I was expecting a nice tutorial about using sound to cover up shakey cam, as for Steve the Suit, but hey, you went lightly on me.
The lighting in that hall is dim to say the least, it has flouro's that are about 20 feet high into the ceiling. Hence a lot of using Sony Levels to increase the light, almost to the point of burn out. And then the resulting problem of balancing one clip to the next. And then the problem of using 3 monitors all with different results. Some calibration required.
Or maybe someone can advise me on a better FX than Sony Levels?
When I worked on a real video production team I remember the lighting guy always saying that you want to fix problems as far upstream as possible - meaning that if there is a problem with the lighting, you want to address it before you turn on the camera - if you can't fix the actual lighting then you need to try to address the problem during capture - finally the very last place you want to fix lighting problems is during the edit - so my suggestion is to bring more lights next time - or maybe some reflectors to capitalize on the lighting you've got
I suppose the next consideration would be the difference between an organised shoot, and one where I am gun running. These people are not really expecting me, and it's my job to get in there, document the event, then go away and produce without disturbing the actual event. This is obviously different to a planned event.
So the lighting sucks, and me wandering around gun running with lights is not an option. The only solution is to be careful about where I do this kind of thing. But it's all about awareness in the first place, so I'll take your words on board and think before I shoot lol.
although I have taken my share of photography and film courses, the most I ever learned about lighting was in oil painting classes - I would recommend oil painting classes to anybody who wants to master lighting