"Must-Have" Accessories

[SuperSean23]

Hello everyone, I'm new to the forum and I hope to be a new owner of the HV20 soon:) I am an aspiring student film maker and hope to make some great looking shorts on a "short" budget! I was hoping that everyone would join together and discuss what are some "must have" accessories for the HV20, mostly for amateur film work.

Types of accessories such as...

1.lens adapters (WD-H43?, is wide angle even necessary)
2.lens filters (macro, polar)
3.external mics (shotgun rode mic)
4.anything else you guys can think of (tripods, lighting)!

Hopefully we can put together a "starter kit" for a cheap price (key word being cheap)to help newbie film makers along.

[Mal]

Great suggestion, SuperSean!

1) I'd say, the WD-H43 IS a must-have for any decent production. It will allow some great shots in tight spaces.

2) Those are also about the only ones you need, the ones you suggest: Polarizer and macro. Maybe a UV for protection.

3) & 4) is where you can elevate your production.
External mics will be a MUST, not only a shotgun but also lav mics.
A good tripod is important, and lighting is an art all by itself.

If you want to make your production stand out, spend a LOT of time on audio and lighting.

Lighting: Check out the Alzo HID light (140W). Ballast & bulb is $125.00; add a cheap Walmart or Home Depot reflector:
http://www.alzovideo.com/alzo_800_BB_hmi_cool_lite.htm
Or http://www.fotodiox.com/ has some relatively inexpensive stuff.

In the end, I'd advise against using super cheap stuff that is more frustrating than anything else. I call these items the "Home Depot Work Light" solutions.
I.e. you can buy a $15 500W Home Depot work light, but it is very frustrating to work with as a tool for making films.
Although, I admit that in the right circumstance, even this cheap light can have some value; just not as your primary light source.

So, to summarize; my must-have list would include:

a) WD-H43 wide lens
b) Extra batteries & charger
c) Polarizer filter, macro filter, UV filer, & lenscap
d) External mic, boom, mixer, lav-mics; poss. external recorder
e) tripod, minimum with 501 Bogen head
f) 3+ lights, maybe a combo of battery powered & AC, hopefully close to 5600K (i.e. HID or fluorescent)
...

[SuperSean23]

Thanks for the input mal! You're right though Sound and Lighting are probably the two most important elements in a film, you can have a great looking picture (which involves great use of lighting) but if the sound lacks the audience simply will not be drawn into it. And that basically brings me to my problem, having a hard time picking out a reliable sub $200 shotgun mic.

[Mal]

Your problem is unfortunately increased by the fact that the HV20 doesn't accept XLR input and has no phantom power.
You could start off with the Rode Videomic, but it will leave you wanting...

XLR is the standard for pro mic connections, and most good condenser mics have a 48V phantom power requirement also.

So, if you ARE serious about getting good audio, you will HAVE to get more than ONE mic; get a mixer with phantom power, and use PRO mics with XLR connections.
By the way, one of the worst places for the mic is on the camera, if you are shooting a narrative piece. Best to get LAV mics, and/or a Shotgun and/or hyper cardioid on a boom.
A very good hyper is the Oktava MK012 (with hyper cap, proper wind protection & shockmount).

$200 will NOT get you pro sound into the HV20 for a narrative piece; you'll need to get the mic much closer than it would be if on the cam.

[marshallarts]

I'd be interested to hear what people think about getting a separate Zoom H4 unit to record sound on and clap-syncing it together with the HV20. I'm looking for the best budget solution for an external mic and although this sounds like a major pain, if your plan is shooting an organized/scheduled narrative piece why not go the old fashion way with the clap board and camera and sound separate? Plus with a device like the Zoom you're recording PCM quality audio which from what I understand is better then what's capable in HDV anyhow. I'm not 100% sure, and i'm not an audio person, but the Zoom should be able to record better audio then any HDV format camera anyhow.

On a serious note, what do people think of this option? Also, from what I understand, you don't need to worry about getting an XLR box for a camera mounted shotgun since the run is so short. I would get a simple XLR to Mini adapter. But yes, make sure the mic is self-powered in this situation.

I really want a Zoom H4 at least for field audio recording. Here's what I am considering. A mic solution for the camera such as the Rode Videomic (still researching all options, suggestions?). This will be the basic audio solution to replace the internal mic and make use of the HV20s audio track. And the Zoom H4, which has a built in mic (just place the whole unit anywhere you need) as well as XLR inputs for possible lavs and a boom when you get going on your next production. Like Mal said, eventually you will want a good boom and lav, but you'll need to get an XLR box anyhow to use them both, why not just record to the Zoom. Does the HV20 record 2 tracks? If not then you'd definitely be good with the Zoom so as to keeping each audio track separate.

[Mal]

Exactly, marshallarts,
recording to external recorder was and still is the best way to go, albeit a little bit more involved.
Check the SOUNDS forum for more info on recorders & mics and such.
I picked up a KORG MR1, and the thing is AMAZING for its size. Wanted a MR1000, but that will be a future purchase.

[marshallarts]

Does anyone see a point to adding ND filters to the list of filters. An ND 6 or ND 9 so you can open the iris more on bright days? Haven't tested or seen the DOF capabilities with the HV20 aside from the adapter threads and wonder if being able to open up more in some bright situations might be useful to get less DOF. I'd do a test but haven't had time to play with footage (I have 6 tapes awaiting importing!)

The grad-NDs? Been wanting to pick one up, would have come in real handy on a recent shoot getting views of NYC during a humid day. Maybe a grad 6 would be too noticeable though (advice on intensity ND grades - 3, 6, 9?).

Have ProMist filters gone way of the CRT monitors? Any way to get that in post? I'm guessing color filters are unnecessary nowadays. Even warming filters could be done in post or when white balancing.

Any other filters need to be done "on-camera". (can't think of any more but I had a list in my head yesterday)

For a lens cap how about the ExpoDisc? Any users?

I have another mic question but will direct it to the new "official" thread for continuity.

[David Susilo]

no need to get Expodisc. For this camcorder and my still-photo gears I only use Mennon White Balance Lens Cap. I bought one for each lens I own (still photo, I mean) from an eBay seller named "copijohn". I started my purchases from him since he had less than 10 feedbacks, no he has close to 3,000 positive feedbacks!

highly recommended places I frequent:
Photo gears & Camcorders: AmazingPhoto.ca
eBay: copijohn
photo/camcorder accessories: bhphotovideo.com
batteries: sterlingtek.com

[scsz]

no need to get Expodisc. For this camcorder and my still-photo gears I only use Mennon White Balance Lens Cap. I bought one for each lens I own (still photo, I mean) from an eBay seller named "copijohn". I started my purchases from him since he had less than 10 feedbacks, no he has close to 3,000 positive feedbacks!


That lens cap is a great idea. Which size do you use for the HV20?

[David Susilo]

I just use my 77mm I bought for my still photo lenses (I bought a whole bunch of those).

[David Susilo]

... although I also bought the 43mm version from a different seller for when I don't bring my still camera around.

[neolinski]

what about a 35mm adapter (instead of wide angle lens)?!

[David Susilo]

too expensive for my blood :)

[neolinski]

considering WD-H43 is around $250, adapter (letus35) isnt that much more expensive.

[Erik Bien]

I'm not sure I'd want to invest in a bunch of 43mm filters: better to get a matte box and standardize (IMHO). The circular pola and UV filter are kind of specific exceptions, because you want the UV on the camera so your lens is never "naked" and the polarizer needs to be rotated to its effective position.

I think most "FX" filters are a bit unsubtle for this camera; maybe a Black Diffusion FX 1/2 would be handy, and certainly ND grads will help with mixed exposures (but again, I think screw-on gradient filters would be of limited usefulness; I'd want a matte box to get the transition right where I want it).

Double-system sound is probably the way to go for the best possible finished product, though as others have noted you really can't buy even one of the several items you'd need with a budget of only $200!

If that's really your spending limit, though, the Rode VideoMic is definitely better than nothing: I have one and it excels at picking out whatever it's aimed at from a noisy background, and can also be mounted to a boom stand or pole (get a 1/8th inch stereo extension cable from Radio Shack). Pick up a cheap wired lav or two while you're at the Shack (again, not the best, but better than nothing) and you've made a big improvement to your audio and stayed within your budget.

I'd consider some type of wide-angle adapter a must-have on most small camcorders, and Canon's are generally pretty good for the price. Avoid cheapie wide-angle adapters like the plague (Kenko makes terrible ones).

Extra battery, external charger, some type of camera bag or case go in the "must-have" category.

With such a small camcorder, I often leave the big heavy tripod at home and go with a monopod with a simple tilt head or a shoulder-mount (I have a SpiderBrace and love it, best $70 camera accessory I ever bought).

[marshallarts]

considering WD-H43 is around $250, adapter (letus35) isnt that much more expensive.

....then you have to buy the lens (on top of how much extra the adapter cost). then you have to transport it. The WD-H43, IMO and many others, could be left on permanently. It's, perhaps, the way the camera ought to have been in the first place but would cost more that way (i.e. it finally give you around the ~33mm in 35mm terms focal length). If you can afford the adapter and lens(es) then definitely go for it, but after deliberating about it myself I'd rather invest the money in more important items mentioned here.

Now that this thread is alive and not dead, can someone give an argument for the Rode Stereo Mic as opposed to the Videomic?

[sp8ce07]

I remember discussions about the Stereo vs Video mic from Rode. Do a "rode" search in the search area and see what you can come up with.

[Pom16/10e]

If you go with the external sound recording route, the best bang for the buck you can get for the mixer is the behringer tube ultragain mic-100
It's a mic preamp that will phantom-power XLR mics as well as preamplify any mic/line source. it has both xlr and jack in/out. it's very cheap (35 euros off ebay) and it's a real vacuum-tube amplifier with great sound, and no noise.

[sp8ce07]

If you go with the external sound recording route, the best bang for the buck you can get for the mixer is the behringer tube ultragain mic-100
It's a mic preamp that will phantom-power XLR mics as well as preamplify any mic/line source. it has both xlr and jack in/out. it's very cheap (35 euros off ebay) and it's a real vacuum-tube amplifier with great sound, and no noise.


can you post a link(s)?

[David Susilo]

here you go:

http://www.behringer.com/MIC100/index.cfm?lang=ENG

[sp8ce07]

again, stupid question time :

what exactly would that do, in basic terms?

[bachus]

again, stupid question time :

what exactly would that do, in basic terms?

It would allow you to use a wide range of higher quality microphones.

Phantom power intro:
http://www.tangible-technology.com/power/Phantom_Power_connect.html

Decent solid-state equipment is better than tubes. I'd avoid them unless you're really obsessed with getting a vintage sound. And in truth there is good software that models the transfer function that characterizes the "tube sound." I designed and built tube equipment when I was a kid cause we didn’t have no stink’n transistors back then--I hate tubes.

Behringer probably makes a solid-state mixer that does the same for less. Bang per buck you can't beat Behringer. But in my studio I run a Tascam FW-1884

[Alaskagram]

Quick note on Behringer.Audition the unit in question and buy that unit!Their(and many other budget manufactures)quality control is based on build and not testing.While featured packed,in my profession(live sound production),I will not use their products as they tend to fail out of the box.The adage"you get what you pay for" applies here.P.S. the comment about tubes is true unless your talking serious money, otherwise read distortion where it say's "tube"sound.Studio production is not the same as capturing(recording) the original sound.