Advise sought on multi cam shot of band
- Thread starter greytail
- Start date
Not knowing the layout of the room, the stage height, and other factors, it is difficult to say. But the basics are to have the locked camera on a wide shot; hopefully from a reasonably high point to clear the audience. You may want a center shot or a wide shot from off-center may suit the situation and your esthetics.
For the two operators, again, it really depends upon what you are allowed to do by the band and show runners. I would keep both camera operators mobile so that a variety of shots keep it interesting. Can you get on stage? Then do shots from stage left and right and also from behind the band; not too much of that, but it can add some interest. Can you get on stage in front of the audience?
If you are relegated to the sides out of the audiences way, then I would want one of the operators up high to get some closeups in one, two, and three-shots, pans, zooms from one shots to two shots, etc. The other camera should be up close to get some detail shots of finger work on the guitars, and closeups of faces, keyboard action.
You need to have a plan beforehand so that both of you know what each other is covering. The worst thing that can happen is that you both get similar shots and don't get proper coverage. When we do wild coverage of a band like this (no one directing) we like to have five or more cameras. One locked down in the back. One in the back getting some action shots, and three in front. The three in front generally know what they are going to cover, but we watch each other and if we see a shot that someone is not getting, that they should get, then we cover it even if it is not in our coverage area. The temptation for newbies is to cover the action. So both cameras get the guitar solo with a closeup. That's not good. If the other operator is getting the solo, shoot something else.
Of course, be sure to white balance and black balance all the cameras before the show.
For the two operators, again, it really depends upon what you are allowed to do by the band and show runners. I would keep both camera operators mobile so that a variety of shots keep it interesting. Can you get on stage? Then do shots from stage left and right and also from behind the band; not too much of that, but it can add some interest. Can you get on stage in front of the audience?
If you are relegated to the sides out of the audiences way, then I would want one of the operators up high to get some closeups in one, two, and three-shots, pans, zooms from one shots to two shots, etc. The other camera should be up close to get some detail shots of finger work on the guitars, and closeups of faces, keyboard action.
You need to have a plan beforehand so that both of you know what each other is covering. The worst thing that can happen is that you both get similar shots and don't get proper coverage. When we do wild coverage of a band like this (no one directing) we like to have five or more cameras. One locked down in the back. One in the back getting some action shots, and three in front. The three in front generally know what they are going to cover, but we watch each other and if we see a shot that someone is not getting, that they should get, then we cover it even if it is not in our coverage area. The temptation for newbies is to cover the action. So both cameras get the guitar solo with a closeup. That's not good. If the other operator is getting the solo, shoot something else.
Of course, be sure to white balance and black balance all the cameras before the show.
Once again, it depends on the setup. If this is not a live event, then you have the freedom to shoot the numbers over and over like a music video. That would open up the possibilities significantly. You can then set the Kessler at a different location for each take.
If this is a live event, but you have an opportunity to shoot before or after the event, then you can do the same thing; set up the Kessler at more than one location to get what appears to be very good coverage. Of course, in this case, you need the band to set the tempo precisely so that cuts from one take to the next work.
If you only have one shot at it, then you will have to determine the best use of the Kessler based upon the layout of the stage and conference room. If anything, the Kessler gives you height that is not available to you with the other camera. Than may be very important depending on the setup.
If this is a live event, but you have an opportunity to shoot before or after the event, then you can do the same thing; set up the Kessler at more than one location to get what appears to be very good coverage. Of course, in this case, you need the band to set the tempo precisely so that cuts from one take to the next work.
If you only have one shot at it, then you will have to determine the best use of the Kessler based upon the layout of the stage and conference room. If anything, the Kessler gives you height that is not available to you with the other camera. Than may be very important depending on the setup.
One other thing you can do to self-direct yourselves is to get a pair of family radio sets. These are cheap and work well. You can get headsets for them that are voice activated. That will allow you to talk to each other to compare what you each shooting and co-ordinate the coverage. That's assuming your conversation will not interfere with the performance.
Not recommending these, but for your reference: https://www.amazon.com/BaoFeng-BF-8...8&qid=1485563287&sr=8-5&keywords=family+radio
Not recommending these, but for your reference: https://www.amazon.com/BaoFeng-BF-8...8&qid=1485563287&sr=8-5&keywords=family+radio
Bassman2003
Veteran
Have you ever done a three camera shoot before?
No, I haven't which is why I am asking. It is low budget. I realize it can be very challenging and complicated. I am not seeking to produce a masterpiece, but something that is competent but not necessarily artistic or fancy. For example, I will have a sound feed supplied by the band and that's it...no other sound pick up except from the cameras themselves. My plan was to use the cams natural sound to synch with an audio digital recorder. I have used this system at weddings and have gotten some fairly decent results. My RW4has four inputs but I will probably only use two..one from the band feed and one for Sure mike. For camera positions, I am planning on putting one DVX on the Kessler crane, high up, pointing down on a wide shot. The other two cameras will be on the side, hopefully out of frame and zooming in for close ups. Since this is a live performance, I plan to start all cameras and keep them running, all in 4K, so I can electronically zoom in to 1080. There is no budget for dozens of microphones, lights, or extra personal. The recording will go on Youtube and thats it.
Bassman2003
Veteran
Cool. I would run the direct audio into one of the cameras to ensure sync easily with the live audio. But one song should not be an issue either way. If it is staged, I would also do multiple run-throughs. A time through with a wide and a closeup straight from the front would be good anchor shots to have. Then use the 2nd time for jib and specialty shots. Up close handheld shots are nice with bands.
yes, I will be outputting at 1080 p. Band's owner will give me a "sweeten" audio file to synch up with. I am a bit worried about the quality of his recording. Could I encounter digital drifting which could put me out of synch. How can I ensure that there won't be this problem? What technical questions do I need to have answered...I know it has to be 48kHz, but beyond that I am unsure of the specs.
When we did this, we had our audio engineer take all the directs out of the house mixer and then record all the tracks directly to ProTools. So we had a wild track (maybe up to 16 independent tracks) that was not synced to picture in any way. No slate. No timecode.
It made for a bit more work, but no problems. Remember that you will cut picture to the sound track. Lay the tracks down. Then drop in your three camera clips. Sync the camera clips to the audio track. Edit. You may have to tweak picture once in a while, but that's easy enough because you will have a reference track on each camera that will allow you to visually (waveform) and aurally to re-sync picture with sound.
Of course, syncing the cameras and the tracks to a slate helps. Time code is even better, but I expect you are just going to run wild.
It made for a bit more work, but no problems. Remember that you will cut picture to the sound track. Lay the tracks down. Then drop in your three camera clips. Sync the camera clips to the audio track. Edit. You may have to tweak picture once in a while, but that's easy enough because you will have a reference track on each camera that will allow you to visually (waveform) and aurally to re-sync picture with sound.
Of course, syncing the cameras and the tracks to a slate helps. Time code is even better, but I expect you are just going to run wild.
Jason R. Johnston
Well-known member
I wouldn't bring a jib to a wedding.
Make sure to get lots of audience reaction shots since that's part of the experience of having a band at your event. Lots of smiling people, clapping, people dancing and having a good time help sell the band and their purpose...and expense.
You should have a third operator getting wide shots (sure, you could lock it off), with the two roaming cameras crossing getting mediums and closeups and cutaways. Neither of you will know exactly what the other is shooting...so in editing there may be sometimes where you're both adjusting at the same time and you'll need to cut to that boring, static wide shot. This sort of thing is always better with a live switcher and a technical director.
So, they will record the performance and give you a sweetened audio file? That's cute. Digital drift, especially since you're editing, is the last thing I'd be worried about. The "frame rate" of an audio file is faster than your video file. Syncing shouldn't be an issue at all. A sound guy should know what to do, anyway...and your modern NLE should import it no problem. Is this thing going to be hours long? That's when you run into issues; not for a song or two. Incidentally, no one is going to sit down and watch an hours long performance of a wedding band for anything.
Everyone in here has some great tips.
Make sure to get lots of audience reaction shots since that's part of the experience of having a band at your event. Lots of smiling people, clapping, people dancing and having a good time help sell the band and their purpose...and expense.
You should have a third operator getting wide shots (sure, you could lock it off), with the two roaming cameras crossing getting mediums and closeups and cutaways. Neither of you will know exactly what the other is shooting...so in editing there may be sometimes where you're both adjusting at the same time and you'll need to cut to that boring, static wide shot. This sort of thing is always better with a live switcher and a technical director.
So, they will record the performance and give you a sweetened audio file? That's cute. Digital drift, especially since you're editing, is the last thing I'd be worried about. The "frame rate" of an audio file is faster than your video file. Syncing shouldn't be an issue at all. A sound guy should know what to do, anyway...and your modern NLE should import it no problem. Is this thing going to be hours long? That's when you run into issues; not for a song or two. Incidentally, no one is going to sit down and watch an hours long performance of a wedding band for anything.
Everyone in here has some great tips.
