What are some ways to troubleshoot technical issues during filming?

Uma coisa que acho útil é sempre levar baterias extras, a dura??o da bateria é sempre uma incógnita e dependendo da grava??o ela deve ser trocada mais de uma vez!

Always keep your extra back up ready in your bags when it comes to outdoor filming. Technically troubles are inevitable in this case. Note down these possible scenarios and causes and prepare your back ups accordingly another thing, check your gadgets two three times plus test recording also help you in back up support.

Ways to troubleshoot technical issues during filming - Pre-visualise everything you'll be asked on the day (and guess what other stuff might arise). Check batteries, check media, check you have a back up camera, don't forget raincover, back up radio mic (you never know when then client might want 2 in shot) - don't forget windcover for the radio mics either. Spare AAs. Always bring a shotgun mic and xlr with a stand and boom pole. 1x1 light panel and a couple of Vlock batteries. Bring a charger for your phone and print the call sheet - even if says not to. If I need information I don't have time to check it on email - and my personal new favourite don't get your car stuck in the mud because it has the potential to really mess with your day.

La posesión de variadas baterías te da una autonomía de funcionamiento prolongado, por horas. El tener una BAJA cantidad de éstas, recomiendo utilizar y vaciar a 0, para luego cargarla al 100%, y volver a comenzar. Así cuidamos nuestras pocas herramientas. Todos iniciamos con el 100% de nuestra energía.

Perspective from a pro cameraperson with over 2000 contracts on jobs both sides of the Atlantic. All the great camera assistants I know will tell you - never be complacent. Check, check and then check again. We're slightly lucky with professional gear as we can usually carry adapters and little problem saving gizmos that make nearly every piece of gear interface with every other piece of equipment. Camera assistants have those amazing bags with all the bits that have saved shoots in the past. 12v to 5v adapter 12v to 240v inverter - to run off a car battery - adapters for converting V-mount batteries to almost any other connector. In the pro industry a battery issue can be career limiting - even in the jungle! No excuse for bad prep!

Malgré la description, filmer en 4K, même pour YouTube, offre l'avantage de recadrer au montage sans perte de qualité. Le stockage n'est plus un problème avec les avancées des cartes SD. Choisissez une capacité adaptée, une vitesse d'écriture suffisante. Ayez toujours une carte de secours en cas de corruption. Les cartes mémoire sont des consommables. Cette approche assure une expérience de tournage fluide et sécurisée.

The safest way is to come with enough memory cards. Years ago memory was quite expensive, today prices went down, so always bring enough SD cards or even consider using SSDs.

INVEST in top-quality media cards and make sure you have redundancies. Similar to the batteries, ALWAYS have backup cards on the ready. My personal preference it to always film in the highest resolution I can, and I purchase cards that allow me to do so. Being since this is my craft, my profession, I look at the cost of memory cards as the cost of doing business. The footage that I, or you, film equates to MONEY. So why would you shortchange the one thing that holds your money? Invest in quality media cards, and make sure you have plenty of them. In that same vein, when it comes to post-production, media and project storage is another cost of doing business. Redundancy, redundancy, and redundancy of your data are vital.

When you are doing a days filming thinking of the costs involved, memory and storage is at the lower end of your outlay. Memory cards for cameras are reusable. Make sure you have more than you think you need. I would never compromise on resolution merely to save space on a cards. You will get one shot at that filming opportunity. Give yourself the best chance to get the best shots you can rather than try and save space. Invest in Loads of fast memory cards they will save you time and stress. And back up footage on a shoot day as often as you can so that you are shooting with fresh cards . This will also save time at the end of the day when copying footage to back up drives.

Not just Battery and storage. I think generally, before leaving for the shooting site,we should always endeavor to check all our equipment to know if they are in order and if you are not leaving anything out. And it is advisable to do this a day or hours before leaving, so you don't park up under pressure and leave out some things. You can also deal with Storage and battery issues by carrying along extra Cards and batteries.

For me, audio is my weakest link the video production chain. Which is why I hire audio professionals when the shoot gets too large audio-wise. One mic at a time - two maybe, that I can handle. More than two, and I'm calling out a pro. It's the best investment you can make in assuring that everything will sound good. I'm checking lighting, framing, focus, background - let someone else worry about audio. But when I am responsible for it, make sure you have pro gear and you know how to use it. Know how to hide a lac mic on talent properly, and know how to change the frequencies if using wireless. And keep a wired on hand for when your wireless is picking up too much interference.

Audio is so important. An interview with bad sound and a beautiful shot of the contributor is still unusable, but an interview with good sound and bad pictures can be salvaged. Never cut corners when recording sound

Obviously it’s important to shoot beautifully but if you can’t hear what someone is saying those beautiful rushes become redundant. Give APs proper sound training in advance of the shoot and check they have full ability to listen to what they are recording. Check rushes as you go through the shoot to make sure no one is struggling

At the start of my career, my mentor handed me a production cart that had me setting up backdrops, lights and cameras and monitors for small setups by myself. A few weeks after the concert hall was finished, he had me crawling through ducts to trace where cables were going and how cameras, playback recorders, instruments, projectors, sound mixers, video mixers, remote cameras and matrixes were connected to each other. The road to mastery is to get out there and get your hands dirty. Be curious, make mistakes, be stressed when things screw up, learn from them, and have loads of fun.

Choose the right kind of microphone for your scene and use. That's very important when it comes to audio quality, authenticity and noise.

As an editor, nothing else can save footage from being usable besides great lighting. Even blurry footage is usable with the right kind of lighting and context. Bad audio? Who cares if the lighting is great? Camera choices? Great lighting can make anything shot on an iPhone or Super 8mm look great. Lighting is the sole contributor that elevates spaces, people and storytelling to the next 10 levels. It sets apart the amateurs from the professionals.

Lighting is a critical element in media production, not just for aesthetic quality but also for conveying the right message and emotion that aligns with a brand's strategy. I understand that the visual impact of a video can significantly influence audience perception and engagement on social media. Proper lighting ensures that the product or service being showcased is seen in the best light, quite literally, which can affect consumer trust and interest. Adjusting lighting to avoid technical issues like glare or incorrect color balance is essential for maintaining the integrity of the brand's visual identity and can make the difference in a campaign's success, especially in the highly visual platforms of social media marketing.

There's only so much online/colour grading can do to fix a badly lit shot. Check your white balance and your shadows before shooting, as this will affect just how much you can fix it in the end. If your shot is blown out with brightness? It might end up in the bin. Ditto if it's so hard you can't make out a single thing.

Using the three point lighting system (keylight, sidelight, hair or background) used to be my go-to method. But for the last few years I've found good use from two lights. One, point fresnels UP towards the ceiling or bounce a little off the wall, and Two, an eyelight (usually a pepper light is good for this). This is usually good for most of the scenes I need, but nothing that requires a more dramatic feel. Using only two lights also means a faster setup.

In my experience, lighting is critical factor for video or photography cause if you dont have light, you cant get picture on your camera. Atleast you have 1 key light to make your video popup, you can add other light as fill lights to make your videos more attractive.

Sharp and quality video is the number strategy to get your clients to keep coming. Getting your focus right is key. Before getting on to shoot a video take your time to clean your camera, lenses and other visual part of the cam to get a clean shot

In the realm of digital marketing and brand strategy, maintaining sharp and engaging visual content is paramount for capturing audience attention. As a brand strategist, I emphasize the importance of manual focus to ensure the highest quality of imagery, which directly impacts brand perception and user engagement on social media platforms. A well-focused video can convey professionalism and attention to detail, essential for startup growth and establishing trust with your target audience. Utilizing tools like focus assist can greatly enhance the precision of your visual content, making your brand stand out in the competitive digital landscape.

If you’re doing autofocus keep an on it. Set the focusing parameters to be in one specific area if the presenter/actor is not going to be moving too much. Sony mirrorless cameras have great autofocus, if my settings are right I never have an issue.

O foco automático nem sempre é a melhor escolha. Conforme a pessoa diante da camera se mexe, pode ser desfocada criando um ponto central no cenário, por exemplo. Isso acontece principalmente para quem necessita gravar sozinho, sem acompanhamento de um profissional de imagem atrás da camera.

Wise creators know the backstage magic starts with lensing scrutiny – the eyes of your narrative. Shed light wisely; lighting is the silent conductor orchestrating your visual symphony. Camera blocking? Think of it as a dance – each move dictates the rhythm of your storytelling. And before the grand performance, indulge in a mock shoot; the rehearsal of champions. In the world of visual tales, the details are the unseen stars. Lights, camera, impeccably crafted action! #VisualWisdom #ProductionInsights

There are so many different ways to stabilize your footage that honestly there is no excuse for having Shaky footage that was not intentional. Specifically talking about Cameras with internal stabilization, but even lower end Cameras, like the black magic pocket 4K now have the ability to read the stabilization data directly from the camera and in resolve. But don’t always be so quick to get silky smooth stabilized shots. There’s a lot to be said about good handheld shots. It adds character, depth, and story. Shooting without some form of movement is like painting without texture. Choose the moments. Don’t let the moments choose you.

En algunos escenarios o locaciones es importante mantener los equipos en una temperatura estable para mejorar su rendimiento. En condiciones de mucho calor o frío, los equipos pueden presentar fallas, mientras se 'adaptan' a los cambios de temperatura. Chequear con tiempo estás condiciones permite mejorar el rendimiento de los equipos.

Based on my experience, effective troubleshooting often relies on having a backup plan in place. When editing a project, having multiple drafts saved in clearly labeled locations or on backup drives can significantly reduce the stress involved. Knowing that you have footage safely stored away allows you to simplify troubleshooting, often resorting to straightforward methods like the "turn it off, turn it back on" approach.

Best practice for troubleshooting is to have multiple sources of stabilization. Make sure to have a Gimbal, Tripod or Monopod, and a lens with good built in stabilization. Having these backups will ensure that no matter what you are filming, you are prepared. Troubleshooting stabilization is based on how well equipped you are for different scenarios.

Si es importante la estabilización, pero no siempre es la solución a una mejora. Muchas escenas galardonadas se han hecho handheld o sin estabilización. Se debe definir desde un inicio que efecto se quiere lograr y encontrar la mejor solución para llevarla a cabo. Se podría usar una cámara con Global Shutter y así disminuir la distorsión de imagen...

The best way to troubleshoot a technical issue is to catch it before it becomes a problem. If renting equipment from a rental house, perform proper camera tests in advance. Test different configurations to ensure all parts are compatible. A matte box may look good on a 35mm and above, but vignette on wider lenses. For owned equipment, regular maintenance is a must. From time to time pieces will fail, if they are crucial to the functioning of the camera, bring a backup. For example, we always carry a spare power cable in case something happens to the primary cable. Lastly, checklists are your friend. At my production company, we have an equipment checklist for every production to verify that all equipment is packed and ready for use.

Filmmaking is problem solving. Technical issues are going to happen, as are location, cast, crew and weather issues. Stay calm, use your experience, and the experience of your collaborators to find solves to the problems that pop up. Hire good people that know the gear they tech! Insurance!

As a video production professional, troubleshooting technical issues during filming is crucial. Preparation involves testing equipment thoroughly and having backups ready. Checking connections, monitor battery levels across equipment, and address any audio and lighting issues proactively. Test shots help preemptively identify and solve problems. When issues arise, I stay calm and consult with the team. Learning from each experience, I continuously refine my troubleshooting skills to ensure smooth productions. By reflecting on past experiences and incorporating lessons learned into future projects, I continuously refine my troubleshooting skills, ultimately enhancing the quality and efficiency of my work as a video production professional.

Simple, but when rushed it’s easy to forget to test/check everything beforehand. A good example is assuming audio from a mic is acceptable because the audio meters are moving or you hear sound in headphones. The solution is to actually record and playback a short test.

It is important to check and test gear prior to filming. Maintenance is key if you own it. Has to be ran and checked regularly. Firmware updated. If renting, gear test and check is a must especially if filming on location.