Equipment and Technical Jargon

 For What You Watch, I want to make use of the resources available to me to create the best possible product I can. I'm in the process of coordinating with the people over at BECON-TV to see what equipment is available for checking out. 

First and foremost, I need a camera. In a perfect world, I'd use a Sony a7 III. I've used this camera in the past for my documentary, Instilled, my music video While We're Young, and for a couple short films here and there. I've grown a liking for these camera in part for they're full frame sensors and color profile. For this film I'm going to be filming outside during the day and inside in the dark, so I want a camera that can handle both scenarios. While I'll do what I can with the lighting I have, the full-frame sensory is known to be good in low-light because the sensor's has a physically larger surface it can use to capture light. If the camera is unavailable, I'll make use of Canon Mark IV that I can borrow from a friend during Spring Break (for it's full-frame sensor) or my own Canon EOS 90D (it is a cropped sensor, but if I have no other options, then this is the move); Canon camera are also well known fort heir auto-focus so that's always a thing thing to have.

Macro shot taken on the Tamron 90mm

Moving on from the camera body, for lenses I'm thinking of sticking with primes if I could. Primes lenses have the benefit of having fast apertures that would allow for more light to enter the camera (helpful for low-light); these lenses if opened up all the way can also give off a cinematic look with their shallow depth of field. If using a full-frame camera, I'd want to use a 24mm, a 50mm, and a Tamron 90mm lens. For the 24 and 50 I have no real preference over which brand, but the 90mm Tamron I specifically want because it can also be used as a macro lens for shots like the close up of my eye. If lenses are unavailable I'll stick with my 18-135mm kit lens and borrow a 50mm lens from a friend.

For audio, I'm keeping it basic with a shotgun mic, boom pole, XLR cable, and an audio box to record to. I've used similar setups for past projects, so I'm comfortable with this arrangement. I'd be using the boom primarily for the exterior scenes where dialogue is being spoken and its hard to hide mics, and I can use it during the final scene. For the Trent Marley show, I play to use a lavalier mic, since those are used on actual talk shows and there's no real stress about keeping them completely out of sight. I'd probably then play back the audio from the talk show through a speaker and record it again with one of the mics I have, so that the audio isn't complete polished to put the viewer in the perspective of Eric. And if options are unavailable I'll borrow a phone lavalier from a friend and potentially use my Audio technica 2020.

Now for my favorite part, the Lighting! I know I'll be making use of my 2 flat panel GVM RGB lights like I did last year for general lighting indoors. If able too I'll check out 4 NP-Batteries, so I don't have to keep the lights tethered to the walls. I'd also be checking out a C.O.B. light since it's more powerful than a flat panel and more flexible in the sense that I can add on to it. If I wanted I could attach a soft-box to soften the light or a reflective cone to focus the light to a specific spot. I'll lightly be using a cone and C.O.B. as a key light for Marley when he's giving his monologue. If available I'd use the RGB option, but if not, the daylight C.O.B. will do with the help of a few colored gels (like blue, yellow, and red). Also being used for lighting I'd be using my 48(?) inch TV as a source of practical light. And for more detailed and expressive light, I'd use my PVO LED projector. For the exterior scenes I'll check out a reflector, since I'm not going to bother using a battery powered flat panel to over power the Sun, and the practical issue of using a COB light without a nearby out lit is something I don't want to deal with. I also want to try to borrow a fog machine if I can to capture of the light rays "coming from the TV".

And lastly some general equipment I'd want to use. Since the story is fairly contained I'm sticking with tripod for most of the shots, except for maybe the ending sequence where I'll likely switch to handheld to convey the sense of hecticness and fear going on. I'd also likely make use of a C-stand and arm for the monologue set like I detailed in the previous blog post. I'd also want to use a monitor of come kind in order to see the shots that I'm in; I'd either use an Accsoon wireless transmitter and app on a phone, or a wired monitor I can put on a stand. And finally, I'm either going to get a clap board or I'll just clap with my hands in order to sync video and audio together in editing. 

I'll be picking up equipment on March 21, since both me and Mr. Guarasci from BECON are going to be out of town for a majority of next week.