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      "body": "I work in audio visual media, mainly recording video for my church's 411 announcement clips.  I work with Adobe Creative Cloud, mainly Premiere Pro, After Effects, and Photoshop.  I was hired for this position approximately one year ago, previously having had a few years experience working with Pro Tools in a recording studio environment.  Not having worked in visual media before, I had a lot to learn in a very short amount of time.  \n\nMy largest hurdle was wrapping my head around using dSLRs, understanding strategic lighting, and of course, the full depth of video editing software.  I've never considered myself a visually sensible person, as anyone could tell you from my wardrobe and general mode of dress, which has defaulted to roadie blacks, jeans, greys, and lots of dark coloured t-shirts.  So my first few months involved watching a lot of video with a critical eye, and deciding what was supposed to look good or bad.  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This series of six 20-minute sessions would all be 2-camera projects, set in a cafe with lots of windows, traffic noise, and mirrors, which would ultimately prove to be the bane of my existence.  \n\n![20170728_162308afa.jpg](https://steemitimages.com/DQmdvW6Jc2QSKWU2chr61Fm72fcenwC3C1BfBK1SsTrpSwP/20170728_162308afa.jpg)\n\nI was working with two Canon Rebel T3is, which added their own chaos element.  Audio was handled by a single CAD CM217 small condenser, direct into the XLR input of my trusty Presonus Firebox.  Pro Tools 10 in my late 2011 Macbook Pro, which also handled all post-production processing.  Lighting was covered with two 5500K CFLs in softbox reflectors, mounted 7 feet up.  \n\nI had learned early on that, due to the unpredictable power around our campus, that EMI and other power-related noise would always be a potential problem.  I made my first audio plugin purchase in many years, Izotope RX6, which went a long way to filtering out electrical and other background noise.  Equalization was handled by my trusty Oxford EQ plugin, and McDSP's 6030 compressor handled dynamic processing.  Gating, de-essing, and all other processing was done with Avid's baked-in plugs.  \n\nMy first major issue arose in the first session, when I discovered that my cameras would not record a continuous 25 minutes of footage, requiring periodic pauses halfway through the session to resume recording.  This is a known shortcoming of the T3i, which has a maximum recording time of 12 minutes at 1080 resolution.  I'm still considering reflashing the camera firmware, but I'm waiting until backup equipment is available, as these cameras are used every week.  Bear in mind, I'm still quite a newbie when it comes to dSLRs.  \n\nMy second major hurdle came in the editing process.  My producer and I decided, for various reasons, on a few shots that placed the subject near large mirrors.  If you do any on-location videography, you know what's coming next.  Our subject is a very animated speaker, frequently waving his hands around to illustrate points, which posed a few challenges in post-production.  I ended up snapping  still shots with no subject in the frame, to get a baseline image for later use in editing.  I had not realized that the movements of myself and my producer during the filming process would end up being reflected into the camera by these mirrors.  Having realized my error halfway through, I ended up shooting baseline images later without the subject, which I would use in editing to paste ourselves out of the finished product.  Hours and hours of post work.  Which I will never again put myself through.  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Changing light levels from cloud cover changed overall  levels in the room, even though no windows were in frame.  \n\nAlways shoot with the editing process in mind.  If I had taken a bit more time in the first session and considered the impact mirrors would play in editing, I would have reframed, or removed the mirrors entirely.  \n\nI think that, having this project in the can and finished, I am much more confident preparing for next year's sessions.  Equipment was definitely a factor, but as always, knowledge and experience can trump gear, or lack thereof.  Hopefully, with a more powerful editing machine and newer camera, future sessions will be much easier, both in filming and post production stages.",
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