Bart_Boge
Well-known member
Hello DVXers,
This is Bart Boge returning to the forum. I used to post here years ago when I owned an event videography business. Loved this site. Still do.
Suffice it to say that independent filmmaking proved to be incompatible with married life and I had to give it up. I liquidated most of my stuff on eBay and sold my homemade camera rigs to a local guy getting started in the business.
This brings me to today and my request for advice.
The guy I sold my camera rigs to is someone I am "mentoring" so that he can get a good running start. His previous experience is pro audio, and his first two videography gigs are concert videos. He's renting three DVX100s and one HVX200 for one gig, and 2 DVX's and the HVX for the other.
Like most fans of the DVX, he is going for "filmic" as an overall look. The final product is standard def 24p DVD and web streaming. The concerts will be bar band and/or coffeehouse gigs lit with standard PAR can concert lighting.
The likely set up with be one locked down B-roll camera wide shot of the stage, two cameras @ 45° from the stage to the left and right, and possibly one roving cam to get extreme close-ups of instruments and/or reverse angle shots.
Except for the wide angle B-roll cam and the extreme close-up cam (which, both zooming out wide won't have a prayer at shallow DOF), I would like to recommend anything that could get the medium and close-up cams on the left and right to have shallow DOF. We won't know exactly how much light we'll have at these venues until the last minute, but I am recommending that he kick in the NDs to the max and keep the cams on auto iris--just in case something unusual happens with the lighting. That and a higher shutter speed should starve the sensor of light, right? Which would force the auto iris to stay mostly open for the whole show? That plus a heavy dose of telephoto should give at least some sense of shallower DOF.
I have always loved the look of "CineGamma" color, so I'll be recommending he use that setting on the DVXs. I am not sure what to recommend with regard to Master Pedestal, however. Generally speaking, crushing the blacks is a bit safer in post than in the field, isn't it?
If any of you have done concert footage with DVXs and have recommendations with regard to color, exposure, DOF, or anything else, I'd love to read it and convey it to this new videographer. Also, any important hints on matching DVX and HVX camera output would also be helpful (i.e., which settings ona DVX match up with newer settings and profiles on an HVX).
FWIW, he'll be using monitors and two remote pan/zoom/tilt snakes I made (with specs from DVXUser--thanks!) to operate two of the cameras himself while I operate a third and the fourth is locked down. A four camera shoot with two cameramen.
The first gig is a week from today. I am hoping the forum intelligencia can weigh in soon enough to get the info to this protege of mine.
What say you?
This is Bart Boge returning to the forum. I used to post here years ago when I owned an event videography business. Loved this site. Still do.
Suffice it to say that independent filmmaking proved to be incompatible with married life and I had to give it up. I liquidated most of my stuff on eBay and sold my homemade camera rigs to a local guy getting started in the business.
This brings me to today and my request for advice.
The guy I sold my camera rigs to is someone I am "mentoring" so that he can get a good running start. His previous experience is pro audio, and his first two videography gigs are concert videos. He's renting three DVX100s and one HVX200 for one gig, and 2 DVX's and the HVX for the other.
Like most fans of the DVX, he is going for "filmic" as an overall look. The final product is standard def 24p DVD and web streaming. The concerts will be bar band and/or coffeehouse gigs lit with standard PAR can concert lighting.
The likely set up with be one locked down B-roll camera wide shot of the stage, two cameras @ 45° from the stage to the left and right, and possibly one roving cam to get extreme close-ups of instruments and/or reverse angle shots.
Except for the wide angle B-roll cam and the extreme close-up cam (which, both zooming out wide won't have a prayer at shallow DOF), I would like to recommend anything that could get the medium and close-up cams on the left and right to have shallow DOF. We won't know exactly how much light we'll have at these venues until the last minute, but I am recommending that he kick in the NDs to the max and keep the cams on auto iris--just in case something unusual happens with the lighting. That and a higher shutter speed should starve the sensor of light, right? Which would force the auto iris to stay mostly open for the whole show? That plus a heavy dose of telephoto should give at least some sense of shallower DOF.
I have always loved the look of "CineGamma" color, so I'll be recommending he use that setting on the DVXs. I am not sure what to recommend with regard to Master Pedestal, however. Generally speaking, crushing the blacks is a bit safer in post than in the field, isn't it?
If any of you have done concert footage with DVXs and have recommendations with regard to color, exposure, DOF, or anything else, I'd love to read it and convey it to this new videographer. Also, any important hints on matching DVX and HVX camera output would also be helpful (i.e., which settings ona DVX match up with newer settings and profiles on an HVX).
FWIW, he'll be using monitors and two remote pan/zoom/tilt snakes I made (with specs from DVXUser--thanks!) to operate two of the cameras himself while I operate a third and the fourth is locked down. A four camera shoot with two cameramen.
The first gig is a week from today. I am hoping the forum intelligencia can weigh in soon enough to get the info to this protege of mine.
What say you?
