On Location: Main Requirements

The key to successful location shooting is thorough planning, good discipline and the right equipment. The environment is usually not under control. The light, weather and extraneous noises from traffic etc. can play havoc with schedules and add considerably to technical difficulties. Non-broadcasters are more likely to use video rather than film on the grounds of ease of use and cost-effectiveness. Film still finds a place in prestigious productions and for certain special applications.

A location shoot carried out with the minimum of equipment to maximise portability is known as ENG (Electronic News Gathering). When more peripherals such as a monitor, remote control of exposure and colour balance of the camera, and a sophisticated camera mounting are added, the term often used is EFP (Electronic Field Production) or PSC (Portable Single Camera).

Camera and recorder

The choice of camera and recorder, sometimes combined in a camcorder or ‘combi’, is discussed on page 44. Suitable camera mountings are described on page 182.

Sound

The most stunning shots can be ruined by a soundtrack rendered inaudible by a passing jet or the local saw-mill! Locations must be chosen with sound as well as pictures in mind. The environment and the shots dictate the type of microphone to be used. To meet most needs a minimum microphone kit should comprise two personal (tie-clip) microphones and a rifle microphone, all equipped with wind shields. Some microphones require powering from batteries, so a small battery power supply or a small portable sound mixer is a desirable addition on all but limited ENG shoots. A battery-powered transmitter/receiver for radio control of any of the microphones can also prove useful. Use of the VTR for wild tracks (non-synchronised sound ‘atmosphere’) obviates the need for a sound tape recorder. A fishpole microphone support is a must. For portability and to reduce operator strain a folding carbon fibre pole fitted with an anti-vibration microphone stirrup is a good investment.

Lighting

Location lighting is discussed on page 178.

Batteries

Location equipment batteries are mostly of the ‘nicad’ (nickel-cadmium) type. Enough spare batteries should be taken on location for a shoot though on-site charging is sometimes possible. Nicad batteries must be charged on the correct type of charger and life is preserved if used regularly and discharged fully before re-charging. A good charger will not only protect against over-charge but will also balance and ‘re-condition’.

Transit cases

All delicate equipment should be carried in lightweight transit cases lined with snug fitting shock-absorbing material. A checklist of contents on the inside of each lid is a good tip.

Typical location equipment

The camera (1) may be connected to a separate recorder (2) or they may be combined into a ‘combi’ (3). Whilst both systems often have integral microphones (4) these are unsatisfactory for most purposes. The most useful microphones on location are the ‘gun’ or ‘rifle’ microphone (5) on an extendable ‘fishpole’ (6), and the personal ‘tie-clip’ microphone (7) which may be connected directly into the recorder or through a miniature radio transmitter (8) that can be concealed about a person together with its aerial (9). The receiver (10) may be connected directly to the recorder or through a miniature sound mixer (11) for optimum quality control, especially if two or more microphones are to be mixed together. Headphones (12) are essential for good sound monitoring.

Do not forget your camera mounting (page 182), lights if needed (page 178) and, of course, spare batteries.