Guide to Basic Live Video Production

Live switching can make your job as a videographer easier in many instances. It lets you cover an event, such as a church service, wedding, football game, etc. with multiple camera angles, effectively doing away with the need for later editing (if done right). With the recent introduction of consumer and prosumer level mixers, low cost/high resolution cameras and other affordable equipment, live switching has become a viable alternative that was not possible just a few short years ago. This sudden access to the masses of broadcast quality equipment will revolutionize TV as we know it today! There are plenty of reasons for the "Financially Impaired" to use Prosumer rather than broadcast equipment. First but not least is cost - a suitable 3 chip camera can cost 1/2 to 1/3 as much a it's professional counterpart. Second, Prosumer equipment does not require the unending amount of expensive peripheral equipment - TBC's, vectorscopes, transcoders, etc. And finally, Prosumer equipment is being used for broadcast television every day! For example, the series "Trauma, life in the ER" is shot with the Panasonic AG-EZ 1 camcorder! And, the strictly professional magazine Videography has run articles nearly every month about the Sony VX-1000 being used to shoot a documentary, capture an event where no large camera would work (such as in China) , or even shoot a feature film, with it's output transferred to 35MM film! Still doubt that it will work for your local cable show?

What equipment do I need?

A live switching setup requires the following(at a minimum) Video Mixer Two or more video cameras Monitor or monitors (for cheap ones try Bstock.com ) Recording VCR Connecting cables

Additional items that you may need:

Sound mixer or microphone Tripods and/or remote panheads Video level meter (or waveform monitor)

Remote or manned cameras?

At one time, the only possibility was all cameras manned by an operator, or stationary, mounted on a tripod. Recent developments in low cost, remote controlled pan/tilt heads have made it possible for one operator to now control three or more cameras! Some situations, such as TV ministry, will require at least one camera be manned by an operator. Many shoots can be done with an all remote setup, though.

Sample systems

Live switching systems can range from very low cost to very expensive, depending on your quality needs. To produce tapes suitable for dubbing onto VHS, a simple system with two one chip camcorders , a low priced mixer and a Hi 8 or SVHS VCR is all you need. A couple of years ago I would have said that the camcorders would HAVE to be Hi 8 or SVHS format for adequate resolution. Recently, though, Sony and Canon started putting better CCD chips in their lower line 8mm cams, making it feasible to use these for a live switching setup. I recommend this only for the most basic, lowest cost system.

For better video quality, you need a Hi res cam. The camera section should be capable of 500 horizontal lines of resolution. The high resolution is needed so that the final result, after dubbing and signal loss, will be as high quality as possible.Good examples of cams capable of this kind of resolution are the new Mini DV cams, available in single and three chip models. Single chip models are low in cost, while three chip models provide color accuracyand depth closest to broadcast TV cameras.

My ideal, cost no object system would consist of the following:

Three Sony VX-1000 , Canon XL-1 , or Panasonic AG-EZ-1 DV camcorders Videonics MX-Pro mixer , Sony DHR 1000 deck (DV format)

This system, along with cables and monitors could be had for $15,000 to $20,000. While this sounds like a lot, it could do the job of a broadcast system from a few years back selling for well over $50,000.

Suppose you don't have $15,000 or more to spend. In fact , suppose you don't have even $3000 to spend. Here's a sample system for you:

2 Samsung SCA-18 camcorders ($450 each) Videonics MX/1 mixer ($850) JVC HRS-5400 ($450)

Add panheads, cables and a couple of 13" monitors and you are still under $3000. There are other camcorders that would work - just make sure the CCD has at least 470,000 pixels. Less, and you will get first generation VHS quality, which will only look worse on the dubs. Also, remember that cameras in this price range have no S video output, which will result in a little color bleed that the better cams won't have.

If you are somewhere in the middle, here's a system for you :

3 Panasonic AG-EZ-20 ($1600 each) Panasonic MX-20 mixer ($1300?) Panasonic AG-1980 SVHS VCR ($1050)

Now you are looking at a little over $7000 for a 3 camera setup. The results would be broadcastable, but the color depth would be lacking due to 1 chip cams. Great wedding setup though, 1 chips will actually do better in low lighting conditions.

Why are we using camcorders when all we need are cameras? Because at present, there are no prosumer 3 chip cameras without recording sections. There are quite a few cameras in the professional lines that would fit the bill nicely, but since our objective here is highest quality at lowest cost, we will not consider the overpriced pro lines (my humble opinion). Perhaps the manufacturers will see the need for low cost 3 chip cameras and respond accordingly.

Color Matching

This can be a non existent problem if you BUY THE SAME MAKE AND MODEL CAMCORDER. In order to be able to intelligently recommend various models to you I purchased many units (used) and tried them in my system. Matching the cameras was a nightmare, especially between 1 chip and 3 chip models. The new Videonics MX-Pro mixer has provisions for color correction on each channel, a welcome improvement that will help if you end up with different models for whatever reason. Also, some of the better DV cams such as VX-1000 have a menu system with some color correction adjustments. An important part of color matching is "white balance", an automatic or manual adjustment on all color cameras. Fortunately, the auto white balance circuitry in most cameras does a good job, making it seldom necessary to use the manual settings. White balance comes into play mainly when changing types of light sources (such as florescent, incandescent, sunlight, etc.) Proper white balance with three cameras is a little trickier than with one, but choosing the same model cam can help.

Focusing

In most cases you have two choices - fixed focus setting, based on a guess of how close your subject will usually be, and auto focus. Whether or not you can use auto focus depends on what objects will be in the foreground, (which could fool the auto focus) and how often. If you are shooting a stage 30 feet away, then simply focusing on the stage and leaving it will work. If you are shooting a moving subject that will vary between 10 and 20 feet from the camera, with little possibility of objects in the foreground, then auto focus (on a good camera) will work. The Sony VX-1000 is the minimum camera I would consider using auto focus on. Many previous models have a tendency to "hunt", making them unsuitable for broadcast use. The VX-1000 also has the distinction of being the only prosumer cam that can be focused via wired remote control, an elusive beast called the RM-95. Once available as an accessory from Sony dealers, it is now only obtainable in a version designed for technical adjustments (but still controls other functions). According to a web source, you can order it from Sony (1-800-488-7669) by asking for "Jig, (Wired)Internal, model number J-6082-053B". Cost is $78.28 plus shipping of $6.50 and your state and local tax. Will be around $90. Takes about 3 weeks for you to get it. Sorry, Sony will not ship it overseas. . The RM-95 also controls zoom and virtually every other camera function.

Zooming

Zooming your remote cameras can be accomplished via the infra red remote that comes with the camera. If the cam is only 10 feet or so from you, you can simply point the remote at the camera to zoom. If further away, use an infra red repeater (remote extender) to control your zoom anywhere in the room. This is discussed in detail under remote pan/tilt heads.

Cabling

The cable connecting your cameras to your mixer can make or break your system. This is no place to be cheap, yet, you can pay a fortune and get average quality. The best rule of thumb to go by is that heavier is better. For instance, instead of using typical composite cables to connect your cameras (we'll get to S video in a minute), you could purchase RG 59 cables at Radio Shack in premade lengths , then simply add adapters to convert the F connectors to male RCA connectors. Then you will be assured you have the best possible cable.

This can also be done if you have S video capable cams, but you use one RG-59 cable to carry the luminance signal and one for the chrominance signal. Adapters are available to terminate the two cables into a single "S" connector. This is the hard way, the easy way is to simply buy the best S video cables possible. I've seen lots of debate on how far you can run an S cable without significant loss, my personal opinion is about 75 feet with a QUALITY cable. I use the Elitevideo Hypercables , they give excellent results (but are quite expensive, as most good things in life are). Elite also sells a "Long Distance Runner" device that lets you run up to 1200 feet on ordinary telephone wire. I have arranged to beta test this device in the near future and report on it. It's maker, Elitevideo, has a web page describing it's usein a multi cam setup called How to shoot live bands .

***** NEWS FLASH - received the Long Distance Runner and did a quick test by connecting my DSS box to the encoder and my home TV (a 600 line Mitsubishi) to the decoder. Could see absolutely no degradation of the picture. I was running thru 150 feet of extremely cheap solid conductor 24 gauge Radio Shack speaker wire. I believe the product performs as claimed, and while not cheap, will allow videographers to compete with the "big boys" with remote trucks.

Sound Considerations

Live taping an event with several cams means you will no longer be using the camera mike (usually a poor way to grab sound anyway). The ideal way to tape your event is to connect your recording VCR line input directly to the PA system line output, assuming a PA is being used. If done correctly, this can give you incredible sound! But lets say you are in a theater, and the sound board is in a loft 200 feet away. Now what? Well, I've had success with placing a good mike (over $100) in front of the a speaker (makes sure it's a house speaker and not a monitor - they carry different mixes). If neither of these is practical, a good shotgun mike ( $200 and up ) may solve the problem. Place it on a stand within 20 feet or so of the subject, usually will do the job fine.

How important is sound? There's no way I can stress it enough. Sound can make the difference between an amateur production and a pro one, it's that simple. Which would you like to do?

Proper Operation

Once your switching system is put together, you must learn how to use it to get pro results. Let's say all your cams are remote operated, and you are shooting a wedding. You station a cam discreetly in front of the church, able to shoot down the center aisle. Another is on the left side, and the third is in the balcony with you and the mixer/ VCR. (This situation is where you will need those long cables!). The two downstairs cams have remote panheads, you control the upstairs unit. The music has started and the bride is heading down the aisle. You start with a wide shot from the balcony, as she walks into the frame. Using your preview monitor, you position the lefthand cam , which hopefully is shooting over the heads of the crowd which is now standing. Fade in to it, using a medium shot. As she is about to walk out of the frame, go to the front cam, which is already positioned on the front portion of the aisle. You'll get a closeup shot of the glowing bride's face that was simply not possible with the typical "one camera in the back" setup. Then fade back to a balcony shot, showing the whole wedding party in position. You get the idea - but how do you control the cams from a distance? Here's how.

Remote Pan/tilt heads and zoom

These little jewels are the key to a successful unmanned shoot. Two models are made (you may find the same units with different names). The first is made by Bescor. It can handle any camcorder up to XL-1 size, and is extremely SMOOTH in operation. Combined with the image stabilization in most cams these days, the Bescor setup can fool anyone but an experienced video guy into thinking the cam is manned. The Bescor is wired, which can be a liablity at times. It does have the option of adding extension cables, each 20 feet long. It has a flat disc control that lets you pan and tilt at the same time, a great feature. It sells typically for around $100 (considerably more if you don't shop around). If running wires is not a problem, I highly recommend it.

Another unit is made by Sunpak. It is wireless, a big advantage. It is controlled by infra red remote , which means you can normally only control it "line of sight". What I have done, to operate a cam 75 feet away, is to use a "remote extender", a device intended to let you control your TV from other rooms in the house, available at Radio Shack and elsewhere. The Sunpak has the added advantage that it's remote can be programmed to operate the zoom on Sony and some Canon cams. Simply point your remote at the extender, and pan, tilt or zoom your camera as far away as 100 feet! Unfortunately, the Sunpak unit is not very tight, tilting up and down will result in some jerkiness, so I don't recommend moving the camera often while "on the air" on the Sunpak. It sells for about $30 more than the Bescor. Panheads link

Using either of these units effectively requires lots of practice, just like any other camerawork. Do a non critical project with your system before attempting a "once in a lifetime" wedding or other event.

About the Author: Fred Wilharm (also known as Pixellator@aol.com ) earned a B.A. degree in Broadcast Communications in 1980. He has been a video hobbyist as long as there has been prosumer equipment, owning and using the first camera/VCR combinations and their replacements, right up to the current crop of DV cams. He directs the television ministry of a Southern Baptist church in the Fla. Panhandle.

The original copy of this Article can be found at: