The Platypus in the Middle of the World
The Platypus in the Middle of the World.
Mitad Del Mundo is Spanish for the middle of the world. Just north of Quito, Ecuador, this monument was erected to celebrate the French scientists who determined the exact equatorial line in 1735.
It’s here, and about 200 km south of here, that I have just finished two weeks of platypus style storytelling: documenting the work of two non-profit medical organizations. My experience greatly enhanced my ability to think, compose and create on my feet.
The art of factual storytelling with video and still cameras are two different processes. Yes, there is a similarity of some of the basics: light, composition, exposure.
But video has its rules: Shoot wide, shoot medium, shoot tight, shoot and move. And think sequence, sequence, sequence.
Still imagery requires that you capture the definitive moment. In still photography, sequences are a luxury.
But within these two groups of rules, I’ve found it is possible and practical to capture events and document stories using two media as a solo operator. In the role of the platypus, you need to accept that at times you’ll wish you were using still instead of video and vice versa. But rather than be limited by this, use it as an opportunity strengthen your storytelling.
So if you’re shooting with two cameras, how do you get all your gear to where you’re going and make it usable and work? In my most recent trip, I was shooting video as a “one man band” I also shot still — both for print and for web use.
My video set up is Panasonic’s AJD-200 - a DVCPRO format, shoulder mounted camera. For stills, I used a Canon A2 and, because of weight and space, I carried only the 28 - 85 f/3.5 lens.
Getting to where you’re going:
Panasonic likes to package it’s cameras with accessories. The 200 camera XL package includes a soft case, an ATA case and Anton Bauer digital batteries. The price of the package is a good value, but the cases have limited use. The soft case, which is great for around town in the car, but it too big for airline carry on is not protective enough to be checked baggage. The ATA shipping case is rock solid for shipping, but won’t be fun to lug around all day. And most videographers seem to prefer having their camera with them and not risking it being lost in transit.
After talking with several shooters, the Porta Brace Carry On II case led the consensus as to the best way to get the camera and some gear from point a to point b. After this two weeks, it’s proven itself.
I packed my mics, wireless transmitter / receiver, my battery charger and one of my AB batteries in the Carry On. I used a small day pack for my film and still camera.
Daily Shooting:
With a full size shoulder cam, it looks a little geeky and is awkward to sling a still camera over the opposite shoulder. However, if you’re in a situation where you have to switch between media quickly, then consider adding a strap to the VIDEO camera (Porta Brace makes some for example). You can then sling the video camera without worrying about it walking off as you shoot still. This isn’t all that comfortable, but it is workable.
Most days, I could slip the still camera inside the big outside pocket of the Carry On case in place of the battery charger and have both cameras and accessories that I would use for the day within easy reach.
Needed accessories
While everyone has their list of “must haves” I’ve found that working solo creates some challenges and the trade off is deciding what you need versus what you are willing to to carry.
A reflector: this is easier and more natural than a light kit or a camera mounted light. I use a Photoflex 32″ soft gold / white and can generally enlist the help of a bystander to bounce light as needed. Yes, this limits your ability to shoot, but it also challenges you to find compelling images in natural light.
Mic holder: The Panasonic camera ships from the factory with a “button” mic, but I strongly recommend you order their front mic holder ($150 ). This lets you add a better shotgun mic up front (Senn MK66 for example).
Also, consider a quick release mount in the mic mount as well as a short curly cord from the mic to the mount. Makes dealing with the cables easy and the QR mount lets you get the mic to the sound easily.
Audio monitoring: The Panasonic camera has a small speaker on the left side ear where your ear rests during shooting, this lets you know approximately how the sound is coming across. For interview segments or times when audio is crutial, bring along headphones, or a small earphone to monitor the sound.
Tripods: you need one. . . Unless you are really into the shaky cam look of “NYPD Blue”, the shoulder can only offer so much support.
Important modifications:
The AJ-D200, like many pro cameras, includes a zebra stripe in the viewfinder to tell you about exposure values. The default from the factory is set at about 85% (more or less) which makes is similar to the correct exposure for Caucasian skin.
I’ve had mine tweaked to activate the zebra stripes at 100% — this lets me know what areas are at 100% white — essential in a digital format because unlike analog, anything above 100% is clipped.
I run my audio from the shotgun to channel 1 and my wireless feed to channel 2. I mic my wireless with a Tram TR 50.
User observations.
Lugging a shoulder cam all day can get tiring, especially if you are in an environment where you can’t afford to set the camera down out of your site (busy market, public transportation).
This means you need to be prepared for the fatigue difference. Be sure to drink plenty of “bottled” water to avoid temporary dehydration.
Also, keep in mind the climate and altitude of your destination. Quito is at 2850 meters (almost 10000 feet). If you suddenly need to take the stairs for 5 or 6 flights (like I did at a local hospital), plan on resting at the top as you catch your breath. Otherwise your audio sounds like an obscene phone call as you struggle to breath in the thin air.
