Magic Lantern raw keeps getting better. It’s been awhile since I downloaded and tested the latest nightly builds. Turns out there’s a LOT of progress being made: the latest releases include the option for a new recording file format called MLV (for magic lantern video). This format allows for some really great stuff, most significantly for me, audio recording.

Post-production keeps getting better, too. There’s a new batch-conversion utility called MLV Mystic that allows Mac users to unpack the MLV files directly into cinema DNG files, which can then be opened directly into Davinci Resolve 10.

HDMI monitoring is also vastly improved. Gone is the bug that caused pink-frame tearing when recording 3x (which at the press of a button turns any lens into a macro). No more pink frame tearing! Also, the monitor display bugs that incorrectly drew the boundaries of the frame are fixed.

HDMI tip: I discovered this weekend while testing that it’s critical to plug in your hdmi monitor to your camera in the correct order. First, with your camera off, power on your HDMI monitor and plug it into the camera. Then, power up the camera. This way, it will correctly draw the HDMI screen. Otherwise, you get some misaligned black bands encroaching into the display from top and bottom.

Another sweet thing, and this is a big one: I discovered after much testing that Magic Lantern’s focus peaking is just killer. It works like magic to help you find focus, and you can select from three settings: one for darkly lit subjects, one for brightly lit subjects, and one that is a bit of both, for average scenes. This peaking is the first I’ve ever used that actually works without over sharpening to death or otherwise unacceptably screwing with my monitor. I’ll be using it by default from now on.

All I can say is: thank you Magic Lantern team. You guys are tireless in continuing to unlock the potential of this amazing image making tool called the Canon DSLR. The raw video image coming out of this camera is breathtaking.

I know the key to better documentary interviews. A silver-bullet technique that has enabled me to make award-winning films like The Coffinmaker and The Metalsmith (both Vimeo staff picks). In the photo above, Scott Berkun is using the technique to interview Martina Welke of Zealyst for We Make Seattle. It’s not difficult. In fact, it involves doing less than what you’re currently doing.

Huh, you ask? How can doing less make my films better? I’m going to share this technique with you in a minute. But first, some background.

When I began making documentary films five years ago, I was coming from the world of still photography. In that world, it’s possible to be a one-man band and do a great job. Not easy, mind you, but totally plausible. Film is a different animal.

Consider for a moment how many balls you must to keep in the air to pull off the simplest of shoots, the interview:

1. Camera (focus, batteries, monitoring subject movement within frame).
2. Lighting (changing ambient light, placement of lights).
3. Sound (levels, distance to subject, mic axis).
4. Location (noise level, permissions).
5. Subject (makeup, direction,)
6. Interview (preparation, full attention, questions, redirect).

And that’s just the production bit. If that all goes well, you get a bunch of footage and audio that you must store on a hard drive, then go to work on. That involves importing into your editing suite, watching it, listening to it, cutting the interview, carefully placing b-roll on top of that to hide your cut points, adding music, color correcting, audio mixing… Whew, it’s a lot to manage.

But let’s stay focused on the production piece. Now, consider that these variables don’t just have to be aligned for a split second, as with a photograph – with film everything has to STAY perfect for the duration of the shoot. If the sun comes out halfway through, you have to change exposure. If the subject gets excited and leans forward, you need to adjust focus. And, all the while you need to maintain human contact with the subject, so they feel you are present in the conversation with them.

It’s too much for one person to manage. Really, it is. Two people can swing it. But one? Forget about it.

Since I couldn’t do it all, I considered what I could NOT do, and still get the job done. Can you guess what that was? For a guy most comfortable with a camera, it was a tough one to swallow. I skipped the eyes and went for the ears.

If you had to watch 30 minutes of someone talking without sound, how long would you watch? Now, if you had to listen to 30 minutes of audio without video, how does that change things? A lot. But wait, you say, we’re making a film, not a radio program! Yes, but if you’re making a film, doesn’t that mean you want to show action? And does a person sitting in a chair really qualify as action?

The key to getting better documentary film interviews is: don’t bring a camera. You heard me right. Leave the camera at home. That way, you won’t be tempted to use it. Instead, you’ll free yourself to think about the story. You’ll connect better with the subject without your eyes constantly wandering away from theirs to check focus.

But what if you have plenty of crew? You should probably still skip it! Here’s why: because most people are intimidated by cameras. They are distracted by thinking about how they look, their makeup, wardrobe, etc. Consider this: How often do you FaceTime someone when you want to call them? I think I’ve used it twice in the three years I’ve had an iPhone. It’s invasive. I’m more comfortable talking as opposed to acting. Same is true in your average documentary interview situation. Take away the camera, and you take away the self-consciousness. Take away the self-consciousness, and you get straight to the good stuff. The scary, emotional stuff.

There’s another benefit to doing interviews without camera: it forces you to shoot better b-roll. In fact, it forces you to think differently about b-roll altogether. No longer is it filler to get you through – it becomes everything! So you have to think of action that can carry the story. And your film just got better.

There’s another benefit: you won’t be able to make the mistake of including too much talking head time, because you don’t have any!

It’s a big commitment. But try it once. You may be surprised with the results.

With digital video cameras, it’s tempting to shoot everything off the monitor. What you see is what you get, right? Well, sort of. I’m thrilled with the exposure tools we have today – in particular the waveform monitor and histogram that Magic Lantern has unlocked on my 5dmkiii. But there are some situations where depending soley on what you see can get you in trouble.

1. It looked good on your monitor when you shot it…but it’s too contrasty (or not contrasty enough) in post. No one knew how the film was going to be graded at the time it was shot, so somebody said “let’s just shoot it flat” (ie, using something like the ProLost picture style). Good idea. But shooting it flat isn’t the same as lighting it flat. For best results, you need to know what contrast ratio to use. And that’s where your light meter comes in.

How to find contrast ratio. Let’s assume a simple interview, with two lights: a key, and a fill. To determine the contrast ratio, turn off the fill light. Point the lumisphere at the key, take a reading and note it. Next turn off the key light, and repeat to read the fill light. You now have two f-stop values, i.e, f/8 for key, and f/5.6 for fill. To determine contrast ratio:

1:1 ratio = lights are the same, perfectly even
2:1 ratio = 1 stop difference between lights
3:1 ratio = 1.5 stop difference
4:1 ratio = 2 stop difference
8:1 ratio = 3 stops (one half of face is very dark)

On my Sekonic L-358, there is a handy feature for performing this calculation automatically, called “brightness difference” mode. I recommend investing in a light meter that can do this for you, otherwise you have to do some awkward math. And you’re don’t call yourself a filmmaker because you wanted to be an engineer, do you?

So, to avoid this lighting disaster, do some camera tests as described above in advance of your shoot, using several different contrast ratios. Then apply your intended grade to the footage, and see which contrast ratio best gives you the look you’re going for.

Tip: I most often grade with FilmConvert Pro, which is a quick and powerful way to get great-looking footage (esp. skin tones) out of DSLR video. With FilmConvert, I find that I have to shoot at a lower contrast ratio than looks normal on my monitor for best results with many (but not all) of the film stocks.

Side note: Be sure to get a light meter that supports cine frame rates. Many inexpensive light meters don’t allow selecting shutter speeds between 30th/sec and 60th/sec. For 24p video, you need 48th/sec. But it’s pretty easy to find a quality meter used. I was able to find a Sekonic L-358 for $160 on Craigslist, and it does everything I need and then some.

2. It looked good when you shot it…but you can’t repeat it. The director wants you to reshoot a scene – but you can’t remember how you lit it. Or you simply need to match the lighting from day to day on a multi-day project. You’ve got lighting continuity problems.

Solution: The first time you light it, take a light meter reading for each light on set. Record three values: ISO, aperture number, and frame rate. I.e, 640, 5.6.3, 24. That way, when the director calls you a month later begging for a reshoot, you’ll be able to say “no problem.” Lighting, at least, won’t be the cause of any continuity problems.

3. You scouted the location, but when you arrive on the day, your lights aren’t powerful enough to match the window light. Ooops. Had you carried a light meter while scouting, you’d have known what to bring.

When scouting a location, a light meter takes the guesswork out of the process. It also helps you communicate with the rest of the crew, which is invaluable for larger projects where someone other than yourself may be setting up the lights.

And finally, I’ve found that carrying a light meter is a great way to educate the eye. How bright is that overcast day in Seattle? (Almost f/11 at ISO 160 for 24p. Brighter than you might think!) How bright is that fluorescent office environment? Hmmm, f/4 at ISO 640? Hold up the meter, click, and discover that it’s f/2.8 and a half. Having this kind of instant feedback is key to rapid learning. After awhile, a light meter will make you pretty good at this game. And that can’t help but make you a better filmmaker.

Do you use a light meter on your projects? How do you use it?

1. Not getting mic close enough. If you audio isn’t good enough, it’s probably because the mic isn’t close enough. Are you trying to get by with an on-camera mic? Get the mic off the camera. Really. At a minimum that will mean using a radio lavaliere. And preferably a shotgun mic operated on a boom pole. Use the hand trick to find the ideal mic position, as follows:

Place your thumb in front of your mouth. Fully spread your fingers at a 45 degree angle. The tip of your little finger is where the boom mic should ideally be, about 6-8 inches away. Of course, it varies with the subject, and with the shot. Sometimes you just can’t get that close without risking getting the mic in the shot. You can get away with 1′ away, maybe even 16″ away. But if you’re regularly 2-3 feet away, background noise is going to color your audio big time. And you can’t remove that in post.

2. Hiding lav on subject produces distracting clothing rustle. I’ve worked with professional sound recordists who tell me hiding lavs is the most challenging part of their job. And it’s true: once you put a lav under clothing, you’re going to have issues. It takes a lot of trial and testing to get it dialed correctly. Sometimes, it’s just impossible. I generally use lav audio as backup, preferring the cleaner sound that comes from a boom mic. But for those times when you’re counting on a hidden lav to pay your bills, here’s how to hide a lavaliere mic.

3. Handling noise caused by changing hand position on boom or mic. OK, you’ve committed to using a boom pole. Your sound is so much better already! But watch out – a low rumble will be introduced to your recordings every time you reposition your hands on the pole. So once you roll sound, settle quickly into a position you can hold for the entire take. It doesn’t have to be like lifting weights. Follow these boom mic recording tips and your audience will thank you.

4. Distracting noise in background. The most common offenders here are refrigerators and HVAC systems. Remember that shotgun mics are directional – so point the mic away from the direction of the noise. Better yet, eliminate it entirely by turning the heat down or tripping the fridge circuit breaker (put your keys in the fridge so that you don’t accidentally leave without restoring power). That’s why getting the mic overhead on a boom pole works so well – because sound rarely comes from below. But even shifting the mic 45 degrees can make a huge difference. Listen carefully before the take begins to find the best mic angle. The more background noise, the closer the mic will need to be.

5. Room is echoey (too “bright”). Small rooms are usually worse than large rooms, and any uncarpeted room with bare walls spells trouble. Basically, you want a room that is “homey”: carpeted, drapes on the windows, plush furniture, bookshelves lining the walls–anything that will break up sound waves. If you have a slight echo, however, it is now possible for you to fix it in post. Check out the Unveil plugin by Zynaptiq. It does magic to dampen slight reverb.

6. Forgetting to record room tone. When your take is finished, the last step is to record what silence sounds like in that particular environment. If you forget, as I still sometimes do, it makes it difficult to edit the dialog. So make it a ritual, like the chant I breath to myself every time I leave the house: keys, phone, wallet. Every time you say “that’s a wrap,” first say “30 seconds of room tone, please.”

7. Audio levels become clipped because of sudden loud noise. You’re recording some dialog and your subject starts laughing. Or cheering. Or shouting. If you have a good mixer, the limiter can automatically catch brief outbursts like this. But if you’re using inexpensive recorders and can’t turn the recording level down fast enough, you’ll get clipped audio. But once the damage is done, is there any way to fix this in post? Yes, believe it or not, there is. Some of the cheering crowd scenes in my documentary Beyond Naked would have been unusable if not for iZotope RX, an incredible suite of repair tools. The iZotope Declipper can rescue even horribly distorted audio.

8. Forgetting to charge/replace the batteries. Yep, it still happens to me. On some inexpensive recorders such as the Zoom H4N, if the batteries die during a take, you will lose the entire recording. So as a way to prevent this from happening, as well as a way to stay more organized, I recommend rolling early and often. On a lengthy interview, for example, don’t just hit record and forget about it until it’s over. At strategic points such as between questions, stop and re-roll. Also, get into the habit of charging/changing the batteries immediately AFTER each shoot. That way, you’ll always be ready to go.

9. Radio interference from cell phones. Almost everyone is carrying a smart phone these days. They stay connected by sending radio bursts that can be audible by a sensitive mic. Before every recording session, pretend that you are the captain of a plane about to take off: ask everyone in the room to put their phones into airplane mode. Not only will this prevent radio interference, but it will prevent your take from being ruined the old fashioned way: when the ringer goes off.

10. Using cheap gear. The difference between a $200 mic and a $1,200 mic is pretty amazing. And since pretty much every video you make from here to eternity will have sound, it makes sense to invest in a quality mic and a recorder that has decent pre-amps. Thankfully, Moore’s Law doesn’t apply to sound gear the way it does to camera sensors. You could easily be using the same mic you buy today in 10 or 15 years. So don’t scrimp on sound.

Yesterday I shot some interviews in a modern office building that had tons of big beautiful window light. Having all that natural light makes for an excellent interview setup, but it comes with a few challenges, too. Here’s a tip I’ve learned to help you work with the light, rather than against it – using just the available light (and an optional small LED light).

I love the look of light emanating from behind a subject. It just adds so much life to a talking head. So I always try to place my subject with window light behind them. This works best when you are in a corner that has windows on two sides: the window light coming behind them makes the background come alive, and the window beside provides the key light. The challenge is that the background window is always going to blow out, because it’s much brighter than the light reflected on the subject (assuming we’re ruling out direct sunlight, which I generally avoid for interviews because it moves during the interview, making it impossible to cut without continuity problems).

The simplest solution to this challenge is simply to let the background blow out altogether. This can work very well in some cases. Yesterday, for example, I shot this executive in his corner office bathed in window light:

I think this approach can work extremely well. We don’t really need to see detail in that background, which might distract from the subject anyway. But what if you WANT to see detail in the background?

Applying ND to every inch of window is impractical (not to mention very expensive). You could pack a powerful light, probably at least a 1k, and use that to key the subject. But if you’re in a modern conference room that has glass walls on all sides, there is a simple way to solve this problem. Instead of positioning the subject with their back to the window, position them facing the window, so that you’re now shooting the light reflected in the glass wall behind them. This magically brings the light into near perfect balance, like so:

You have to have the subject pretty close to the window to get the light level high enough, though. This makes it awkward for you to fit yourself and your camera into the small space remaining. Putting the subject further back in the room means they are underexposed. What to do?

This is where a small, hard light like the amazing Torch Bolt LED from Switronix comes in for the win. In the frame grab below, I’m using the Bolt to just bring up and slightly warm her face (by dialing just a bit of tungsten light with the 5600k). Mixing this hard source with the natural window light adds a lovely effect, in my view, while keeping the light looking natural and soft.

Can you see the subtle difference in the skin color in the two women above? I didn’t use the light on the woman in blue, and she looks much cooler and isn’t separated as well, because she’s lit with blue light coming in the window. I will be using my Torch next time!

So there you have it. One last thing to keep in mind: you have to watch out for reflections in the glass behind the subject. This means shooting at an angle, and making sure the subject is not too close to the glass wall behind them, or you will see their shadow in it.

Camera: Canon 5dmkiii
Lens: Zeiss 50mm f/1.7

On most shoots, I rely on Pluraleyes to sync my audio automagically, precluding the need to slate anything. This works great when you can record a reference audio track. But ever since I began shooting with Magic Lantern raw, I’ve come face-to-face with the need to slate every single dialog take, because Magic Lantern raw has no reference track. So getting a perfect visual reference is key to avoiding nightmares in post.

Enter Movie Slate. The $49 iPad app is a great alternative to carrying around old fashioned sticks. You can enter all kinds of metadata and have it automatically increment with every take. But one thing I’ve had a hell of a time with is getting an accurate sync point.

So I did some testing today to figure out what’s going on. Here’s what I discovered: there is a 5-frame delay between when the sticks come together on the iPad and the slate begins to turn red, until the audible beep is emitted.

So that’s my tip for you today: just look for the first red frame, and nudge the audio clip spike 5 frames to the right. Link the audio and video clips, and you’re done.