGI Ltd (Vocas matte boxes)
Kent. TN8 6HA
Tel: 01732 864111 Fax: 01732 865544
Web: www.vocas.com
Lee Filters
Central Way, Walworth Industrial Estate
Andover, Hampshire SP10 5AN
Tel: 01264 366245 Fax: 01264 355058
Web: www.leefilters.com
Fujinon
Distributer: Pyser-SGI Ltd
Broadcast Products Division,
Kent. TN8 6HA
Tel: 01732 864111 Fax: 01732 865544
Web: www.pyser-sgi.com
South London Filters Ltd
3 Richbourne Terrace,
London. SW8 1AS
Tel: 020 7735 1900 Fax: 020 7820 1718
Web: www.camerafilters.co.uk
True Lens Services
20 Bank Terrace, Barwell,
Leicester. LE9 8GG
Tel: 0 1455 848411 Fax: 01455 848 311
Web: www.truelens.co.uk
LIGHTING EQUIPMENT
Arri (GB) Ltd
2 High Bridge, Oxford Road,
Uxbridge, Middlesex. UB8 1LX
Tel: 01895 475000
Web: www.arri-gb.com
Cirro Lite
3 Barretts Green Road,
London. NW10 7AE
Tel: 020 8955 6700
Web: www.cirrolite.com
David Lawrence Lighting
Unit 7 New Lydenbur Com. Estate,
New Lydenberg Street, Woolwich,
London. SE7 8NF
Tel: 020 8858 2820 Fax: 020 8858 2820
Web: www.studiolighting.co.uk
Ianiro UK Ltd
Unit 7 Walkers Road, Manorside Ind Est,
Redditch, Worcs. B98 9HE
Tel: 01527 596955 Fax: 01527 596788
Web: www.ianiro.com
Photon Beard Ltd
Unit K3, Cherry Court Way, Stanbridge
Rd, Leighton Buzzard,
Bedfordshire. LU7 4UH
Tel: 01525 850911
Web: www.photonbeard.com
ROYALTY FREE MUSIC CDs
AKM Music
PO Box 3199, Kenilworth. CV8 2ZP
Tel: 01926 864068
Web: www.akmmusic.co.uk
Trackline Music Services
68 Alton Street, Crew,
Cheshire. CW2 7QB
Tel: 01270 665750
Web: www.trackline.com
YOPO Production Music
PO Box 4700, Bath. BA1 6AH
Tel: 01225 470011
Web: www.yopo.co.uk
STABILIZERS & SUPPORTS
B-Hague Camera Supports
Mile End Road, Colwick,
Nottingham. NG4 2DW
Tel: 0115 987 0031
Web: www.b-hague.co.uk
Glidecam
Distributer: CKE Distribution Ltd
Crown House, John Street, Shipley,
West Yorkshire, BD18 3HU
Tel: 01274 533996 Fax: 01274 533997
Web: www.cke.co.uk
TRAINING & SHORT COURSES
Bill Curtis Associates
Lighting, Camera, Sound, Editing
Tel: 01959 563326 Mob: 07958 719099
Web: www.bcassociates.org
Nick Way
Sound & Sound recording
Web: www.nickway.co.uk
Ravensbourne College
Walden Road, Chislehurst
Kent. BR7 5SN
Tel: 020 8289 4900 Fax: 020 8325 8320
Web: www.rave.ac.uk
TRIPODS & GRIP EQUIPMENT
Libec Tripods Europe
Unit 7 Walkers Road, Manorside Ind Est.
Redditch, Worcs. B98 9HE
Tel: 01527 596955 Fax: 01527 596788
Web: www.libeceurope.com
Manfrotto Tripods
Distributor: DayMen International
Tel: 0870 420 5113
Web: www.manfrotto.com
Sachtler Tripods
Distributer: Visual Impact
Tel: 020 8977 1222
Web: www.sachtler.com
Vinten Tripods
Western Way, Bury St.Edmunds,
Suffolk. IP33 3TB
Tel: 01284 752121
Web: www.vinten.com
VIDEO ACCESSORIES
Composite Video Ltd
Unit 15, Longate Enterprice Park,
80 Morden Road, Mitcham,
Surrey. CR4 4NY
Tel: 020 8687 9700
Web: www.compositevideo.co.uk
Keene Electronics
Old Hall, Unit 9 Mills Bus Pk, Station
Road, Little Eaton, Derby. DE21 5DN
Tel: 01332 830550
Web: www.keene.co.uk
VOICEOVER ARTISTS
Geoffrey Annis
261 Boothferry Road, Hessle,
East Yorkshire. HU13 0NG
Tel: 01482 647461
W: www.voiceovers.co.uk/geoffrey.annis
Colin Days Overnight Voiceovers
The Old Rectory, Ombersley,
Worcs. WR9 0EW
Tel: 01562 8222222
Web: www.voiceover-uk.co.uk
First Person Digital Media
40 Viaduct Drive, Woverhampton,
West Midlands. WV6 0UX
Tel: 01902 772455
Web: www.firstpersondigitalmedia.com
YOPO Voiceover Services
PO Box 4700, Bath. BA1 6AH
Tel: 01225 470011
Web: www.yopo.co.uk
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