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July 6th, 2006, 07:59 PM | #16 | |
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July 7th, 2006, 01:52 AM | #17 |
Regular Crew
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just got back from shooting at the comedy club tonight
luckily, the auto settings worked really well with the comic I was going there to shoot but on another comic that asked me to get footage for him: his face was overexposed in much of the shoot...those zebras don't lie. it's kind of tough to get all the settings right when a new person pops on stage and you haven't had time to try white balancing and aperature opening/closing...and like the last poster said, it is very noticable to see that kind of stuff going on mid shot. |
July 7th, 2006, 02:15 AM | #18 |
Fred Retread
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I shoot a lot of three camera stage production footage with a Canon GL2, a Sony VX2100 (same basic cam as the PD170) and Panasonic GS200.
I always use "Spotlight" autoexposure mode and the "Indoor' white balance preset on all three cameras. The color and exposure differences between the cams under the varying color lights and varying brightness of stage lighting used to drive me crazy in post. Problem solved. The cameras agree on color and exposure with minimal correction Try it. You'll like it. The Spotlight mode works even if there is no actual spotlight--it merely adjusts exposure for the central portion of the frame. The "Indoor" white balance preset is good with a wide range of incandescent lighting, including spotlghts.
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July 7th, 2006, 09:10 AM | #19 | |
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Being able to change camera settings quickly and accurately is a matter of practice. Once you've done this type of shooting a few times, you will be able to change settings as smoothly as possible with the Sony.
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July 7th, 2006, 02:36 PM | #20 |
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I've taped a similar event using my fairly new VX2100. As this camera only has a mini 1/8" input, I was forced into using either the on-camera mic or input an external. I chose the on-camera mic. The On camera mic was pointing directly at a speaker, but apparently the mic is not directional and echo's and room noise could be heard. During the performance, I could not make the live switch to the external without it being way to obvious.
My plan for the next shoot is to purchase a small mixer (i.e. Azden FMX-32) that will allow me mix the best sound sources live. This way I can adjust my audio and select my mic's as the situations change. Live and Learn. Asa side note, I had a different white balance frustration. There was daylight filtering onto the stage. I white balanced, but as the show went on and the sun went down, the white balance was shifting. Again, during the show, I could not re-white balance. As it turns out, it wasn't that radical a change, but boy was it frustrating. Ezra |
July 7th, 2006, 05:12 PM | #21 |
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That sun going down-white balance thing has happend to me as well. I have keyframed the color balance in Vegas on long wedding media to compensate. Your editing software should have something similar. As a matter of fact I have an outdoor wedding I'm editing now. Everytime a cloud gets in front of the sun............. I wonder if auto WB would have been better.
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July 10th, 2006, 07:48 PM | #22 |
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Unless the wedding is at night, there always seems to be a mix of color temps to handle. My worst was a stage lit by incandescent with a 2 story atrium at the back of the stage. I used the incandescent preset and let everything else go blue. Ya can't win and I tell the bride up front that there will be background color problems but the wedding party faces will look OK
Wait till you get a bride that's wearing a white dress with whitners in the finish. In sunlight or in strobe light, it will turn blue on you. You DON'T want auto white balance to be on in that situation or their faces will do some interesting color shifts.
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July 11th, 2006, 12:50 AM | #23 |
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You raise a good point Mike. Many modern white pieces of clothing have these artificial whiteners added, and they should certainly not be used to white balance your camera. How to tell with the naked eye which are safe whites to balance off? You can't. Out with the square of photographer's grey card once again.
tom. |
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