Who is this thread intended to help? Hopefully, it will help anyone who wants to make the best videos they can of band performances, including future Roguestocks and Euroguestocks, as well as any live gigs a band might want to capture for promotional purposes. My intention is to examine the complete process, from start-to-finish. This includes ‘acquisition’ – ie recording the audio and video – mixing the audio, editing the video, synchronizing the two, and optimum settings for YouTube upload. Although I’ve started this thread, I don’t own it. And I’m not ‘the big expert’, telling everyone else how to do it. If you’ve got questions, you know a better way to do something, or you think I’m plain wrong, please chip in. Initial planning It’s tempting to think: “Hey, we can all shoot video on our phones, then pool what we’ve got at the end…” While material acquired this way is certainly a valuable resource come edit time, there are limitations. Ideally, this is what we need: • Video from at least one tripod-mounted HD camcorder, covering the event continuously. • A dedicated audio recording, preferably multitrack and certainly relatively close-miked. Let’s look at those requirements in more detail… Video: Most of us can shoot a few minutes of relatively steady handheld video, especially close-up. Over longer distances, and times, it’s impossible. If you have really steady footage from a tripod-mounted camera, it looks far better, and it gives you more editing options. Two camcorders, positioned either side of the stage, gives you even more editing options. As I’ll show you though, there are various ways you can give the impression of a big-budget, multi-camera shoot. That includes using footage from people’s phones. Tip: Try to get your video cameras up as high as possible. Why? Because people will forget your camcorders are there and walk in front of them! You can buy adapter bushes on ebay (https://www.ebay.co.uk/itm/Pulse-Mi...LS00344-Mic-/221653134835?hash=item339b8e6df3) that allow you to mount a camcorder on a mic stand. A sturdy boom mic stand can give you a better line-of-sight than many camera tripods. So why does the recording need to be continuous? Well, if it isn’t, things can get missed. Even a few seconds missing from the start of a song can make it hard to create a video that sounds and looks good. It’s not essential the recording is continuous, but it helps. • Very long record times usually mean plenty of storage space on the camcorder and mains electricity. Otherwise, you may find things come to a sudden halt before the performance has finished. Audio: Most camcorders make a pretty decent recording, so why would we need a separate audio recorder. Well for one thing, the best place for the camcorder is often about the worst place from which to make an audio recording! Towards the back of a venue, you are likely to get more reflected sound from the walls, and more noise from the audience, than is ideal. The other thing is that camcorders are designed to make good quality recording at events like weddings, birthdays, holidays… Although they often make surprisingly good recordings at a loud rock gig, it’s not really what they were designed for. It’s no big surprise that expensive microphones and a dedicated sound recorder can out-perform them. That doesn’t mean the camcorder audio has no value! On the contrary, as I’ll show you later in the thread, the sound can seem very dead without it. In particular, unless you mix in some of the applause from the camcorder soundtrack, you’ll give the impression the audience really hated the band, and hardly clapped at all. That’s because the close-mics on stage pick up very little of the audience. For Euroguestock IV, I was very fortunate to be sent multitrack sound files. These were recorded straight off the mixing desk, and the sound guy clearly knew exactly what he was doing. As a result, they were a real pleasure to work with. In my next post, I’ll show you how I organized my work before I started mixing. When you are dealing with large numbers of files, which may be hours long, it’s easy to get hopelessly confused if you don’t start out right. Tip: When recording audio on a separate machine, set your sample rate to 48kHz, which is what camcorders use. It’s not impossible to work with sound-to-picture with audio recorded at 44.1kHz (CD standard) but recording at 48kHz automatically eliminates a possible source of sync problems down the line.