|
|
Posted by Richard Crowley on 01/04/08 15:03
"peter" wrote ...
> Even if each camera is recorded, the operators still
> need some script on when to shoot what. They cannot
> possibly dedicate one camera per person/instrument
> because there are so many instruments and people on
> stage!
It takes much pre-production planning, experienced
technicians, sufficient-size crew, several more cameras
than a minimal 3-camera setup, significant interaction
with the producer of the event, etc.
> What does ISO stand for?
I believe it is short for "isolated". In practice, it means
that the output of the camera is recorded independently
of whatever the real-time switching is happening. Of course,
shooing low-budget with camcorders, it is pretty easy to
roll an "iso tape" in each camcorder. :-)
If you can get the bulk of the work done by live-switching,
then you can go back and use the iso tapes to fill in the
gaps (etc.) Or, you can record all the cameras iso and
do all the editing in post-production.
> BTW, what cameras are typically put on jib arms when
> money is no object? Smaller than the stationary ones
> but still HD.
Even the "stationary ones" tend to be smaller in modern
generations. It is typical in the last several years for the
lens to be significantly larger than the camera head for
large-venue productions (expecially sports, etc.)
> Thanks everyone for the answers. I never realize so
> much work go into preparation for the professional
> video crew. I thought they could just look at a script
> and run with it :) When I shoot multicam amateur
> video with friends, we don't have directors or scripts
> other than "you shoot close ups and I shoot wide".
You don't use intercoms to the camera ops? We designed
and built our own clones of the industry-standard system.
My biggest problem is finding heads-up camera ops
who can move quickly, have good framing sense, and
can watch the tally light. :-/
Navigation:
[Reply to this message]
|