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Old November 4th, 2008, 09:23 AM   #1
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A Please Help Request.

I am assisting with a multicamera shoot of a live musical event which will include two REDs, one SI2K and two JVC GY-HD111 cameras.

Does anyone have any scene file recipes or suggestions for the JVCs which would better emulate the broader latitude of the UltraHD cameras and assist in post production and grading.

It is likely the assembly and edit will be done on Mac under Final Cut Pro.

The JVCs will record to tape which is unavoidably m2t but also to DR-100 which offers quicktime compatable files which may be usable by Final Cut Pro without giving it a gutsache.

Any advice will be appreciated. My legitimate experience with the JVCs is probably little more than having shed my dandruff on the upper surfaces whilst watching others operate them though I have operated the camera myself.
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Old November 4th, 2008, 11:15 PM   #2
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Hey Bob

I would think Paolo's TC3 or Tims Wide - Latitude would be the way to go.

regards

Adam
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Old November 5th, 2008, 05:46 AM   #3
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Thanks Adam.


I think they are going with TC3.
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Old November 5th, 2008, 09:15 AM   #4
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Thanks Adam.


I think they are going with TC3.
Good luck Bob. My 111 blows me away now i have the 13x3.5 wide Fujinon. Amazing difference.
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Old November 5th, 2008, 10:13 AM   #5
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Does it gives you that more light with the 13x3.5 wide Fujinon?
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Old November 7th, 2008, 07:06 PM   #6
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since I'm in the middle of editing a live music peformance in 3 different format hell of my own......, might I suggest shooting all the cameras at factory default (adjust edge enhancment is OK) and just plan on color correction later at one fell swoop...(running each camera on a different line in the NLE so it's easier to color correct).

My adjusted cameras started working against me in the shadows when the gain was ever adjusted. If I had NOT done any special black (-1) adjustment etc or even black stretch, I think my footage would have come out far better.. then just color correct later.

In my case data wasn't just changed, it was lost.
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Old November 8th, 2008, 03:24 PM   #7
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You might want to get all cameras to shoot something like a Kodak Grey Card Plus in the same lighting prior to event. This will give you a good but simple reference for colour balancing / grading in post.

I agree with Alex, shoot with all cameras in default and grade in post.
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Old November 9th, 2008, 05:59 PM   #8
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Agree

Yes further to Phil, and I'm sure you already do Bob with your experience, but using something like a DSC colour chart, at least a camette should help the matching process and giving correct colour

Camette

or if budget allows something like this

SlateMate
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Old November 9th, 2008, 08:20 PM   #9
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There will be a DSC colour chart shot.

My recommendation has been all cameras to be initially set up in turn on the same position close to front of the stage, same shot of the chart and whilst there, all whitebalanced to the subject point, then dragged away to their respective positions.

The stage is set up in centre of one end of a quad surrounded by the four wings of the building.

Theatre spot lighting has been installed in equal doses under the eaves of veranders down either side. My sense is a common viewpoint for white balance for all cameras rather than tailoring for the angles of each may be best for consistency across all the camera types.

I think they have managed to talk the organisers out of coloured lighting onto the performers and instead painting the backdrop, a fine old two story limestone building with coloured lighting instead.

Thank you all for your interest and recommendations. If you see a huge mistake lingering among the lines of my comments above, please let me know.

Last edited by Bob Hart; November 9th, 2008 at 08:24 PM. Reason: error
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Old November 12th, 2008, 09:20 AM   #10
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Quote:
Originally Posted by Marc Colemont View Post
Does it gives you that more light with the 13x3.5 wide Fujinon?
Yes Marc,
The difference is amazing in low light. I was really upset when i compared the JVC with stock lens with the EX1. Now there would be little difference with the 13x lens. Certainly worth the money.
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Old November 12th, 2008, 05:40 PM   #11
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Now Dennis

don't be such a teaser, I don't have $10k free to buy one right now! I know serious glass would really top this camera off, combined with something like a flash XDR would be like scary capable. Though having said that, Scarlet will probably make us all rethink, effective on tomorrows press release on how we want to spend our next wad of cash!

Must resist GAS (Gear Aquisition Syndrome)

cheers

Adam
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Old November 12th, 2008, 10:03 PM   #12
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no, the default settings are flat. you won't record the bits you need with the factory settings.

with the factory settings you'll get
1. less latitude overall
2. less color saturation and gradation
3. less shadow detail
4. less highlight detail
5. less light sensitivity

I;ve got my camera very tweaked out and it easily out performs the stock settings by a mile.
using TC3 is a good starting point. what you should do is actually tune _down_ the RED cams to match the JVC's. sounds crazy, but reducing their look will come closer to the JVC's. I know that might hurt a little, but since you can't get the jvc's past what they can do, you can reduce the RED's to less to meet in the middle. I'd even say shoot the RED's at 2K, not 4K. no point in 4K for the project.
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