Jump to content


Filming an award ceremony


  • Please log in to reply
2 replies to this topic

#1 Daniel J. Ashley-Smith

Daniel J. Ashley-Smith
  • Guests

Posted 06 June 2005 - 10:19 AM

My college wants me to film an award ceremony for them, and I think we have access to about 25 cameras ( :huh: ) But obviously I won't use all of them.

Probably going to shoot interlaced, locked exposure, 1/50th shutter, autofocus, indoor white balance preset.

Biggest problem right now is the sound. I'm hoping to link the PA system up to one of the static cameras, and also record ambience. Alan the techno bod is trying to get hold of a good mic for ambience, although, no promises.

I'm just wondering if anyone here has shot this kind of stuff before, if so did you run into any problems?

I'm probably going to sync the cameras up perfectly so that when one tape runs out, they can replace it, and then the tape on the second camera runs out and we replace it, e.t.c e.t.c. So there are cameras running continuously.

Tnx for any suggestions.
Dan.
(Wohoo I'm actually getting paid for it now!)
  • 0

#2 Daniel J. Ashley-Smith

Daniel J. Ashley-Smith
  • Guests

Posted 06 June 2005 - 10:21 AM

Rough plan:

Attached Images

  • award_ceremony.JPG

  • 0

#3 David Mullen ASC

David Mullen ASC
  • Sustaining Members
  • 19761 posts
  • Cinematographer
  • Los Angeles

Posted 06 June 2005 - 10:40 AM

With that many cameras, you should be fine. I'd have the ones on or near stage able to pan over and shoot some shots of the crowds now & then.

You'd want to start the cameras staggered so they run out of tape staggered.

You'll want a walkie-talkie / headset system to talk to all the operators to make sure they are shooting the same shot; ideally, you'd be able to see what everyone is shooting.

Biggest problem I've ever run into with these events (I've only done it a few times): you're not allowed to block someone's view in the audience with your camera and you can't block fire exits. So if you have some prime camera positions picked, make sure they meet the fire safety & evacuation standards. You may have to move them to positions that require the venue to give up a few paying seats, so plan in advance.

I'd have the cameras run sound off of their onboard mics merely as a guide track. Ideally, they'd all be gen locked to have the same time-of-day time code.
  • 0


Ritter Battery

Media Blackout - Custom Cables and AKS

Abel Cine

rebotnix Technologies

Broadcast Solutions Inc

Glidecam

Tai Audio

FJS International, LLC

Wooden Camera

Willys Widgets

Technodolly

The Slider

CineTape

Opal

Metropolis Post

Paralinx LLC

CineLab

Visual Products

Aerial Filmworks

Rig Wheels Passport

Gamma Ray Digital Inc

Broadcast Solutions Inc

CineLab

Ritter Battery

rebotnix Technologies

Willys Widgets

CineTape

Technodolly

Glidecam

FJS International, LLC

The Slider

Wooden Camera

Abel Cine

Rig Wheels Passport

Aerial Filmworks

Opal

Visual Products

Tai Audio

Media Blackout - Custom Cables and AKS

Gamma Ray Digital Inc

Paralinx LLC

Metropolis Post