Multicamera shoot suggestions?

[Hulk]

Hi. I'm going to be doing a multicamera shoot on a budget soon and was hoping I could get some suggestions from the forum. Here's my plan. I'm going to be using 4 cameras to record a band performing.

Upon editing I'll first sync all four cameras in video overlay tracks V1 to V4. I'll be sure to create a sync event and keep the cameras running so I'll only have to sync once.

Next I'll create a 4 picture-in-picture video track in Va and render the output. Then I'll load that into V5 and watch V5 to see which camera to "go to." Using the cut tool I can then cut the video segment from the desired overlay track and move it to Va or Vb.

This way I can work my way through the project without having to switch back and forth among all the video tracks to find what I need.

What do you all think? Is there an easier way?

- Mark

[Dr Mordrid]

Sounds like a plan.

One other thing I'd suggest is to try and record high quality audio from two sources: one a directional "audiance" mic (shotgun or super-cardioid for an ambiance track) and the other a direct feed off the bands audio, if possible. If not then aim a basic cardioid mic at them from several rows back of center-stage.

You can either record them separately and mix 'em in the edit bay (my suggestion) or you can run 'em through a cheap mixer and record the result (calls for guesswork as to the levels if you don't have an audio engineer running things).

The audio from the cameras can then be split & cut after synching up these two with the video tracks.

Dr. Mordrid

[Brian Ellis]

One potential problem, Mark. Your cameras run at 29.97 fps, not at 29.9700000 fps. In fact, there is a tolerance of ±0.02 fps and this can vary as the battery runs down. If you have fully pro systems, you can synch the cameras from an external frame frequency generator, but this is not possible with even semi-pro hardware.

If your gig is long (typically more than one song), you may find that you slowly lose synch and you will have to make adjustments in NLE. Even if you are using only one sound source, I suggest you import all the camera sound sources initially and look for synching of cymbal clashes (these have a brilliantly sharp rise time) in the waveforms. Ideally, if possible, ask the percussionist to give a loud cymbal clash a few seconds before each song (you can cut it out later) and, if necessary, resynch the tracks.

Probably, if all the cameras are the same model, the problem may be less acute.

THEN, there is the problem of colour balance between the cameras...

[Hulk]

Thanks for the tips guys.
The audio is going to be recorded multitrack, but only the drums will actually be recorded as the actual "take." The rest will be overdubbed later. I'll record the lead vocal but it will only be a scratch track.

As for the sync of the cameras, I'll be sure to have a sync event before each song just in case.

Color balance, that will be a problem. I do have two identical cameras, I may end up doing a 3 camera shoot so I can have the different camera used only as a special effect camera, perhaps everthing shot with that camera will be b/w old school filter or something.
It's going to be quite a day.

Thanks again,

- Mark

[Dr Mordrid]

As far as battery life goes: that's what portable lead/acid or NiMH battery packs are for. You'll run out of tape before you run out of juice with those things. I just tie their case to the tripods spider with zip ties. They serve double-duty by further stabilizing the tripod.

Color balancing is one area where my RT.X100 comes in real handy.

The RT.X100 has an Auto Balance button as part of its realtime Color Correction filter. Just select AWB then use an eyedropper to select something white in the preview frame;



Helps to tape a white card near the stage.

A control similar to this is going to be in my MSPro 8 (or whatever they call it) proposal. I sure hope Ulead bites

Dr. Mordrid