I’m pleased to announce that I’ll be one of the three tutors on the new two day workshop organised by the Women With A Movie Camera. The course is called Video and sound for DSLR photographers. Needless to say, this workshop is open for everyone (I’ve been asked several times if it’s for women only, so I wanted to make sure everyone understand that it’s for men and women!).
Photographer and film maker Edmond Terakopian using a Canon 5D MkII, Zacuto Striker and Z-Finder Pro x2.5, Think Tank Photo Wired Up 10 bag, Zoom H4-n and Rode NTG-3 mic The wedding of Sheleen and Ben. August 28, 2010. Photo: Jeff Ascough
The workshop will be on the 26th and 27th of October 2012, at the October Gallery in London,featuring tutors Lefteris Pitarakis, a photojournalist with AP for 14 years, along with Phil Hartley, a sound engineer and recordist with over 20 years experience in this field and myself.
For more information and to book you spot (places are limited though, so do hurry), visit Women With A Movie Camera.
Attendees will receive various helpful discounts:
The workshop is supported by Calumet and on the day delegates will receive various offers from them.
Fixation will also be giving each delegate a £25.oo voucher
Our friends at New Day Pictures will also be offering delegates 20% off all rentals for 2012!
Rather than changing the classic lines of the Leica rangefinder, Leica have instead opted to bring out a range of accessories that transform the image making machine into an even more capable tool, taking it beyond it’s traditional charm and ability as a classic rangefinder.
One of the big upsets amongst Leica users who had the R range of Leica SLRs and lenses has always been the lack of an DSLR solution. The Leica S2 definitely brought the DSLR aspect, but is firstly aimed at the studio environment with it’s medium format chip, but also has it’s own S lenses, making the R lenses still unusable. Thankfully, the Leica M changes things and with the R-Adapter M, the majority Leica’s superb R lenses can now be used. This now opens up the ability to shoot with telephoto, macro and zooms, for photography as well as video. The adapter will be priced at £215 and as with all the new accessories, available from early 2013.
In the old days of film, some Leica M models had Visoflex attachments which brought SLR abilities. These were cumbersome and slow to operate. Thankfully, the modern day equivalent isn’t. The EVF2 is a 1.4 megapixel electronic viewfinder that allows through the lens viewing when using Live View for both photography and video. It simply slots onto the hotshoe and into the small interface slot under the hotshoe, on the back of the camera. It can also be tilted 90 degrees, allowing for low angle work with comfort. Having seen the quality of the image from this viewfinder on the Leica X2, it is going to provide an ideal solution for shooting with the camera to the eye. Although the rear screen of the camera can be used for using Leica R lenses or shooting video, the EVF2 will extend the way the camera can be used, and will for most I suspect, be a must buy item. The EVF2 will be priced at £360.
Multifunctional Handgrip-M
This smart grip brings with it several functions; it incorporates GPS, allowing tagging of image location straight into the image’s EXIF.
The grip also offers the ability to use a flash when the normal hotshoe is occupied with the EVF2, using a dedicated SCA adapter and hotshoe, duplicating all of the normal hotshoe’s flash abilities.There will also be an extension cable with a flash bar to allow off camera flash using the grip. For those who prefer it, the grip also offers the ability to attach finger loops, first seen on the limited edition Leica M9 Titanium. The Multifunctional Handgrip-M will be £630. For those who may not need these functions, there is also going to be a Standard Handgrip-M for £209. I think for using the much larger and heavier Leica R lenses, a handgrip is going to be an absolute necessity.
Microphone Adapter Set
An absolutely essential aspect of video is great audio. Most people who work in the film business will in fact tell you that sound is 60% of the final product. It’s great to see that the Leica M is going to have the ability to use an external microphone, for which this adapter will be required.
The adapter slots into the hotshoe and plugs into the interface on the rear of the camera, allowing mono and stereo mini jack microphones to be used. Although the press release or the supplied images do not show this, I’m hopeful that there may be the ability to also mount a microphone to the secondary hotshoe available on the Multifunctional Handgrip-M. If this doesn’t turn out to be so, there are many other options already on the market for attaching a microphone, so I’m not too worried, although this would be an extremely neat solution.
Mounting the brilliant yet tiny Rode VideoMic Pro to the Leica M should make for a superb, compact and ultra high quality video shooting setup. I really cannot wait to try this out! The Microphone Adapter Set will be £150.
Leica Press Release
New accessories for LEICA M
Range of accessories for new LEICA M camera expands potential beyond traditional rangefinder capabilities
Photokina, Cologne, 17 September 2012: Leica Camera AG has unveiled a new range of accessories for the Leica M, increasing the potential use of the camera far beyond the classic capabilities of rangefinder photography. The accessories include the Leica R-Adapter M, Leica EVF2 electronic viewfinder, a Multifunctional Handgrip-M with optional finger loops, and a Leica Microphone Adapter Set, all compatible with the new Leica M, which was also announced today.
The Leica R-Adapter M enables almost all Leica R-Lenses ever built to be mounted on the new Leica M. Users can access a list of 20 dedicated profiles – including calibrated imaging workflows and Exif lens recognition – for a range of R-Lenses covering wide-angles, telephoto, zoom and macro options. This comprehensive portfolio opens up new potential for Leica M photographers, including, for example, video recording with Leica R zoom lenses.
The optional accessories range also includes a high-resolution, electronic Visoflex viewfinder. The Leica EVF2 has a resolution of 1.4 megapixels, and offers 90° rotation for capturing images from unusual angles. When mounted on the camera, it displays all significant exposure parameters and allows precise subject assessment, and is particularly useful when shooting in brightly lit surroundings. Using the R- Adapter M, R-Lenses and viewfinder, the Leica M can be used independently from its monitor in the same way as a DSLR camera.
Also new is the Multifunctional Handgrip-M, which features an integrated GPS module. With this handgrip, the user can record precise geographical information in the image’s EXIF data (i.e. geotagging), enabling the photographer to sort and display images according to location. Facilitating the use of a separate flash unit when an accessory viewfinder is mounted on the camera, the Multifunctional Handgrip-M also provides a dedicated SCA hot shoe that communicates with the camera in the same way as its own hot shoe. The Leica SCA Adapter Set is also available for this purpose. The set comprises a flash bar and a spiral cable with a hot shoe. In addition, the Multifunctional Handgrip-M provides a socket for a remote power supply, as well as a DIN/ISO X-sync socket for studio flash systems. An optional remote power unit (DC Adapter) is also available.
Furthermore, the Leica M can be connected directly to a computer workstation via the handgrip’s integrated USB socket. This allows full remote control of the camera with the ‘Leica Image Shuttle’ software provided, and the transfer of image files directly to the computer by USB cable.
The Multifunctional Handgrip-M is also a valuable aid to safe and steady handling of the camera, particularly when shooting with heavier R-lenses. The optional finger loops, which come in three sizes (S, M and L) further enhance safe and steady handling of the camera and lens system. These can be used in combination with the standard Handgrip-M, which is also available as an optional accessory.
Ensuring high quality sound with the 1080p Full HD video capability of the Leica M, a Leica Microphone Adapter Set, consisting of an adapter and stereo microphone, is also available. Other brands of microphone may also be connected using this adapter.
A new ever-ready case completes the range of accessories for the Leica M.
Pricing and availability
The Leica M range of accessories is scheduled to be available in the UK from early 2013 from authorised Leica dealers including the Leica Store Mayfair: www.leica-storemayfair.co.uk, tel: 020 7629 1351. A full list of authorised UK Leica dealers is available at www.leica-camera.co.uk. Suggested retail prices including VAT are as follows:
Leica R-Adapter M – £215 Multifunctional Handgrip-M – £630 Standard Handgrip-M – £209 Optional Finger Loops (S, M, L) – £80
Tonight (8pm GMT) Leica Camera made several announcements for new products at Photokina in Cologne, Germany. This particular announcement, I must admit, has me buzzing with creative energy.
The Leica M is by far the most versatile rangefinder camera ever produced. Although the rangefinder system dates back to the 1950s design used for the Leica M3, which the new Leica M also incorporates, it has other methods of focusing as well. It’s important to note that for purists, the rangefinder system works as it has done before on the M cameras and is not compromised.
The new additional focusing systems is Live View. This means that the photographer uses the rear screen, a 3”, 920,000 pixel screen which is covered by tough Gorilla Glass or the new Leica EVF2 optional electronic 1.4 megapixel viewfinder, to view the image through the lens. This opens up huge possibilities of mounting the Leica R range of lenses using the also announced Leica R-Adapter M. This opens up the world of telephoto, zoom and macro lenses (and although not mentioned on the press release, I imagine also fisheye photography. As with the world of Micro 4/3, I’m guessing that there will be the opportunity for third parties to make adapters, allowing all sorts of lenses from various manufacturers, even including tilt and shift and PL mount, to be mounted on the new Leica M. The huge advantage though here over every other camera in the market though is that the Leica M is full frame). The Live View has a magnification function and also focus peaking functions to fine tune focusing.
My wish since getting my Leica 50mm f0.95 Noctilux ASPH has been to use it to shoot video, and I’m thrilled to see that full 1080p HD video is available on the new Leica M. To be able to shoot video using Leica M and R lenses is going to be truly magical and I can’t wait to get my hands on this camera! The camera offers 1080p and 720p, at 24fps and 25fps, and 640×480(VGA) at 30fps shooting resolutions, in Motion jpeg or Quicktime format. For audio there is an external mono or stereo mini-jack microphone adapter available. Most importantly for audio, along with auto level adjustment, there is full manual gain control as well, even whilst filming; this is a great and needed facility.
Naturally the M9’s CCD chip could not support Live View, for which a CMOS chip is needed. Leica have collaborated with CMOSIS and designed a new chip for the Leica M. The full frame Leica Max CMOS image sensor has 24 megapixels and a sensitivity range of 200 to 6400 ISO (up from the M9’s 160 to 2500 ISO), with a pull 100 ISO setting. The new digital processing engine is the Leica Maestro chip, also deployed in the Leica S2, which promises higher image quality and speed. The entire digital workflow of images is now under Leica’s control which promises even higher imaging capabilities than previously achieved.
Having worked with my M9 and M9-P extensively for years, occasionally in the rain, I’ve never had a problem with moisture ingress. The good news is that Leica have made mention of special rubber seals to protect the camera from spray, dust and moisture, which makes me thing it’s sealed even better against the elements.
The Leica M will be available in black or silver chrome and is expected in the UK in early 2013 with a suggested retail price of £5,100 including VAT.
Thoughts
Having been a Leica photographer since 1989, and using the Leica M9 for three years now, I’m really excited by the specification and look of this new camera. It’s by far my favourite camera system to use and accounts for around 80% of my work. I also use Canon’s DSLR system for the rest of my work, when needing telephoto, macro, fisheye and tilt and shift lenses, and also for video. I can see the Leica M taking over all of these functions, leaving the Canon DSLRs for work that needs fast moving AF and fast drive speeds.
Leica have taken the classic Leica M camera, with it’s discreet look and size, kept it’s fabulously traditional operating interface of shutter dial and aperture ring, yet incorporated Live View and full 1080p HD video, with all the needed options, in practically the same body. At a quick glance, it’s impossible to tell the difference with the M9 (the Leica M is 5mm taller and is 95g heavier), yet the Leica M has so much more to it. It has the best of the traditional Leica and the best of modern digital photography and video. The announced accessories (see the separate post) support and add to the camera’s abilities and are a perfect match. It’s a brilliant achievement and I really cannot wait to shoot with this camera; I have a strong suspicion that it will be awesome!
Videos
Leica Press Release
The LEICA M: a new milestone in digital rangefinder technology
Most versatile rangefinder camera yet includes high performance sensor and processing technology, three focusing options including Live View, Full HD video recording and compatibility with Leica R-Lenses
Photokina, Cologne, 17 September 2012: Leica Camera AG has today announced a groundbreaking milestone in the history of the Leica rangefinder system: the Leica M. As the first camera to implement a newly designed and constructed CMOS image sensor, and to feature additional focusing methods and functions such as Live View and Full HD video capability, this is the most versatile model ever in the history of the Leica rangefinder camera, and sets entirely new standards.
The Leica M combines the advantages of digital innovation with rangefinder technology that has been continuously perfected over decades. At the same time, it remains true to the legendary values of the M- System, while expanding the opportunities offered by rangefinder photography – and, for the first time, offers compatibility with Leica-R legacy lenses.
The Leica M also marks the beginning of a new era in Leica’s product naming policy. In future, Leica M and S model names will omit the number suffix to emphasise the long-term significance and enduring value of the respective systems.
The Leica M is the first in a long line of Leica rangefinder cameras to feature a completely new development in sensor technology: the Leica Max CMOS image sensor. This 24 megapixel, full 35mm format sensor was designed and constructed in collaboration with CMOSIS specifically for the camera and its use with Leica M- and R-Lenses. This new development successfully transfers the characteristic advantages of CCD sensors, such as natural and brilliant colour rendition and impressive reproduction of detail, to a CMOS sensor.
In combination with the high-performance Leica Maestro processor, which is also employed in Leica S cameras, this new full format sensor ensures maximum image quality and speed. All elements in the image creation chain, from the lens to the resulting image file, are now under complete control of Leica’s engineers, guaranteeing the ultimate in image performance and quality. A further key feature is the low power consumption of the components which, in conjunction with the high battery capacity, ensures outstanding performance over a long shooting period.
The Leica M offers a multitude of new features. The first of these are Live View and Live View Focus, where image composition can take place in real time with the view of the subject through the lens. The sharpness, exposure and colour content of images can be precisely assessed on the camera’s large, 3”, high-resolution 920,000 pixel screen. The glass covering plate of the monitor screen is manufactured from particularly tough and scratch-resistant Corning® Gorilla® Glass.
Thanks to the Live View function, photographers now have access to entirely new opportunities that, in combination with the outstanding performance of Leica M- and R-Lenses, go far beyond the classic capabilities of rangefinder photography. This applies particularly in macro and telephoto photography, and allows even more discreet shooting. In combination with M- and R-Lenses, the camera’s new 1080p Full HD video mode also opens up completely new possibilities.
The Leica M offers two additional focusing methods that can be activated quickly and easily with the new focus button, giving M-Photographers even more options for capturing outstandingly sharp images. The ‘Live View Zoom’ option enables up to 10x magnification for precise assessment of the sharpness of subject details or the close focusing limit. The second aid to focusing is ‘Live View Focus Peaking’. With this feature, contours of the subject are automatically displayed as red lines to allow simple and convenient focus assessment. Focusing precision can be reviewed on the basis of the intensity of the lines displayed.
All new features of the camera have been optimised for the Leica rangefinder system, and ensure the renowned dependability of the Leica M in all shooting situations, from available light photography to discreet and aesthetic fine-art image composition. In line with the principles of the M-Philosophy, all functions and features are designed and constructed for absolute robustness and a long working life. The top and base plates of the Leica M are machined from solid brass, and the full-metal chassis is a completely self-contained, die-cast element manufactured from high-strength magnesium alloy. Special rubber seals protect the camera body against dust, spray and moisture.
The new rangefinder camera is also a typical ‘M’ thanks to its intuitive handling, with direct manual setting options and fast access to functions. The new layout and user-friendly operation of the menu interface guarantee a clear and uncomplicated overview of the camera settings. Dedicated button controls have been provided for the Live View and new focusing functions, and Live View Zoom and Live View Focus Peaking can be selected with the new focus button on the front of the camera. User profiles can be programmed with any camera and shooting settings, stored under a specific, user-selected name, and accessed quickly whenever required for particular situations. The profiles can also now be saved to an SD memory card. For improved comfort when shooting, the Leica M features an ergonomically formed thumb rest with an integrated setting dial at the top right, on the back of the top plate. This ensures the camera can be held securely in even the most demanding situations.
A wide range of optional accessories is available for the new Leica M. Of particular note is the new Leica R-Adapter M, which allows almost all Leica R-Lenses ever built to be mounted on the camera. Further accessories include the Leica EVF 2 (Visoflex electronic viewfinder) and the Multifunctional Handgrip-M with an integrated GPS module that, in combination with optional finger loops in various sizes (S, M and L), helps to ensure safe and steady handling of the camera and lens system. The range also includes a Leica Microphone Adapter set to ensure high quality sound with video recordings.
The Leica M will be available in a discreet black paint version, or an elegant silver chrome finish.
Pricing and availability
The Leica M in black paint or silver chrome finish is scheduled to be available in the UK at a suggested retail price of £5,100 inc VAT from early 2013, from authorised Leica dealers including the Leica Store Mayfair: www.leica-storemayfair.co.uk, tel: 020 7629 1351. A full list of authorised UK Leica dealers is available at www.leica-camera.co.uk.
Leica warranty and added value services
The Leica M comes with a two-year warranty and a one-year Leica UK ‘Passport’ (complimentary accidental damage cover). UK customers are also welcome to visit the Leica Store and Akademie in Mayfair, London, for a complimentary demonstration or training session on the features of the camera. Technical support by telephone or in person is available via Leica’s London-based Client Care department.
I was very honoured when Neil Patience (an extremely talented video editor) invited me to take part in a project he was going to be involved in. He mentioned it was the RNOH, a hospital which I had already done several assignments in (photographing Princess Diana and on a separate occasion my first ever award winning picture; a wheel chair basketball game, to mention a couple).
In April 2011 we had a meeting with Rosie Stolarski (Head of Fundraising, RNOH Charity) and Professor Tim Briggs (Consultant Orthopaedic Surgeon), the subject of which was to make a fundraising appeal film. The original brief was for a very short, straightforward appeal type film, but after the first few days of shooting, Neil and I had decided to go for more of a documentary feel. Neil put together a rough cut of what we had already and we were overjoyed when the RNOH went for it and changed the brief.
Photographer and film maker Edmond Terakopian filming at the Royal National Orthopaedic Hospital in Stanmore. Filming in an operating theatre with two Canon 5D MkII camera, one on a Gitzo (GT3531LSV + G1380 head) and the other on a Zacuto Striker with the Zacuto Z-Finder Pro attached). Both cameras have Rode microphones attached for ambient sound recording. The VideoMic (closer) and VideoMic Pro. A Think Tank Photo Multimedia Wired Up 10 belt pack is also being used. May 16, 2011. Photo: Neil Patience
We spent a long time planning various aspects of the film, including the patient interviews. With the hospital team, we chose a cross section of their previous patients who had had the full gamut of operations, thus transforming their lives. We covered a wide age range and conditions to paint a full picture.
Photographer and film maker Edmond Terakopian filming at the Royal National Orthopaedic Hospital in Stanmore. Filming in an operating theatre with a Canon 5D MkII camera on a Zacuto Striker with the Zacuto Z-Finder Pro attached and the Rode VideoMic Pro. A Think Tank Photo Multimedia Wired Up 10 belt pack is also being used. May 16, 2011. Photo: Neil Patience
The flip side to these life changing stories though was the conditions in which this amazing staff have to work. Huts that serve as wards dating back to the 1940s, crumbling, leaking building, sloping corridors that require special locomotives to pull beds along. A truly extreme juxtaposition of amazing medical work in such atrocious conditions.
Photographer and film maker Edmond Terakopian filming at the Royal National Orthopaedic Hospital in Stanmore. Filming in a prosthetic limb manufacturing section run by Blachleys. A Canon 5D MkII camera, on the Gitzo (GT3531LSV + G1380 head) tripod, with a Rode VideoMic Pro microphone. Extra equipment needed for the shoot is carried in a Think Tank Photo Multimedia Wired Up 10. May 16, 2011. Photo: Neil Patience
Having an amazing client though is the start of great work and I really must thank the RNOH in helping us be creative, change the brief to make it a more powerful film and for all the logistical help. All the coordination by Rosie Stolarski for the entire project and the patience of her team members Jenny Blyth and Sam Bowie when they accompanied us on site was paramount. A huge word of thanks goes to head of communications Anna Fox who spent the most time with us on site, making sure everything was planned and helping us get the shots we needed. We’d like to thank all the amazing surgeons who invited us into their operating theatres and all the physiotherapists, nurses, prosthetics team and other medical staff for their help. A big thanks also go to the ushers and the security team for all their help.
The biggest words of thanks go to the former patients who let us into their lives and inspired us with their strength and courage. Our thanks go to HRH Princess Eugenie of York, Molly Poole, Carol West, Phil Packer, Phil Coburn, Kat Reid and the amazing Caitlin Kydd.
Camera assistant Nicola Taylor recording audio, using a Rode NTG3 on a Rode Mini Boom pole, onto a Zoom H4n audio recorder. This is in a Think Tank Photo Multimedia Wired Up 10. Edmond Terakopian uses a Canon 5D MkII and 135mm f2L and Rode VdeoMic Pro on a Gitzo (GT3531LSV + G1380 head) tripod. RNOH Children’s Ward, Stanmore. July 19, 2011. Photo: Neil Patience
Along with the invaluable help of my assistant Nicola Taylor (an amazingly creative photographer in her own right), Neil and I shot the project over a nine month period.
If you haven’t yet seen the film, you can watch it HERE.
Techniques & Technical
Behind the scenes photographs of the filming of the appeal DVD. Showing film maker Edmond Terakopian & Editor and Producer Neil Patience. An iPad is used for interview questions. RNOH, Stanmore. Photo: Nicola Taylor
I shot the entire video using two Canon 5D MkII cameras, using a range of Canon lenses; 15mm f2.8, 16-35mm f2.8L II, 24-105mm f4L, 35mm f1.4L, 50mm f1.2L and a 135mm f2L. My main tripod was a fluid head Gitzo (GT3531LSV + G1380 head). For the locked off shots with the tighter lens (135mm f2L) I used a carbon fibre photographic Manfrotto tripod. For the handheld shots, I used a Zacuto Striker and Z-Finder Pro eyepiece. Having to cover long distances across the hospital grounds and wards with the kit meant needing to plan not only the right and relevant kit, but the right bags too. We used a Think Tank Photo Airport Internal v2 and also a Multimedia Wired Up 10. On the last interview with Consultant Orthopaedic Surgeon Professor Briggs, I also used a Marshall 5” monitor (V-LCD50-HDMI).
Behind the scenes photographs of the filming of the appeal DVD. Showing film maker Edmond Terakopian, editor and producer Neil Patience, Rosie Stolarski (head of fundraising) and ex-patient Phil Packer. RNOH, Stanmore. Photo: Nicola Taylor
Behind the scenes photographs of the filming of the appeal DVD. Showing film maker Edmond Terakopian and ex-patient Phil Coburn. RNOH, Stanmore. Photo: Nicola Taylor
Operating Theatre 4 with Prof Tim Briggs. A Marshall 5″ monitor (V-LCD50-HDMI) is used to check focus, lighting, composition and exposure). The light on the left is a Kino Flo Diva Light supplied by New Day Pictures. September 21, 2011. Photo: Edmond Terakopian
To keep the same feel and uniformity with the ex-patient interview scenes, we decided to shoot them against a black background. One of the problems though was that although some interviews would be done at the hospital, these were at different days and in different rooms. The other interviews would be on location at ex-patients’ homes. We needed a proper light absorbing black, but also a background which was sturdy and stable. On top of these requirements, it also needed to be highly collapsible and portable. After having a chat with our friends at Lastolite, we found just the trick. The Lastolite Plain Black Velvet Collapsible Background (which has a collapsible frame) and the Lastolite background support (1109).
Royal visit to the Royal National Orthopaedic Hospital (RNOH), Stanmore, Middx. HRH Prince Andrew being filmed by Edmond Terakopian. For this shot two Canon 5D MkII cameras were used. One on a Gitzo (GT3531LSV + G1380 head) tripod. The other is on a lightweight Manfrotto carbon fibre tripod. The camera further away (Camera A) is mounted inside a K-Tek Norbert cage (mount frame) and has a Zoom H4n audio recorder mounted on it. This in turn is plugged into a Pinknoise splitter cable, with one end going to camera (to record audio in camera) and the other to headphones. A Rode NTG3 microphone is used for the main audio which is recoded onto the Zoom H4n in WAV format with the passthrough recording in camera. The B camera also has a Rode VideoMic Pro recording audio onto it. The black background and supports are Lastolite and were used in all the interviews. The lighting is by a single Kino Flo Diva Light (supplied by New Day Pictures) and a Lastolite reflector. June 02, 2011. Photo: Nicola Taylor
The other aspect to keeping this consistency was to make sure the lighting was as identical as possible. After consulting with the specialist hire company New Day Pictures, we went for a Kino Flo Diva Light (shot through it’s softbox diffuser). This has been the most amazing light I’ve ever worked with.
Audio
For audio, I used Rode microphones throughout. The cameras where fitted with the Rode VideoMic and VideoMic Pro for all of the cutaway and GV scenes. Although we had originally thought that all their audio would be replaced with the interviews with Professor Briggs, Neil ended up using a fair amount of the audio from them. The main audio, which was for all the interviews, was done using a Rode NTG3, recoding onto both camera A (using a Pinknoise splitter cable) and onto the Zoom H4n (in WAV format). We mounted the mic on a mic stand and had it just outside shot.
The Royal Connection
Royal visit to the Royal National Orthopaedic Hospital (RNOH), Stanmore, Middx. HRH Prince Andrew being filmed by Edmond Terakopian. For this shot two Canon 5D MkII cameras were used. One on a Gitzo (GT3531LSV + G1380 head) tripod. The other is on a lightweight Manfrotto carbon fibre tripod. The camera further away (Camera A) is mounted inside a K-Tek Norbert cage (mount frame) and has a Zoom H4n audio recorder mounted on it. This in turn is plugged into a Pinknoise splitter cable, with one end going to camera (to record audio in camera) and the other to headphones. A Rode NTG3 microphone is used for the main audio which is recoded onto the Zoom H4n in WAV format with the passthrough recording in camera. The B camera also has a Rode VideoMic Pro recording audio onto it. The black background and supports are Lastolite and were used in all the interviews. The lighting is by a single Kino Flo Diva Light (supplied by New Day Pictures) and a Lastolite reflector. June 02, 2011. Photo: Nicola Taylor
The first of our interviews was with HRH Prince Andrew, who not only only was the patron of the hospital, but is also the father of a former patient; Princess Eugenie. We also did an interview with the Princess and both pieces added so much to the film. These weren’t only essential, but were also an absolute joy to shoot.
Royal visit to the Royal National Orthopaedic Hospital (RNOH), Stanmore, Middx. HRH Princess Eugenie being filmed by Edmond Terakopian. For this shot two Canon 5D MkII cameras were used. One on a Gitzo (GT3531LSV + G1380 head) tripod. The other is on a lightweight Manfrotto carbon fibre tripod. The camera to the left (Camera A) is mounted inside a K-Tek Norbert cage (mount frame) and has a Zoom H4n audio recorder mounted on it. This in turn is plugged into a Pinknoise splitter cable, with one end going to camera (to record audio in camera) and the other to headphones. A Rode NTG3 microphone is used for the main audio which is recoded onto the Zoom H4n in WAV format with the passthrough recording in camera. The B camera also has a Rode VideoMic Pro recording audio onto it. The black background and supports are Lastolite and were used in all the interviews. The lighting is by a single Kino Flo Diva Light (supplied by New Day Pictures) and a Lastolite reflector. June 02, 2011. Photo: Nicola Taylor
Editing Workflow
Editing the fund raising video for RNOH at New Day Pictures’ Final Cut Pro editing suite in Surrey. Assistant Nicola Taylor and video editor Neil Patience at work, discussing the interview transcripts. November 08, 2011. Photo: Edmond Terakopian
After every day’s shoot, we would make copies of all the CF cards (video) and SD card (audio) onto both Neil and my MacBook Pros. Once back at our respective offices, we would both also make backups onto our Mac Pros and RAID systems. On top of this, I also made multiple off-site backups. With a project that has so much data and is shot over such a long period of time, it’s not worth risking losing something before delivering the final cut to the client. With this workflow we had multiple copies (RAID 1 and RAID 5) across three geographical locations.
Editing the fund raising video for RNOH at New Day Pictures’ editing Final Cut Pro suite in Surrey. L-R: Cameraman Edmond Terakopian, assistant Nicola Taylor and video editor Neil Patience at work. November 08, 2011. Photo: Edmond Terakopian
Once Neil had put together a long assembly, Nicola and I met with Neil at the New Day Pictures’ editing suite. Although able to edit video myself, I never thought of myself as anything but having rudimentary skills. Watching Neil at work was an amazing education. The philosophy behind editing is the most crucial thing; watching him operate the keyboard, mouse and various break out boxes full on knobs and sliders like a concert pianist was amazing, but understanding the reason behind constructing edits was just mind blowing. The three days that I spent with Neil were invaluable. The film naturally did take much longer than that to do though. If you’ve never worked with a professional editor, I highly recommend it; in fact, it’s essential.
Our first screening was for the RNOH fundraising team. The silence and sniffles, combined with the teary eyes confirmed for us that we had succeeded in making a powerful and emotive documentary. It’s always difficult to fully judge a project until you’ve shown it to someone outside of the team. Close colleagues who had seen it had all been positive, but it was only when our clients at RNOH approved, that we were completely happy.
The premiere of the film was at the launch of the RNOH Funding Appeal at St James’s Palace, at an event hosted by HRH Prince Andrew and Princess Eugenie. Along with the screening was also a photographic exhibition of my work documenting the hospital. I must admit to being quite nervous when the film was shown; it’s again the fear of not knowing how it will be received. The huge room (bigger than a typical hall) fell quite and stayed quite for the entire length of the film, the silence only being broken by the occasional sniffle. As the film approached it’s end, the sniffles grew not only more frequent, but louder. A gentleman in front of me, who is the father of the amazing Caitlin who is featured in the film was in fact crying fully. It’s hard not to be moved and humbled when witnessing such an amazing reaction to one’s work. After the film finished, there was silence; a silence which carried on for a good five seconds and then the room burst into applause. Later, Neil and I shook hands.
Proud. This is one word which kept coming up between the TAPTV team; we were all proud of what we achieved with this project. When I look back at my career which started in 1989, although I give my all to everything I do, certain assignments stand out and I feel proud; this is certainly one of them.
My hope is that we have helped this amazing hospital to raise some of the money they need; they do amazing work there. I hope that you will help by making a donation HERE.
I must admit that since seeing the press release from Rode for the VideoMic HD, I’ve been a tad excited about the product! It’s still at a development stage so I have yet to see or use the VideoMic HD, but on paper and judging by these pictures, I think those who use their DSLRs for video are in for a treat.
Firstly, it uses a microphone based on the technology from my absolute favourite microphone, the Rode NTG3. Not only that, but it has a built in blimp which means it’ll be shielded from wind noise and vibration. The big game changer though is that it marries this amazing microphone to a built in digital recorder, allowing recording of high quality WAVs, and has a headphone socket for monitoring audio. It also has a display for monitoring audio levels. All of this packaged in a metal hosing that sits in your hotshoe. Very neat, tidy and compact.
To make it even more versatile, it also has an input for another microphone via 3.5mm audio jack. This means if you wanted to boom another microphone, say the superb VideoMic Pro, you could. You would get the shielded extension cable back from the boomed VideoMic Pro back to the VideoMic HD, thus being able to fully monitor the audio. Genius!
In operation, as far as I can tell, one would record onto the device (Micro SDHC, up to 32Gb in size) as high quality WAVs or compressed MP3s. The built in 3.5mm jacked cable then plugs into your camera and passes the monitored audio through. By setting a correct level on the camera and on the microphone, one could even just use the camera’s recorded track for quick and dirty edits in the field and later substitute the better quality WAV from the VideoMic HD when back in the office.
I for one can’t wait to get my hands on this and see how it sounds and performs. I think we’re all in for quite a special microphone.
Photographer and film maker Edmond Terakopian filming at the Royal National Orthopaedic Hospital in Stanmore, using a Canon 5D MkII on a Zacuto Striker with the new Rode VideoMic Pro (with a windshield fitted). In the foreground is the original Rode VideoMic. Filming in an operating theatre. May 16, 2011. Photo: Neil patience
When I reviewed Canon’s 5D MkII in 2009, I concluded that the easiest way to get good audio on the camera was to use Rode’s VideoMic. I’ve been personally using this microphone since and have been getting pretty good results. However in situations where I need to travel compact or when shooting in news type situations, I did wish the VideoMic was smaller.
Rode seems to have been listening and recently launched the much smaller VideoMic Pro. It’s 10cm shorter in length than the VideoMic, 2.2cm lower in height but 0.7cm wider. It’s also lighter with the new model being 85g compared to the VideoMic’s 176g. It is just the right size now and when mounted, it doesn’t stick out the back.
Price wise, the VideoMic Pro is more expensive. Studiospares have the VideoMic Pro at £124.17 exc VAT compared to the older VideoMic at £65.83 exc VAT.
In Use
I did a set of extensive listening tests comparing the VideoMic and VideoMic Pro, using a Canon 5D MkII with it’s audio gain set on automatic. The subject was in an enclosed area and recorded from a distance of 2 meters as well as one meter. I listened to the results playing back the video on a MacPro using Aperture 3. Initially I used a pair of speakers and then headphones. No matter how hard I tried to find differences between the two, I couldn’t. The larger VideoMic was already a superb microphone, and the VideoMic Pro, although much smaller, was as directional in it’s sound gathering and just as clear in picking up all the detail in the voice. If anything, the VideoMic Pro seemed to make a little less background hiss in the quite times, as the camera turned up the gain automatically.
As a result, it later came as no surprise when comparing the specifications of the two microphones to see that Rode have somehow managed to make them identical, even though the VideoMic Pro is so much smaller.
Photographer and film maker Edmond Terakopian filming at the Royal National Orthopaedic Hospital in Stanmore, with the Rode VideoMic Pro. Filming in an operating theatre. May 16, 2011. Photo: Neil patience
In listening tests, although I didn’t do a side by side comparison with it’s closest rival, the more expensive Sennheiser MKE 400 (£136.00 exc VAT), although I had previously tested the Rode VideoMic and in comparative listening tests, the Rode was the clear winner.
The new microphone is a completely different design, with a completely new suspension rig, which ensures camera noise doesn’t vibrate up to and get recoded by the microphone. I’m extremely glad to see that the on switch and all the filter controls are still at the back of the camera, where they are easily seen. There’s nothing worse that making a video recording and not switching on the microphone; with the Rode, an LED clearly shows when it’s on. The Sennheiser has these controls on it’s side where they are easily missed.
The smaller size naturally has it’s conveniences; it’s much harder to snag the microphone and naturally it takes up less room when packed. The shorter size also means that it’s now much easier to use ultra wide angle lenses.
Conclusions
If absolute quality is needed in audio, then currently with the video DSLRs on offer, one’s only answer is to record the audio separately and then sync it up afterwards when editing. I personally use a Zoom H4n audio recorder and Rode’s excellent NTG-3 microphone. However, this is extra equipment and expense, and demands a lot of extra time and expertise when editing. Even when doing dual audio, I still use the VideoMic Pro on a second body when shooting dual cameras (which I often do); this allows for a sound backup but also for a much cleaner audio track to synchronise externally recorded audio with. For the simpler and straight to camera audio recording, Rode’s VideoMic Pro has kept the superb sound of it’s older brother and packed it into a much smaller package. I highly recommend this to anyone wanting to use their DSLRs for video.
I do not condone nor can I be held responsible for reader comments published on this blog; they are the sole responsibility of the reader making the comment.
I'm a multi award winning photojournalist, two of the main being the British Press Awards Photographer of the Year and a World Press Photo award. I also cover a fair amount of PR and commercial photography. Over the past few years I've been interested in film making and have a few commercial creative films and a documentary in my folio of video work.
