Jump to content


Photo

SDX900 & DVX100A concert shoot


  • Please log in to reply
1 reply to this topic

#1 Mike Pasky

Mike Pasky

    New

  • Basic Members
  • Pip
  • 5 posts
  • Camera Operator

Posted 02 February 2009 - 11:31 AM

I had just posted this in the SDX900 subforum, but after seeing that people check this main forum much more I posted it here as well. I apologize if it was wrong to post in both places.

-----------

Hello,

I am in the process of planning a multi-camera shoot of a rock concert. We will be using an SDX900 for the WS, two DVX100A's for CU shots, and to make things more complicated 2 Sony PD170's. The last time I did a shoot like this we used 3 DVX100A's, which was great because I was able to pick my favorite scene file settings and just load it onto all 3 cameras. I uploaded some clips of that concert here...





I already know how I plan to improve the lighting for the new shoot, so I am really just posting this hoping for recommendations on scene file settings. I know that Panasonic has listed a scene file for the SDX900 to match the DVX100 or DVX100A at http://www.panasonic...cene_select.asp, but this seems like a pretty bland setting, and if I use it I don't want to be stuck setting the DVX100A back to the default scene file 5 unless I really have to. Also, I'm assuming this SDX900 setting is based on shooting in 25Mb/s DVCPro, and I definitely want to shoot in DVCPro50.

So, if anyone has suggestions for the scene file settings for both the SDX900 and DVX100A for this shoot that would be greatly appreciated. Since it is a hard-rock/metal band I'd rather go for a more stylized, contrasty, and potentially over-saturated yet look than something bland and "safe".

Also, as I mentioned I am throwing 2 Sony PD170's into the mix. The concert I shot before (in the youtube clips I listed above) I shot in 24P to a get choppy, out-of-control look as all cameras are constantly making subtle snap-zooms. I would like to shoot in 24P to achieve that again, but I believe that having the extra cameras will prove more valuable than being able to shoot in 24P. Currently I was planning to put both PD170's on the stage shooting back towards the back of the band and revealing the crowd because I'm hoping it won't be as jarring when cutting between the Panasonic and Sony cameras if they are shooting in opposite directions. I am not very familiar with the Sony PD170's scene file settings (or whatever Sony calls them) so if anyone also has suggestions for how to set these cameras to match the more stylized look I am trying to achieve with the Panasonic cameras that would also be greatly appreciated.

This will be edited in FCP, and although color correction may help, I would much rather find a way to make the cameras best match at the shoot, because it would take a long time to color correct a full 1 hour concert.

Thanks in advance,

Mike P
Chicago west suburbs
  • 0

#2 Chris Burke

Chris Burke
  • Basic Members
  • PipPipPipPip
  • 1675 posts
  • Boston, MA

Posted 15 April 2009 - 01:24 PM

I had just posted this in the SDX900 subforum, but after seeing that people check this main forum much more I posted it here as well. I apologize if it was wrong to post in both places.

-----------

Hello,

I am in the process of planning a multi-camera shoot of a rock concert. We will be using an SDX900 for the WS, two DVX100A's for CU shots, and to make things more complicated 2 Sony PD170's. The last time I did a shoot like this we used 3 DVX100A's, which was great because I was able to pick my favorite scene file settings and just load it onto all 3 cameras. I uploaded some clips of that concert here...





I already know how I plan to improve the lighting for the new shoot, so I am really just posting this hoping for recommendations on scene file settings. I know that Panasonic has listed a scene file for the SDX900 to match the DVX100 or DVX100A at http://www.panasonic...cene_select.asp, but this seems like a pretty bland setting, and if I use it I don't want to be stuck setting the DVX100A back to the default scene file 5 unless I really have to. Also, I'm assuming this SDX900 setting is based on shooting in 25Mb/s DVCPro, and I definitely want to shoot in DVCPro50.

So, if anyone has suggestions for the scene file settings for both the SDX900 and DVX100A for this shoot that would be greatly appreciated. Since it is a hard-rock/metal band I'd rather go for a more stylized, contrasty, and potentially over-saturated yet look than something bland and "safe".

Also, as I mentioned I am throwing 2 Sony PD170's into the mix. The concert I shot before (in the youtube clips I listed above) I shot in 24P to a get choppy, out-of-control look as all cameras are constantly making subtle snap-zooms. I would like to shoot in 24P to achieve that again, but I believe that having the extra cameras will prove more valuable than being able to shoot in 24P. Currently I was planning to put both PD170's on the stage shooting back towards the back of the band and revealing the crowd because I'm hoping it won't be as jarring when cutting between the Panasonic and Sony cameras if they are shooting in opposite directions. I am not very familiar with the Sony PD170's scene file settings (or whatever Sony calls them) so if anyone also has suggestions for how to set these cameras to match the more stylized look I am trying to achieve with the Panasonic cameras that would also be greatly appreciated.

This will be edited in FCP, and although color correction may help, I would much rather find a way to make the cameras best match at the shoot, because it would take a long time to color correct a full 1 hour concert.

Thanks in advance,

Mike P
Chicago west suburbs


You can always convert 60i footage that will come from the Sony to 24fps. There are plugins and programs dedicated to that very purpose, this link will lead you to one such product.

I am going to post this question on it's own, but have you been able to get any dvx100 scene files to transfer to another brand of camera, not panasonic.


chris
  • 0


Tai Audio

Wooden Camera

CineTape

Ritter Battery

Media Blackout - Custom Cables and AKS

Opal

Paralinx LLC

The Slider

Broadcast Solutions Inc

Gamma Ray Digital Inc

CineLab

Rig Wheels Passport

Abel Cine

Aerial Filmworks

rebotnix Technologies

Metropolis Post

Visual Products

Willys Widgets

Glidecam

Technodolly

FJS International, LLC

Rig Wheels Passport

Willys Widgets

rebotnix Technologies

CineTape

Aerial Filmworks

Metropolis Post

Broadcast Solutions Inc

FJS International, LLC

Wooden Camera

Technodolly

Visual Products

Ritter Battery

The Slider

Paralinx LLC

Abel Cine

CineLab

Opal

Media Blackout - Custom Cables and AKS

Gamma Ray Digital Inc

Glidecam

Tai Audio