Optimal DVX100 settings for ballet?

[Just_the_Husband]

We'll be filming a ballet production this weekend and I was wondering what the optimal settings would be. I figure 24P is NOT the right setting, as the motion would appear "jerky." I'm new to the DVX100 (we're renting a pair of them because last time we filmed a production, a Sony PD150 demonstrated conclusively the superiority of 3CCD cams for color accuracy). Will CineGamma not be right either, because of the extreme contrast likely in each scene?

Thanks advance from this Newbie.

 

[Just_the_Husband]

I guess the other question is about metering...

I guess the other question is about metering...

Either I manually set by eye, or does the DVX have different metering styles like still cameras, eg. spot or centrally-weighted? I suspect that if the default is to average the entire scene to 18% grey, the highlights will be totally blown out because of dark curtains or backdrops in the background. Since one of the cams will be mounted on a tripod, I'd like to set the autoexposure in such a way that it will works with these visuals. Thanks in advance. ???

 

[mike f smith]

Re: Optimal DVX100 settings for ballet?

I just taped four performances of The Nutcracker so I know how difficult the lighting conditions and lighting changes can be. If you can, go the the dress rehersal so you can play around with the settings and different scene files. If you tape the dress or tec rehersal and play your tape back thru your camcorder (i know not recomended) but in the viewfinder you will see the original fstops and other information. Deliberately under expose and over expose this test. Then you can take notes with you to the performance. I have found manual iris adjustments to work best in most circumstances. It can be difficultl to deal with a spotlight comming on and off. I can't make the manual iris adjustment quickly enough yet to deal with that so I have to go to auto iris and try to fill as much frame with the primary spotlighted dancer. I was supprised how smooth the four fstop change looked with the dvx100a. I do have to say the zoom on this camera for that type of work is lousy, it doesn't start smoothly enough for me. You really should be able to set the zoom rate exacly in a $3000 plus camera.

Also important if you are videoing dance is to be close to the same level as the dancers as possible. Dance loses much of it's magic from the balcony. The balcony is a good angle to fade in and out of from time to time. It would be ideal to have a second camera in the balcony and one on each side of the stage about 10 rows back and one at the end of the house. The most important camera is the one exact center house and about 100' from the stage at dancers level. Usually at the back wall. I never trust batteries on a live performance. I always plug into 110 and tape all my cords to the wall and floor. Getting the exact center of the house with your main camera is very important.

I usually have to do a one camera recording. I prefocus. Remember depth of field on any camera lens will be 1/3 forwared of the actual focus point to 2/3 behind the actual focas point. From 100' even zoomed filling pretty much the whole frame with a dancer the whole stage will be in focus even down to f2. I manualy focus on this point and tape the focus ring to the lens shade. One less thing to worry about. I don't use duct tape for that but use a high quality acid free tape that you would use matting artworks. You never want to cut a dancers feet off so you don't want to get in too tight anyway. Cutting off a dancers feet = failure, but you do usually want to fill as much of the frame as possible. If you are shooting a solo dance or pata deux you need to give the dancer some space to dance into. Thus if the dancer is moving to the left on the stage make sure you have some space for them to move into. You really have to know the dance well to do a good job of paning and have a good fluid head tripod as well. I usually end up tapeing my tripod to the floor if there will be people near me when I'm shooting. A lot of times I have had the coreographer right next to me telling me who is comming from where when and how far. Most theaters have exta headsets you can use to be prepared for the lighting ques etc.


Michael Smith