Field Production Abroad

on a trip to Israel "Users Report" 5850 words

This article appeared in the June 95 issue of Broadcast + Technology magazine. It was written and copyrighted by Doug Hembruff of Impact Televideo Productions, London Ontario Canada, and may not be reproduced for commercial purposes without written authorization, but may be used for non-commercial purposes without charge.

This past February, I had the opportunity to return to Israel to do field production with the Peoples Church (Toronto) television crew. Peoples Church has a weekly 1-hour television ministry that has been primarily studio production until now. It airs Sundays on CFTO Toronto, CKVR Barrie, CFPL-CHWI-CKNX in southwestern Ontario and Vision TV. Our objective was to tape tour guide segments, several sermons, interviews, singing, and important religious sites for periodic insertion in their programming throughout 1995.

EXPERIENCES IN FIELD PRODUCTION:
The purpose of this article is to share our preparation and field production experiences, as well as technically describe the equipment used and what we thought of it. Perhaps our experiences and opinions will help save you some headaches on your next field production or help to make an intelligent equipment purchase.

Our Canadian crew of 5 accompanied 127 tourists from the Peoples Church as they journeyed on a typical 13 day Christian pilgrimage tour around Israel. Because we had to keep pace with the tourists, our field production was more like news gathering than field production. The Israel Government Tourist Office supplied us with a large van, permits, driver and a guide/interpreter, which brought our crew size to 7 and made the whole objective much easier to achieve.

This project required some A/B roll coordinated shooting, so we rented two Sony UVW-100 Betacam SP camcorders and accessories from Videoscope. Two camcorders also made it possible for us to get enough cutaway coverage under the tight time constraints. We also brought 4 lavaliere radio mics, 3 DC & 3 AC lights, 2 Cartoni tripods, plenty of batteries, a Hi8 for sneakcam coverage and a host of other items I'll describe in detail later.

PREPARATION:
The process of preparing for a foreign field production shoot can be overwhelming and very time consuming. All the equipment needs must be anticipated down to the smallest detail. Bringing too much can turn your crew into pack mules and cost airline surcharges. Too little or not the right equipment could compromise the shoot. Preparing for a local shoot is a breeze in comparison.

Overseas field production usually involves the rental of extra equipment, medical and equipment insurance, a customs Carnet, passports, radio frequency approval, linkage to an organization on the other side of "the pond" for coordination and a host of other considerations.

INSURANCE:
Most insurance policies on owned equipment only cover North America. If you have established a track record with an insurance agent, better prices on a foreign coverage rider might be obtained. At the recommendation of Videoscope, we used Thomas I. Hull Insurance who specializes in rental equipment insurance.

The word "Israel" often conjures up visions of a war zone or a desert to the average North American and certainly to equipment insurance people. Nothing could be farther from the truth. Tourism is Israel's largest source of foreign income for the Jews and Arabs living there. Terrorist activities rarely involve tourists, and for those who use common sense, Israel is no more dangerous than Florida. (Otherwise, I would not have brought my son on this trip.)

Out of country medical coverage for the crew is a must and costs $1.65 to $4 per day per person under 65 years old. CAA was the least expensive, but check first to see if it's already included in your Gold credit card coverage or some other blanket coverage you may have. For example, Royal Bank's Gold Visa card includes out-of country medical for up to 31 days for anyone in your family under 65. It also includes trip cancellation insurance if you buy your tickets with the card. Toronto Dominion Bank's Gold Visa card doesn't include either of these insurances, but does include worldwide emergency road assistance. A Gold credit card often also covers the charge for traveler's cheques, trip interruption insurance, travel accident life insurance, collision damage waiver insurance on car rentals and lost personal luggage on the outbound portion of a trip. Most countries have automatic teller machines that can provide you with extra cash in that country's currency using your credit card.

CUSTOMS CARNET:
Many foreign countries prefer if you have an international customs Carnet listing all your equipment. Some countries insist on it. The primary purpose of a Carnet is to guarantee the host country that all the equipment entering that country will leave within a given period. To back up the guarantee you must post a large cash deposit or a bond which would be forfeited should you be found dumping the equipment on a foreign market. A Carnet is also useful at customs when reentering Canada, but a pre-stamped list of equipment by Canada Customs before leaving the country will get the equipment back in just as easily. It's also free. The fee for a Carnet is $75 - $220 depending on equipment value. The total cost including bond or lost interest charges on a deposit for our list of $120,000 worth of equipment would have been about $720.

A Carnet is good for multiple trips during a one-year period and is honoured by over 40 countries. Exact equipment models and serial numbers must be listed, so Carnets are not very accommodating for multiple trips when renting different equipment each time. A Carnet is probably a good idea when taking the same equipment to a foreign country on a regular basis. We deemed it too expensive and too much of a bother for our trip, so we took our chances with a Canada Customs stamped list of our equipment. Since the Israel Government Tourist Office was sponsoring us, they helped to expedite our equipment through Israeli customs. Carnets may be arranged through the Carnet Canada Division of the Canadian Chamber of Commerce.

TRAVEL TIPS:
Traveling by air to and from Israel was exhausting and left us feeling more tired than passing 7 time zones should have. After 15 hours cooped up in the plane with very little sleep, we were starting our field production at a disadvantage. Those who purchased inflatable neck pillows seemed to get a better sleep by keeping their head upright. Using ear plugs also helps. Choosing the right airline and the right travel times can make a big difference in how rested you are when arriving.

I always find it amazing that when arriving tired at a destination and there is work to be done, most people pitch right in and don't feel the initial jet lag. Crews need to realize that their mood, attitude and effectiveness can be adversely affected for a couple of days after travel. For a working crew, getting a good night's sleep every night should be preferable to seeing the town. When returning home from a working trip, it is wise to realize that you may feel like a vegetable for about one day per time zone crossed.

NOTES ON ISRAEL:
The Israeli tour guides like to point out that when God created the world, he first experimented on Israel by trying a bit of every type of terrain, then made it larger somewhere else. Israel has a population of about 5 million and is no larger than Vancouver Island, with a climate and variety of features not unlike California.

Jerusalem is about 3000 feet up in the mountains & can be very cool in the evenings, while the Dead Sea, just an hour's drive away, is the lowest place on earth (1286 feet or 392 meters below sea level) and is usually very warm. It's called the Dead Sea because the water is four times more saturated with salt and minerals than regular sea water, so no marine life can live in it. This heavy mineral content is very therapeutic for skin disorders and is so dense that tourists float on top of the water. You don't swim in the Dead Sea, you bob in it!

A scout trip before the main shoot is often a good idea when not familiar with a country or when safety cutaway shots are needed. Our budget did not allow for a scout trip but 3 of us did stay an extra 2 days to gather some beauty shots and get a little R & R at the Dead Sea Nirvana Hotel.

NEWS-STYLE SHOOTING:
Unlike typical field production where you're shooting to the list of shots from a script and can take plenty of time to set up, we more or less had to keep pace with the tour group. That meant quick and simple set ups with little time for retakes or cutaways. The shooting was spontaneous as opportunities presented themselves. One hazard with this type of shooting is that you sometimes don't have the right piece of equipment with you such as a tripod or light. Another hazard is that you shoot everything. It then takes a lot longer in logging or post production to sort it all out. Fortunately, Senior Pastor John Hull from Peoples Church is experienced in front of the camera and usually knew exactly what he wanted to say in one take. Israeli tour guides are also licensed professionals with well rehearsed monologues.

It's very important that each member of the crew knows exactly what their responsibilities are, especially if the crew hasn't worked together before. Everybody should pitch in until the job is done. This includes getting all the equipment fixed, tested, charged, labeled, organized and packed for the next day. A well-balanced, experienced crew that has worked together on previous productions can be a real asset. Having clearly defined goals with an adequate budget also makes for a smooth shoot. Production meetings over breakfast, help clarify each days itinerary and objectives.

We brought along 4 Motorola HT600 walkie talkies from Motorola Rentals to keep in contact with each other. Our crew sometimes split apart to cover more ground or when we simply lost sight of each other. They were invaluable in coordinating with each other and the tour bus drivers. The rechargeable batteries lasted all day. The chargers were fast enough that we only needed one per two batteries.

TRIPODS:
For tripods we used Cartoni Beta and Delta models from Lorne Lapham Sales & Rentals Inc. Cartoni tripods offer exceptional value compared to most other brands and they are appropriately priced to match the UVW series. The larger Delta model can be purchased for about $6,000, depending on features. While either of these models will accommodate the UVW-100, we had a strong preference for the heavy-duty Delta model because of its exceptional drag control on tilt. It's also big enough to accommodate EFP accessories like a small prompter or top-mounted viewfinder. The Delta has two LED digital displays showing counterbalance and drag values as well as an illuminated spirit level for easy set-up in dark areas. Both models have a built in mid-level adjustable spreader and are available with aluminum or carbon fiber legs, with single or two stage extensions. A new light weight rubber ground spreader has also been introduced. The Cartoni Delta quick release plate is compatible with some other major tripod brands.

The Fuji SRD92 remote zoom control was indispensable for proper tripod shooting. It has a switch which changes the direction of the zoom when it is opposite to what you've been used to. I also used an inexpensive telescoping monopod on occasion when it wasn't practical to bring a tripod along. I found the collapsed monopod to be particularly handy for steadying long shoulder shots by bracing it against my body. This is not the intended use but it worked and it made the shooting more comfortable because the blood only drained from one arm!

RADIO MICS:
We brought 5 lavaliere radio microphone systems because they're so convenient to use and because they malfunction sometimes. Each system was at a different VHF frequency (172 - 214 MHz) to ensure minimal chance of local frequency interference. We had a problem with the Telex ENG4, so then we had 4. Another was damaged by putting the battery in backwards, so then we had 3. One system had two transmitters so we didn't have to keep redressing the lav mic on different talent, but only one can be turned on at a time or they squeal. All systems had single antenna receivers because they were portables that mount on the camera. Everyone has their favorites when it comes to radio mics, but opinions are seldom based on comparative findings.

I had a preference for the two Comtek systems because they were small, worked very well and the 9 Volt batteries lasted considerably longer than other systems. On the M72 transmitters we used Tram 50, Audio Technica 830 or Beyer MCE5 lavaliere microphones. The MRC-82 receivers could output XLR line or mic level depending on the cable. The Comtek system came complete with a hard plastic storage case, XLR cable, belt pouches and a velcro plate designed to screw on the back of an NP1 battery case. We also had an M-182 hand mic transmitter for one of the systems. The big surprise is that Comtek is considerably more affordable than the other systems we used.

The Lectrosonic M185 transmitter and CR185 receiver worked well enough but I've experienced more hits or drop-outs in some locations than other non-diversity systems. I've had it in to the factory twice for tune-ups and frequency changes but it's still no different. One handy feature is that the transmitter can take a line level in, with the proper cable. The transmitter and receiver both come in a small rugged aluminum case and they have LEDs indicating the audio level and limits. The receiver can be powered by the internal 9 Volt battery or externally from 12 Volts and comes with a wall transformer.

The Canadian distributor for the Vega VX-20 BPM system we used is Mark IV Audio Canada Inc. The T-25 transmitter had a large LM206X Vega mic with rich tone, a loose fitting windscreen and a large alligator clip. In fact everything about this system was large except the vinyl storage pouch which didn't offer any protection and barely held everything. The R-27 receiver had a sturdy metal case and audio level LEDs. It was hard to get the battery out of the receiver, there wasn't enough velcro to hold the transmitter to the camera and an XLR cable wasn't provided. Despite these packaging shortcomings, this system worked very well.

TIME CODE:
We ran the time code in a "record run" mode which gives unbroken continuity to the time code for editing rollback purposes. If not reset, this time code will allow 24 hours of stock to be recorded before the clock rolls over. This can be very handy when logging or if you forgot to consecutively number the tapes. If you choose to use free running or time of day time code, make sure you give the editor at least 10 seconds rollback footage before the "in" point. Faithfully labeling each tape with date, location and other relevant information will also help the editor. When a tape is finished it should be left tails out and the record tab pushed in.

TAPE STOCK:
We ended up using 68 3M Betacam SP 30-minute tapes (we brought 120). The tapes were purchased from VCR Video Warehouse in Etobicoke, who carry the full line of 3M products including film. Betacam SP tape cost roughly $1 per minute, so try to use the whole tape. Sometimes it's necessary to change tape well before it runs out so you don't run out during an important recording. If you go back later to fill up the tape, make sure the label indicates this.

SONY UVW-100 CAMCORDER:
The two Sony UVW-100 one-piece Betacam SP camcorders were equipped with the slightly more expensive 16X Fuji lens (S16X6.7BRM). The UVW-100 weighs only 15 lb. 3 oz. (6.9 kg) including an NP1B battery and tape. With a well balanced camera at that weight, almost any experienced cameraperson can do extensive shoulder shooting without getting exhausted. The UVW-100 is an "entry level" camcorder from the new lower priced UVW line that Sony introduced in the second quarter of 1994. At under $20,000 Canadian (depending on lens and options), this camcorder is less expensive than Sony's Industrial PVW or Broadcast BVW line of camcorders. As one might expect, there are compromises as a result of this lower price. The question then is, will these compromises affect quality enough that my customer will notice? The answer depends on what you're shooting, the cameraperson's experience level, how well the camcorder is tuned up, your customer's quality expectations and budget.
The UVW-100 is certainly less forgiving than more expensive cameras when it comes to exposure. It is probably best suited to shooting in well lit areas where high contrast is not a problem. Much of our shooting was outdoors and contrasty. Shots with shade and sunny areas had to be very carefully exposed for the most important part of the picture. The UVW-100 does not have Dynamic Contrast Control (DCC) found on most other 3 chip cameras, so very bright highlights over a predetermined level are clipped rather than compressed. Like all broadcast cameras, it does have auto knee compression which starts to softly compress highlights from just under 100 IRE up to the clip level. Auto knee and DCC are almost identical except for the brightness level of the signal that they try to compress. In an attempt to keep exposures under clipping levels, I asked the technicians at Videoscope to set the auto knee a little lower and the clip level a little higher than normal. They also carefully set the other exposure parameters to an Accu·Chart stepped gray scale.

A polarizing filter can help to reduce contrast and glare off some reflective surfaces. We were limited to using polarizing filters where no focusing is needed during the recording because external focused lenses turn the filter when focusing. When purchasing a camera, consider an internally focused lens with a round lens hood that would easily allow the use of a polarizing filter. Make sure the filter can be quickly removed because it exacts a 2 f-stop light penalty and is usually only used outdoors on sunny days. Copystands also make good use of polarizing filters but the lights also need expensive polarizing filters which exact another 2 f-stops.

Iris exposure can be accomplished using manual, auto iris or intelligent auto iris. We manually exposed when in high contrast situations using the viewfinder or zebra bars to gauge exposure, or a Magni MM-400 waveform monitor when we could plug into AC. The rest of the time we used conventional auto iris when it suited the lighting conditions. The intelligent auto iris feature is supposed to take into consideration extremely bright backgrounds or foregrounds using a different exposure weighting method. We didn't find it all that intelligent. It is possible to link the shutter and or the auto gain control to the auto iris for purposes of smoothly extending the range of the iris on either end. While this can be advantageous under some lighting conditions, it doesn't always allow the operator to manually take control of exposure since these auto features can counteract the manual iris settings.

Some handy features such as auto gain control have filtered up from consumer equipment. This feature is useful in low lighting situations so the electronic gain smoothly kicks in as required, up to the predetermined level set in the user menu. Continuous auto tracing white balance through the lens is another useful feature borrowed from consumer cameras. Because the white balance is measured through the lens rather than a separate window (as on some consumer cameras), it is more reliable. For best reliability, the UVW-100 also has 2 regular memory settings for manual white balance and a preset position if there isn't time to do a white balance.

Most broadcast cameras have a wide enough white balance range that they can shoot outdoors at dusk on the incandescent filter setting. This gives a noticeable increase in light sensitivity or more depth of field. Just make sure you do a new manual white balance before trying this trick.

Some features sacrificed on the UVW-100 are HI-FI (FM) audio tracks and Vertical Interval Time Code (VITC). The 2 linear audio tracks do have good specifications because of the use of Dolby C noise reduction and there is longitudinal time code. As with any UVW or PVW series, these camcorders can only record on the SP metal Betacam tapes. BVW camcorders have the option of using the lower priced, lower resolution oxide Betacam tapes. Gone are the confidence heads that allow an operator to check the tape as it's recording, but there is a quick review feature.

The UVW-100 purposely does not have drop-out compensation so you can catch a bad tape or other problem when reviewing. If you don't know this, it can be very disconcerting. One of our UVW-100's consistently showed more drop-outs than the other, even though both cameras were using the same batch of 3M tape. The reason was probably insufficient head tip penetration which looks like a drop-out because the head occasionally doesn't come in full contact with the tape. None of the drop-outs were noticeable when played on a studio Betacam because of the error correction and drop-out compensation. Sony recommends that a head cleaner tape be used once each 50 hours of recording.

The Sony UVW-100 has most other conveniences and features found on other cameras. A menu allows for quick set-up of operator-chosen features and technical settings. There is a variable speed electronic shutter for fast moving objects or for matching the scanning frequency of computer displays so horizontal bands don't roll through the picture.

The UVW-100 imager block uses 1/2" chips and is rated at 700 lines with a light sensitivity of F8.0 at 2000 lux and 60 dB signal-to-noise. That was sensitive enough for almost everything we shot, though I'll be glad when cameras can do better so there can be more depth of focus in low lighting. Assuming the same packing density, a 2/3" chip has about 75% more light gathering surface which theoretically should give it a better light sensitivity rating and or cleaner signal-to-noise. The 2/3" Sony DXC-537A for example, is rated at F8.0, 62dB and 750 lines. That is not as much improvement as I would expect to see, but 2/3" chips often yield finer detail, less aliasing and other subtle improvements that aren't accounted for on specification sheets. According to Robert Willox of Sony Canada, the trend in research and development for lower priced cameras seems to be leaning towards 1/2" chips to reduce size and cost of the camera.

Although I didn't measure it, there seemed to be more than a 2dB S/N difference between the UVW-100 and DXC-537A (now superceded by the DXC-637 which has 63 dB S/N, Dual Pixel Readout and a host of other new features.) DPR combines the output from adjacent pixels to give a 6 dB increase in gain without extra noise, at the expense of halving the horizontal resolution.

The UVW-100 had acceptable signal-to-noise at +9dB gain up but at +18dB the picture in my opinion was too grainy for most lighting situations. Hal Warren, TV director at Peoples Church, was pleased with the resolution of the UVW-100 and felt that this camcorder did not have the ringing so often associated with lower resolution cameras that used lots of detail enhancement to boost the apparent resolution.

Every camcorder has its own idiosyncrasies that take a while to get used to. Unlike most cameras, filter wheel position "2" rather than "3" had the neutral density filter. If the filter wheel was not in the correct position, the viewfinder said "low light". It should have said "incorrect filter" or "incorrect white balance setting". The viewfinder did not seem to give an accurate indication of time before end of tape. The clip for the flip up eye piece didn't hold it down very well. The time code setting switches were not very intuitive. Viewfinder indications weren't always intuitive either. For example RF doesn't mean Radio Frequency, it means clogged heads. That one had me confused for awhile especially since the recording was playing back OK.

No Betacam SP camcorder has ever played coloured pictures back without the optional playback adapter. Not having colour playback is a major headache in the field when you want to scope tapes, check white balance or show a reel to the client. Of course you can succumb to Sony's marketing strategy and purchase the very expensive $3,400 VA-300 playback adapter, or you could use a different format like S-VHS, Hi8, D3 or Digital Betacam which do playback colour pictures. To be fair the VA-300 playback adapter also includes a Time Base Synchronizer which is used for microwave transmissions or quality duplication. The UVW-100 will play back the luminance or chroma portion of the signal on the black and white viewfinder. Precision Camera can custom make a buffered cable that attaches to the viewfinder connector thereby allowing the same black and white signal to be viewed on a larger monitor or scope.

The LC-421 carrying case that usually comes with the UVW-100 and some other Sony cameras, looks strong but is not designed for air shipping or other abusive handling. The camcorder locks into the bottom of the case using the same type of mechanism as the tripod adapter plate, but there is no shock absorbing material between the camera and the bottom of the case. A hard hit could cause internal damage to the camcorder. For a better shipping case, I would recommend purchasing a hard case with internal foam cushioning such as Sony's LC-200TH or custom cut foam for a Samsonite case.

LIGHTING:
The UVW-100 comes with a screw-in fitting for stud mounted lights on the front of the handle and on the viewfinder. An optional shoe mount type fitting is available from Sony for the rear of the carrying handle, but a light mounted that far back can be partially blocked by your head. The best arrangement for slide in, shoe mount type camera lights is to purchase a "stud to shoe mount adapter" that will fit on the front of the camera.

We brought 3 DC battery driven 100 Watt 12 Volt lights (Lowel Prolite, Dedolight & Acme Twin) that got extensive mobile use when shooting indoor tourist sites. We also brought 3 Ambico/Safari 300 Watt 120 Volt AC lights for longer duration tripod shooting at a greater distance. All lights were mountable on the cameras which allowed for simple set-ups because the light followed where the camera panned. This can be a disadvantage when two cameras are on the same subject and one pans away. We also brought gaffer equipment for mounting these lights off camera when consistency of light was needed or where direct lighting caused a reflection. Hydro for florescent lighting is 50 Hz in Israel so that causes a flicker in the 60 Hz picture. Incandescent lighting at 50 Hz doesn't cause this problem so we used it to mask the flicker wherever there were florescent lights.

There was agreement among the crew that a couple more 300 - 600 Watt lights on stands would have evened out the lighting in situations where we were shooting an entire indoor program. Unfortunately we were often already on the verge of popping a hydro circuit breaker and sometimes did. This type of "on the fly" field production usually does involve some compromises in lighting, which make it more like news gathering.

POWER:
To power the DC lights, camcorders and other accessories, we brought a large variety of batteries, chargers and cables. For the 2 camcorders we brought 16 NP1B and 6 NP1A batteries which were more than enough. In fact, running the camcorders from batteries was so convenient that we never even used the camera power supplies. We probably could have gotten by with fewer NP1B batteries because each can last up to 1 hour and we had lots of battery belts. Nevertheless, it's always better to have too many batteries than too few. Batteries are like pens, they're never around when you need one unless you stash them everywhere. I usually kept one fresh battery and tape in my fanny pouch just in case my assistant wasn't nearby when I needed to switch.

To charge the batteries we used 2 Sony BC1WD sequential chargers. They each quick charge 4 batteries without overheating the battery. We put red tape on the end of the batteries when charged and move the tape to the side when spent. Despite this precaution we still found the occasional spent battery with tape on the end. It's a good idea to check every battery for a full charge each evening.

We also brought four 12 Volt 12 amp-hour gel batteries and two 12 Volt 6 amp-hour gels purchased from Alexander Batteries. When put in a case or belt and wired with a 4 pin XLR connector, these batteries are very economical. A deluxe automatic car battery charger with current tapering circuit is all that is necessary for quick charging. I have found over the years that sealed lead acid "Gel" batteries can have a very long life if they are charged soon after use.

Gel batteries don't retain a memory, they usually only come in nominal 12 Volt versions and keep their charge for quite a while because of high internal resistance. Unlike nicads which have almost a flat Voltage until they're empty, the Voltage decay on a gel can cause a device to prematurely turn off, thereby not using the full capacity of the battery. The solution is to use oversized gel batteries in the neighborhood of 1 amp-hour per 5 Watts.

We also rented 2 Precision Camera nicad 7 amp-hour belts which have 12 cells yielding a nominal 14.4 Volts. This higher Voltage can make DC lights burn noticeably brighter but they will also burn out faster. Old bulbs will often blow when higher than normal Voltage is applied. These belts have a built-in slow charger that can be powered from 220 or 117 VAC. Unfortunately there is no fully charged indicator and we didn't have the luxury of plugging them in for 14 hours to make sure.

To convert 220 Volts to 117 needed for our equipment, we brought along two 1000 Watt and one 1500 Watt transformers from the "House of 220" store in Toronto. We used these mostly for evening meetings in the Hotel as we were traveling during the day with very few places to plug in. We could have made do with 2 transformers but the 3rd allowed us to charge batteries back in the hotel room while we were shooting. Some hotel rooms had too much on one circuit and blew a circuit breaker when the transformer was plugged in, even when there wasn't a load on the transformer. Presumably this happens because transformers initially draw a lot of current until the back EMF builds up. The larger the transformer, the larger the initial current draw. For this reason, I would advise also bringing a 300 or 500 Watt transformer. These transformers can be reverse wired to step 117 up to 220 for use of European devices in North America.

CO-ORDINATED SHOOTING:
On several occasions we shot an entire program for A/B roll editing. To coordinate the cameras, each cameraman wore a wireless Telex bi-directional intercom from White Radio. The director wore a headset plugged into the base station which was powered with one of our 12 Volt batteries. Like everything else we brought, this intercom system set-up quickly because there were no wires to run. For indoor shooting, the only thing we needed AC power for were lights and the PA system. When using the PA system, our sound man usually gave each camera a line level feed and we used the other channel for wild sound or safety mic back-up.

We brought along a Magni MM-400 waveform/vectorscope that was used during A/B roll sessions. This is a small one rack unit high box that displays its output and raster on any video monitor. The Magni also acts as a passive switcher so that one monitor can be used for up to 3 cameras when doing a multi-camera field shoot. With the Magni scope, a complete tool kit and the UVW-100 service manual, we were prepared for trouble. Fortunately the camcorders were well set up by Videoscope and did not require any service during our trip.

The monitor we used was the Sony 8" BVM-8021 high resolution broadcast monitor. This unit can be powered with two NP1 batteries, by 117 VAC or by an external battery. Interestingly when I adapted a cable to power this monitor by external batteries through its consumer barrel power connector, I discovered that the polarity was the reverse of all other devices I've seen that use the same connector. It would be nice if all the manufacturers stuck to the same standard rather than reversing the wiring to ensure the sale of a unique cable.

CONTAINERS:
For some of our storage containers & toting we brought along 2 of the new Rubbermaid "Tote Wheels" totelockers. They are a clamshell shaped hard plastic storage container with two wheels on the back that meets airline luggage specifications, has a hinged/removable lid & can lock on both sides. The size is about 34" (86 cm) X 17.5" (44 cm) X 10.5" (27 cm). For such an inexpensive container we found them very handy for hauling small equipment because of the wheels.

Hi8 "SNEAKCAM":
We knew there were several tourist locations that we might not be permitted to shoot with broadcast cameras. Most locations will allow consumer camcorders though. For occasions when we needed high quality "sneakcam" coverage, we brought along a Canon L2 Hi8 camcorder. When viewed on a monitor, picture quality was much better than the small B&W viewfinder showed. It had 3 interchangeable zoom lenses, but the most popular was the CL10X with a built-in optical image stabilizer. Unlike an electronic image stabilizer, an optical stabilizer doesn't degrade the picture quality. It is quite remarkable how effective this lens is in dampening vibration and shakiness especially at the fully zoomed out position. We were even able to take steady pictures on the moving bus. Canon also makes an expensive broadcast version of this lens called the J14ax17B. To get the best quality we used the top rated Fuji M221E double coated professional Hi8 tape. This is a metal particulate tape with the advantages of a metal evaporative tape.

If you've done foreign field production or read through this article, you probably realize by now that plenty can go wrong and that planning and good communication are the keys to success. If you wing it or don't have the right equipment to do the job, the results will usually show. Foreign field production is not a vacation, but it can be an enjoyable, enriching experience, well worth all the work and preparation.

Doug Hembruff is a video producer who operates Impact Televideo Productions in London, Ontario. He may be reached at (519) 657-4505. For more info contact Doug Hembruff  

Equipment suppliers mentioned in article.

Alexander Battery Manufacturing
Phone (905) 568-9877 or 1800 363-4995 Fax (905) 568-9879

Canon Canada Inc.
Phone (905) 795-1111 Consumer, 795-2111 Broadcast, Fax (905) 795-2087

Carnet Canada, a Division of The Canadian Chamber of Commerce
Phone (416) 868-6415 Ext. 237 Fax (416) 868-0189

Comtek Communications Technology Inc.
Phone (801) 466-3463 or 1 800 496-3465 Fax (801) 484-6906

Fuji Photo Film Canada Inc.
Phone (905) 890-6611 or 1 800 263-5018 Fax (905) 890-6446

House of 220
Phone (416) 461-2602 Fax (416) 291-7221

Lectrosonics Inc.
Phone (505) 892-4501 or 1 800 821-1121 Fax (505) 892-6243

Cartoni Canada
Lorne Lapham Sales & Rentals Inc.
Phone (604) 298-3224 Fax (604) 298-2023

Magni Systems Inc.
Phone (503) 626-8400 or 1 800 237-5964 Fax (503) 626-6225

Mark IV Audio Canada Inc.
Phone (613) 382-2141 Fax (613) 382-7466

Motorola Rentals
Phone (416) 756-5804 or 1 800 668-8973 Fax (416) 756-5744

Thomas I. Hull Insurance
Phone (416) 865-0131 Fax (416) 865-0895

VCR Video Warehouse Inc.
Phone (416) 798-8284 Fax (416) 798-3398

White Radio Ltd.
Phone (905) 632-6943 or 1 800 263-0733

Videoscope Ltd.
Phone (416) 449-3030 Fax (416) 449-5230

By Doug Hembruff.