I'll never have the privilege of shooting multi-camera unless I shoot a wedding video (most unlikely) or a US sitcom (highly unlikely).
However, we were involved in a 2 camera short drama shoot at film school yesterday and the question arose of how does one determine aperture if you're shooting with more than one camera.
It was a period piece (1910) and we were shooting indoors. The colour balance on both cameras was the same - we opted for daylight instead of tungsten even though we were indoors because the orange tone gave the film a warm "period" look.
My classmate and I got into a bit of an argument. My argument was that different apertures should be used because camera A is shooting in a darker area of the room than camera B - the f-stops should be separate for both cameras, within reason of course. You should still aim for the same look between both monitors, but this doesn't necessarily have to be the same stop. Her argument was the the same stop should be used for both cameras regardless so that they cut together well in the edit room. Who's right here?
I am sure that in Hollywood multi-cam shoots they use different cameras with different filters with different stocks - which mean a different calculation for each camera - but assuming you were using two of the same cameras with the same settings, how do you set the exposure?
However, we were involved in a 2 camera short drama shoot at film school yesterday and the question arose of how does one determine aperture if you're shooting with more than one camera.
It was a period piece (1910) and we were shooting indoors. The colour balance on both cameras was the same - we opted for daylight instead of tungsten even though we were indoors because the orange tone gave the film a warm "period" look.
My classmate and I got into a bit of an argument. My argument was that different apertures should be used because camera A is shooting in a darker area of the room than camera B - the f-stops should be separate for both cameras, within reason of course. You should still aim for the same look between both monitors, but this doesn't necessarily have to be the same stop. Her argument was the the same stop should be used for both cameras regardless so that they cut together well in the edit room. Who's right here?
I am sure that in Hollywood multi-cam shoots they use different cameras with different filters with different stocks - which mean a different calculation for each camera - but assuming you were using two of the same cameras with the same settings, how do you set the exposure?
