05.29.08
Graduation video challenges…
So the interesting thing about not doing the video ourselves for graduation 2008 but deciding to do the editing is that we have to deal with everything in post. The challenges (I’m using that word specifically, instead of the other word that could go there):
1) Video Aspect Ratios: One camera was 4:3, the other camera was 16:9 anamorphic, and the other camera was originally an 16:9 HD signal. But the last camera captures to a internal drive, not to tape. So the videographer dumped the drive to tape, which made it SD and 4:3 letterboxedto 16:9. So essentially we have three totally different aspect ratios to try to get around.
Solution: start with a letterbox edit, with slugs positioned above the camera so the 16:9 and letterboxed fit. Then move the 4:3 up and down underneath the slugs to get the framing to 16:9 without chopping of heads. Then we will output to 4:3 letterboxed, bring it back into a 16:9 timeline and crop, in order to get a 16:9 output that isn’t letterboxed.
2) Video angle problems: The main center shot is fine and great. The wide shot was way-to-wide. We needed a wide-stage shot, not a wide-back-of-all-the-graduates shot. Then the 2nd camera should have been positioned on the opposite to “cross-shot” Dr. MacArthur shaking hands. But since it is on the same side as Dr. MacArthur, at one point Dr. MacArthur takes a step to the audience’s (and camera’s) left and is then behind a pole to the camera’s view. So we then get to see very little of Dr. MacArthur and sometimes even the graduate from that angle.
Solution: There is none. We are trying some creative cropping and picture-in-picture stuff. But just nothing we can do about this now.
3) Lighting changes: Graduation happens at dusk. So we start with full sun, go to dimly lit with stage lighting, to only stage lighting, to the horrible stadium lighting turning on at the end. Yuck!
Solution: trying to color correct, piece-by-piece, angle-by-angle.
4) More lighting challenges: The stage has to be (or maybe just was) placed in such a position that there is no good lighting position. All the lights are overhead at approximately 80 to 75 degrees. Very bad. Makes shadows over the eyes
Solution: Some color correction, but there really is none. So we are thinking about how to change the layout next year to get better lighting positions.
5) Audio problems: First, everything is a mono feed, but on the tracks are linked as stereo, so we have to unlink them (not the easy in Final Cut). Second, the main board signal is low and has quite a bit of noise throughout. Not to mention the verge-of-feedback sound the entire time. Then one feed was from a wireless mic attached the podium mic, that will be a go-to mic from everything podium. And then the rest is just different flavors of the sound in the audience.
Solution: Lot so channel and level changes. And hopefully some noise reduction on the main feed.
So, that’s the grad DVD challenges. We chose to do the edit ourselves this year. I think we’ve decided we will also shot it ourselves next year and be more involved on the stage setup side of things. That way all the mistakes will be ours, and we are used to fixing our mistakes. The challenge is in fixing others.
P.S. my boss is doing most of this (Yeah Dave!). I’ll get to help on the audio side of things and DVD authoring, Duplicating, label printing, etc.
05.28.08
Have you ever thought of initiating?
“To Initiate: to cause or facilitate the beginning of, set going”
Initiating is an interesting thing. Webster’s distinguishes between it and beginning by saying initiate ”implies taking a first step in a process or series that is to continue.” Have you ever thought about it? God initiates so much with us. He reaches out in salvation, in love, to give, to act as our counselor, to give us His Word alone is huge. And God continues that process with us involved now.
But I don’t know what to think about us, you and me, and how we initiate. How much do we wait and how much do we initiate? Do we wait on God and initiate with people? That might be a good paradigm. It kind of fits with the previous post’s idea about ministry coming from God to us and then from us to others. But we wait and worship on God. So, is it wrong to want someone else to initiate? To a point, if it causes me to sin it is wrong while I wait, hate while I wait, for someone to initiate it is wrong. I guess I would say I sin in that way sometimes. I just want someone else to do this or that, and make it a condition of approval or continued faithfulness.
Why do we struggle so much, particualrly as men, to initiate. I think it is like God, and also part of being a real man, to initiate. So I guess the question is, what have you/what have I, done to initiate today? Who have you reached out to? Who have you started a converstation with? Have you started one with me lately? Have I started one with you recently? It is amazing what happens, and what God will initiate, when we initiate.
05.25.08
Ministry and Worship
Tonight at church Dr. MacArthur said something I think probably requires more thought on my part to see if i understand all the implications of it. He said something like
“Ministry is that which flows from God through Christ through the Spirit into our lives. Worship is that which flows from our lives through the Spirit for Christ unto God”
I’m not sure that gets all the prepositions right, but you get the idea. True ministry comes from God and eventually gets to us and then from us to others. Worship originates in our hearts, based upon who God is and the things He does, and flows back up to God. Somehow I think I get part of that wrong in my thinking, and so…I need to think more about it.
Mixing a small orchestra at GCC
Some of you (probably very few) would wonder what it takes to mix sound when Grace Church has their orchestra on a Sunday morning. Well let me give you a quick run down:
Start with the normal 12 choir microphones (Neumann KM84’s). • Add nine clip-on mics (Sony ECM 44B) for the 6 violins, 2 violas, and harp • Tag on AKG 414’s for the 2 celli and 1 Upright Bass • The normal stereo-coincident pair (KM84’s) for the piano • 3 KM84’s for 2 flutes and oboe • An SM58 on the clarinet (poor clarinet, the oboe gets a $900 microphone and it only gets a $100 one) • 6 more KM84’s for the three trumpets and trumbones • 3 Sennheiser 421’s for the French horns • A SM57 on the Tuba • Another stereo-coincident pair for the tympani • A KM84 for the percussion toys (mainly the chimes though) • And one last AKG 414 for the Bass Drum (if we use them).
Regarding EQ:
For Violins and Violas: generally cut-wide around 4 kHz to get rid of the harshness of the close mic, as well as cut-medium around 6 kHz for string noise. And reverb is a must when these are close-mic’ed
For Celli: boost around 100 Hz for warmth, but be careful feedback can build because the cello naturally resonates (read: gets louder) in the low registers. I normally end up cutting around 400 Hz for this build-up reason. I’ve been trying boosting around 2 kHz which helps the cello’s brillance come out (think of all the awesome cello solos in movies, etc.)
Woodwinds: Woodwinds all get boost between 500 and 600 Hz. This is basically some of what the “loudness” button did on old stereo equipment. Oboes gets a cut around 2 kHz so it doesn’t piece as much (again because of the close microphone). P.S. don’t mic woodwinds from the bottom pointing up the whole. You wouldn’t put your ear there, so don’t put a mic there. Woodwinds should be miced from the front, stright on on slightly angles up, just below the players hands. A saxaphone would be different.
French Horns: Think the woodwind of the brass section. It is EQ’ed like a woodwind. Boost the low-mids, that’s about it. The horn is so beautiful is doesn’t need much help. Don’t make it too present though, remember the whole principle of a French Horn is reflected sound (that’s why the bell points backward).
Trumpets and Trombones: These are mic’ed straight down the bell, about one foot away. Cut a lot of 4 kHz to remove the close mic’ing shrillness. Add some 12 kHz for brillance. Trombones might need some taken out below 600 Hz to get rid of the rough blowoing sound, although in some pieces that sound works (big, march or fanfare stuff).
Piano: you’re on your own! It really depends on the mics, placement, goals, and feedback.
Well, if you have any questions feel free to open up the comments and ask away.
05.24.08
Resolved Band Rehearsals
So today I got the chance to serve the Resolved Band by providing audio support for their rehearsal. They are a great group (John and Lisa Martin, Ryan Fogelson, Patrick Anderson, David Zimmer, and new this year Paul Hoover, with additional vocalists at the conference). I was just really encouraged: by the band’s attitude; the gravity and weight of the songs’ lyrics; and the skill, expertise and down-right fun with which the band handles them. Mainly it just makes me really excited for the conference. I hope you are able to come join us www.resolved.org. On a side note, these rehearsals are just about the only time I get to run the GCC Worship Center sound system right at or just above 100db (slow/A-weighting). Sorry, you all can’t be around for that fun experience.
For those who are interested, I can say that this year a string quartet will be joining the group for some of the evening sessions. Megan Zeikel (sp?) will be back for some cello accompaniment. David Zimmer’s drum kit will take at least twelve mics (it is essentially two drum kits intertwined). Patrick will be using at least three, probably four, guitars. Some technical notes, which I don’t get to coordinate, but I did find out about today. We are using ATK Audiotek again this year. Great guys and nothing but professional quality from them. If they hold true to form, they will use JBL vertec line arrays again. But we will need four smaller arrays this year because the audience will be very wide. The input list will top out almost at the full 48 channels this yaer. The band will all be on IEM’s (in-ear-monitors, for the uninitiated). That should help stage noise and feedback. Also we are track recording the entire conference in hopes of having a live album out to open next year’s registration. Yamaha PM5D’s will be at FOH and monitors. I don’t get to run FOH, the ATK guys will handle that, but I get to help out and deal with any loose ends etc. I wish I could do FOH, but maybe next year.