C100: How to mount two C100s

J

Jason Rae

Well-known member
I am in a new place here with having two C100s. I want to shoot one on a wide shot and one zoomed in and I have no clue how to mount them side by side. Anyone have some ideas on how to do this. I don't really want to buy some crazy expensive rig but I am sure there is something out there that can help me mount this side by side on a tripod.

Thanks for you help.
 
In the long past, simply two tripods. It's the sturdiest and most flexible solution, but understandably not always ideal if you're a lower budget, one man band setup.

My multi-tasking, weight-shedding solution was to repurpose certain gear. If you happen to have a Kessler Pocket Dolly with a shuttle brake, you can mount it inverted and use two flat mount adapters to mount 2 heads to the "underside." It's quite steady. Rotate the slider to bring the cameras closer to the same axis. Far easier to carry around than two full tripods of any size plus a slider. Wish I'd started using this years ago.
 
OK guys I am going to show just how much amateur I am right now...lol I have two tripods both big and sturdy and for some reason I was think to make the shoot look correct they would need to be on the same bracket. I have never done this so forgive me for asking.... I can just put the two tripods right next to each other to make that work. Thanks for the input. Any tips for that being distance apart from each other ..etc. Thanks guys
 
I often end up using my double headed set-up for events. For many events, I just don't have the space or time to set up two tripods. Also, I can get the cameras much closer to each other on my double headed set-up which allows me to more easily monitor both cameras. If I need to move, I just grab onto the arm and I'm on my way. The Manfrotto 131DD also has mounts on the end of the pole that can be used for microphones or recorders or monitors. Like I said, you need IS though. Also, the cameras are stuck on the same level which is usually not the way I would want to shoot.

For interviews covering a wide and close-up from the same angle, I put the CU camera on the inside and slightly higher than the wide. Also, I would getting the cameras as close as possible and trying to go for a difference of around two standard focal lengths between the lenses, e.g a 35mm and an 85mm, in order to mask any possible jump cuts that might be needed.
 
Depending on what you are shooting and how you intend to edit the two shots together it may actually be desirable to have the two cameras on noticeably different angles to the subject. E.g, if you are shooting an interview and cut between a close up and a mid shot that are from the same angle you will have more of a jump than if the cameras were on different angles. I heard a rule of thumb once that camera angles should change by more than 30 degrees for the shots to be different enough to avoid a jump. This was probably referring to two shots at the same focal length so perhaps the angle would be less with distinctly different focal lengths.
 
mtnski makes a good point. I think it depends on your purpose for using two cameras. The alternate angle shot makes the interview feel a bit more dramatic. It can make the audience feel like they are eavesdropping on an interview rather than the interviewee actually talking to them. It's a different perspective. It can be a bit harder to do as it complicates lighting and framing.
 
regarding the CU profile angle strategy: I've done it often, and sometimes it works... IMO it doesn't work AT ALL when the presenter is making an appeal to the audience, speaking directly to camera. That cut to profile from the direct eyeline is (IMO) far more jarring and "hey, look at me, I'm using two cameras!" than a cut to CU.

When the presentation is straight to camera, put the two cameras as close as you can possibly get them, and make sure the talent knows to have his eyeline only to the CU angle camera. Having the eyeline off on the WID/MED camera is far less noticeable.
 
Jason Rae said:
OK guys I am going to show just how much amateur I am right now...lol I have two tripods both big and sturdy and for some reason I was think to make the shoot look correct they would need to be on the same bracket. I have never done this so forgive me for asking.... I can just put the two tripods right next to each other to make that work. Thanks for the input. Any tips for that being distance apart from each other ..etc. Thanks guys
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Jason,
I have done this on two tripods on many occasions. Also gives you the flexibility to move the "B camera" to another position if you want. If the shots are different enough there will be no problem with the cuts.
Just locate the tripods close together ( you can move one back if need be) and use one for the "wide/Med" and the other for the CU/ECU. Have done this for big productions with high end cameras, ie Red, Canon C300/500. For event work I'm not sure why the cameras would have to be "together".
 
mcbob said:
regarding the CU profile angle strategy: I've done it often, and sometimes it works... IMO it doesn't work AT ALL when the presenter is making an appeal to the audience, speaking directly to camera. That cut to profile from the direct eyeline is (IMO) far more jarring and "hey, look at me, I'm using two cameras!" than a cut to CU.

When the presentation is straight to camera, put the two cameras as close as you can possibly get them, and make sure the talent knows to have his eyeline only to the CU angle camera. Having the eyeline off on the WID/MED camera is far less noticeable.
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Agreed, would look pretty odd to cut between a direct to camera perspective and a profile shot. If the situation is an interview, as I described, the subject would be looking at the person interviewing them.
 
Even easier to hire Roger Deakins with a half dozen gaffers and assistants to bring an Epic and shoot it for you while you sit in a hot tub sipping single malt scotch... there are certain times the budget doesn't warrant that, however.
 
ReelWorksMedia said:
2 C100s for a punch in? Rent an Epic and shoot 5k...just punch in. Much easier.
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We do have two C100s and a GH4 so we should be ok. I am going to just put them side by side on tripods and zoom one in. They are talking directly to the camera so side shots are out, but I am going to try that on the next interview type shot. I am shooting these for our own company so we will have a ton of options when trying different things. Anyone have a link to the double headed tripod or mount for putting them side by side. I would like to have a mount as my second tripod is not really one I would be using on the C100, i used it on the 5D Mark III but thats at the top of the weight.
 
I just tried out mounting the B camera on top of the other camera(hot shoe) because I want to pan/tilt at the same time

But you need to get the angle correct. especially when you want to change focal length during the shot.
 
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