Changing tapes for use in Quadcam

[Donhennig]

I have several 2-camcorder shoots coming up. I will be using the 80 minute Sony DV tape. If the concert goes beyond the 80 minutes, what do I need to know about changing the background and insert tapes before starting the second pair of tapes? I don't plan on stopping the "insert" camcorder and plan on using a clap board at the beginning for more accuracy.

Thanks in advance for any input.

[AllenMcLaughlin]

When I did a big quadcam gig, I had to act as stage manager and hold the show up whilst I did a tape change around 5 cameras. Fortunately it was between sets and I had radio comms with the stage. I think you need to forward plan your tape changes and be prepared to keep the audience waiting for a few minutes between songs. As for the clapper... yeah it works at the top of the show, but I went down the route of splitting the show up into individual songs and edited them one at a time, I found the easiest way to sync up was by listening for a common sound on each camera, normally a little tap on the high-hats or a random note let loose by a guitar player inbetween songs.

If you plan to keep the insert tape running throughout and do a live 80 plus minute quad edit, then I think you will need a solid continuous recording... Correct me if I'm wrong folks...?

[BobFoster]

I have used Quadcam in the past and like the fact that you have a lot of options for the inserts. If you are doing "several" of these two camera shoots, you might want to consider real time switching. When it's over you are done except for some tweaking. I use this switcher on location because it has a very small footprint and permits PIP instantly or fades and cuts. http://www.edirol.net/products/en/V-4/index.html In my case, I am switching between power point screen or multiple speakers in a panel discussion. For long discussions about a particular PPT screen, I insert a PIP of the speaker. I also take a Prestige on location and record direct from the Edirol for unlimited recording time uninterrupted. You may not be able to connect both cameras to the switcher in your situation. In case you can, You could also record to camera tape in case you wanted to change a switch later that you didn't like. Just another option.

[CasablancaExpert]

It is possible (though a pain) to do it with 2 cameras - in fact, I will be doing it this Friday and Saturday night for a school play that will run approximately 90-minutes.
I run two cameras, 1 wide shot and 1 CU/cut-aways. Near the 55-minute mark I lock the 2nd camera on a WS (in a passage of the play where there is mainly action appropriate for a Wide Shot
I then change the tape in camera 1, get it back to a WS, get it in record
Back to camera 2, change it's tape and then both cameras roll until the end of the performance.

The cameras are manually sync-ed (which I do anyway), I split out the end of Camera 2 where it is just rolling by itself as well as the beginning of Camera 1, tape 2 those two sequences roll by themselves.
Everything else is synched and mixed in QuadCam.

Sounds way more complicated than it is for me to do (like a formula for pesticides or something -- pleasant, huh? )

Regards,
Chet

[RonaldPawlak]

Chet, you mentioned that the cameras are manually synced. Do you get the cameras synced only when you do quadcam, not when you are shooting? I just done a two and half hour bar mitz vah, using three cameras and that is the only way I can think of getting all the cameras in sync. By using quadcam.

[CasablancaExpert]

Chet, you mentioned that the cameras are manually synced. Do you get the cameras synced only when you do quadcam, not when you are shooting?

That's correct Ron -- I shoot the event (play, in this case) and back in the editor - I seek a clear point that can be identified in both recordings (tapes/scenes from 2 cameras in my case).

For me I find it is often an audio cue, but have also used visual cues --- then I un-trim the IN point (roll backwards) to the position near the beginning of the recording where I want to start the performance on camera 1 (my wide shot) and then roll back the identical time on camera 2 (and would do same on other cameras if rolling 3 and 4).

Hope that helps!

Regards,
Chet

[Bobbie]

You could take it 'one step further' and use the audio to have the perfect sync.

When I get 'all angles in best sync' using the TRIM to trim the section I am pretty sure it is correct. I put the first camera angle on the storyboard, and go to the second camera angle and

make a 'scene to sample' audio. Then go to the storyboard and put this scene on the first line of audio and render. (it will be TOO LOUD AND RED, but this is only for syncing, not

going to use in production, so it is okay) Then I make a SCENE OF THIS, because I want to quickly check the audio through out, especially the last minutes where an echo will

pick up and be most noticable. If it is 'out of sync' I go to the film and using 'trim' take off amount, and do the test all over again until I am satisfied it is in sync.

When it is in sync, I name that camera angle and do the same testing on the next camera angle. After I get all of the camera angles trimmed and verified with the audio, I go

to quad cam. Also, if I have camera angles that do not end at the same time, quad cam will still work and leave the 'remaining balance' on the last insert. After I have quad cam

the footage, I will be making a scene of it anyway, so if the project is longer than the first set, I just edit the sections 'after quad camming' the ones that I can use to mix and

get more angles and quad cam again (for more than four camera angles) or piece together depending on footage.
Bobbie
Memories On Tape
Davison, Michigan