Matching DVX100a to XL2 in multicam

A

Adamblaster

Member
Hey all,
I am shooting a multicam rock concert on wednesday and wanted some advice.
All cams will be iso'd, nothing is being switched live. I have a vx2000 on stage and in the back on stick I have 2 dvx100a's and an xl2. I am obviously concerned about matching but I also was looking for timecode syncing tips. I am having the audio recorded to a DA-88 as well as each camera having a scratch reference track.
If I set the cams to standard 3200 temp, will it be easier to color correct in post?..should I be concerned with more than the white balance?...ie - are there any particular settings in the myriad adjustments I can make to the dvx's that will help them match the XL2 better?...the vx2000 is just a bonus camera and I'm not too concerned with it at the moment. Any tips on timecode syncing with a DA-88? Does the dvx100a output a timecode signal, perhaps on the composite video rca out?
thanks.
 
The only thing you can do for TC is run a cable from TC out on your DA-88 to the cameras and
record TC to one of the audio channels. The neat thing about TC is it's an audio signal, so it can
be recorded to an audio track.

This does you absolutely zero good unless you have an Avid, though. No other editing system I
am aware of will recognise an audio track as a TC signal on digitised video except an Avid.

You'd probably be fine with one of these:
4.jpg
:thumbsup:
 
Thanks for the quick reply, and it was a good suggestion. Unfortunately, I will be editing in Premiere Pro. Have you used DA-88's a lot before?
 
Another thing you can do for timecode would be to get all four cameras together, and have them all film a constant reference, such as displaying the timecode from one of the cameras on its LCD display, and have the other three cameras all shoot that camera's LCD. Then, provided you never stop recording (i.e., do a continuous 1-hour roll), you should have a shot at them staying in sync.

As for matching them -- well, basically, good luck. The way to do it is to get a monitor with two inputs, and then A/B two cameras until you get 'em matched. Set one camera as your base reference (probably the VX2000, because it's the least-adjustable) and then try to use the menu settings to get the other cameras to match it...
 
Thanks. I didn't think I'd get THE Barry Green to help me out. I appreciate your tips. We have been told that the concert may be up to 75 mins long. I was thinking of staggering when tapes are changed so I know I have adequate coverage. Having our clearcom system should help facilitate this. I'm not so worried about the image from the VX2000 because I think audiences will "get" that it was a totally different camera onstage under vastly different lighting conditions, ie- audience shots. Should I really stress myself out over matching the cameras or will minor color correction in post take care of that?
 
Well, the closer you get in-camera, the better off you'll be, obviously. But you can probably make a pretty decent match in post. If you're going to try to match in post, I'd recommend getting ahold of a color chart, and set all four cameras to point at the color chart prior to starting the shoot. That should make it much easier to identify proper color correction to get 'em to match up.

If you're changing tapes, the timecode issue is going to be pretty much impossible to match. You can set the three cameras to free run, but not the VX2000 (IINM). You could try using LP mode or 83-minute tapes, either solution could help avoid the need to change tapes, but both of those involve risks.
 
Your cameras won't match exactly, but the 24p ones stand a pretty good chance of being very close.
Couple of things come to mind: Dunno if you're into this kind of band, but Guster's Live DVD
for "Keep It Together" has a slew of cameras that don't match (video and Super8mm-ish video) and
the it seems like they didn't bother to get the sync right for about half of the disc since there are
parts from entirely different songs and even different days, all juxtaposed together to create the
look they wanted.. Neat concept and incredibly cool looking. Maybe worth $15 for ideas.

I would think a "old grainy film" filter would make your VX2K footage totally "usuable" in a sense
that instead of trying to force it into a look it can't possible create (24p DVX/XL2) you go the
opposite direction and create something "unique" that makes a statement or something like that.

Also, I don't think it's uncommon to structure a break during a live recording to switch tapes... I'd
discuss it with the band, of course and just zoom all your cameras into a slate and clap
it for sync. That's what we've done before here for multi-cam DVX100 shoots.

Hope this helps.
 
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