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Musical Show (16:9 / 4:3, filmen vor opera)

Musical Show (16:9 / 4:3, prior to filming opera)



Frage von RobS:
Mai 2008

Hallo erstmal,

equal to the entry, I have a few questions:

In two weeks I make a live recording of a musical show with three cameras. A Total (SonyFx1) and two close-ups (Canon XM2) crosswise in front of the audience.

16:9 or 4:3?

The XM2 of nature make 4:3 and 16:9 the FX1
Apart of the technical page, the question arises as to the formats used for recording such an appealing look.

It is synonymous to whether I have the FX1 in HD or not. The problem is there when I later the HD material in FinalCut import that Multiclip function does not work with different formats.
How could I proceed s.besten regarding the format?

Opera white and possibly a white ground -> Aperture? Zebra?

The stage is a white curtain Opera have faced the artists move. Before the rehearsal, I will light the people contact that I am reasonably uniform light on the front of the whole show do. Even if it Fummel, we will use Aperture s.den cameras willy-nilly, manual adjustments.
How can it be with the zebra s.besten work if the background is likely to be overexposed?

Thanks for answers!



Antwort von PowerMac:

The FX1 set to DV and 4:3. Bring everything nothing if the end product is 4:3. I personally would give me three, four HDV cameras borrow. This is much better.



Antwort von RobS:

Unfortunately I get only a FX1. That is my question, whether the end product rather in 4:3 or 16:9 should be, sometimes just from an aesthetic perspective?








Antwort von Eugen von ...:

16:9 should have because of the aspect ratio of a "normal" stage, the first choice. Otherwise 4:3-catching images slowly, mounting ... more and more 16:9, is already as good as standard.



Antwort von Markus:

I agree with Eugene.

However, it is not, 1x DV in 16:9 and up to 2x DV in 4:3, which then is inflated to 16:9. The difference in quality would be too obvious. So this will remain at only Camcorder compilation is the lowest common denominator: DV in 4:3.



Antwort von RobS:

Do you have tips for Aperture and Exposure for recordings in front of the white foil Opera?



Antwort von DWUA:

That becomes a bigger problem!
Therefore, necessarily (in front of the dress rehearsal) check:
> Distance of the actors to the white (!) Background
> Irradiation angle / strength (drop shadows)

Exhaustive tests of these (unpleasant) conditions
only time on the spot.

Normally, the players the (dark) background
on beam and not vice versa.

;)



Antwort von megalutzi:

Hello,

The XM2 is 16:9 (anamorphic) record. Hence there is nothing against widescreen production. OK, may be that the 4:3 image converter, but somewhere should be the compromise, if one accepts cameras with different aspect ratios offer.
At the FX1, I would have to record HDV, restore when you can always make another Downkonvert.
But may be that you have the HD-material or otherwise use it. So you could, for example, the shot then zoom in (as a double resolution) and the shot is such a Halbtotale. When the camera shot of course, is manned, it is less important, but often unmanned, because something may already be an option.

Although I've already synonymous filmed stage where a 4:3 format was better, but meanwhile is already widescreen standard. I have sometimes even 4:3, because I now have this uncomfortable.

Greeting
Lutz



Antwort von RobS:

I have now 3 FX1 are available!

should I do now on all cameras in 16:9 HD and record when importing a Downkonvert do?

Output format is DV in each case, since the one my Macbook is not so much performance and I do not synonymous much wants to buy hard disks with the HD material to handle. Overall, I would like to implement a fast workflow, not the budget available to forever with the formats to juggle. It is ultimately up 4 evenings at 2.5 hours. Because I want to work and of course rendering to save time.

Another question on the position of the shot:
There are two ways
1. at eye level (same level as Close Ups)
2. in bird's-eye lighting on bridge (about 40 ° to the stage)

I've heard different opinions. The bird's-eye view has the advantage synonymous the rear ranks of the dance performances to see. A disadvantage would be significantly different perspective to the other two cameras.



Antwort von PowerMac:

Take on HDV and HDV cut synonymous. That's perfect. Your Macbook creates das synonymous, I have already done so on a Multicam iMac. And the iMac is not synonymous faster than your Macbook. At the end you give a Quicktime out and expect it with MPEG Streamclip down. Or you throw everything into a ProRes sequence in 422-PAL. Then directly via Compressor to a anamorphic DVD. I have often done, that's great. The quality is now much, much better. And do me a favor, not constructed in between to DV or something! Take ProRes 422nd



Antwort von DWUA:

@ Robs

From the "bird's eye view" below your specified angle is
initially generally discouraged.

It depends of course, many factors, for example, of the
Interior architecture of the theater.
Sharply rising rows of seats, like in an amphitheater, require
a completely different actor to act as a stage of increased
from the case.

But we now know more:
It should be synonymous choreographic elements in the depth of the area are documented.

What is bad because, if not all the dancers at the same time
are in the Picture? (Most of the good front, the less good
back ...)
Why have all 3 cameras on the same Height?
Is this useful?
You want it living theater, so take a variety of
best seats.
(Do not forget that it is synonymous to "art" of the cut is
and the best cuts, we know even before the recording!)

Also you can advance "test," provided that one knows
the directions.

Return to your part question:
Bird's-eye shot at is not prohibited;
but if the audience below or on the same level is
as the stage, looks at 40 °, as would be hanged
s.einem invisible Strickland sing ...

;))



Antwort von RobS:

Thanks for the answers!

I'll just one day before the cameras with the times with the HD format a try. What to do with the space look like? How HDV consumes per hour?
I'm only accustomed DV-Pal and will be a new step for me.

The camera positions:

The stage is almost on the ground and the spectators go to the top stairs. (Amphitheater). I have a flat rate times a place in the middle of the audience for the total registered. This would be synonymous s.liebsten I rotate. The question is whether the bird's perspective would be no better suited for exactly this argument the recordings varied way.

I am delighted to have more tips.








Antwort von Eugen von ...:

"Robs" wrote:
How HDV consumes per hour?
I'm only accustomed to DV Pal

So pretty much the same space. It's a little more compressed ...



Antwort von RobS:

ProRes 422, there are only 6 or Cut s.Final? I have version 5 and will be for this project is not synonymous next can invest. Or can I somehow synonymous in FC 5 realized.



Antwort von PowerMac:

Yes, you simply cut HDV. At the end give you a Quicktime from HDV and konvertierst directly via Compressor to MPEG-2 in PAL for the DVD.



Antwort von RobS:

"Eugene of ..." wrote:
"Robs" wrote:
How HDV consumes per hour?
I'm only accustomed to DV Pal

So pretty much the same space. It's a little more compressed ...


Can anyone give an exact formula?



Antwort von PowerMac:

Wikipedia can do that



Antwort von TheBubble:

"Robs" wrote:

Can anyone give an exact formula?


1 to 1 HDV and DV use per unit of time equal number of bits.



Antwort von mov:

25Mbits/sec = 13GB per hour for DV and HDV.
and NEVER in between as a DV-PAL ausrendern, the massive loss of quality there, as has been said of Final Cut Pro HDV ausrendern and on DVD in Compressor MPEG2.



Antwort von Eugen von ...:

What synonymous always likes to be forgotten:
let the cameras delayed start. You can NEVER be in the situation, s.zwei (or worse ... three ...) cameras a volume change at the same time. For this change you should have a timer to when you're alone. Are you three camera people, tapes really stop to exploit, so as not yet re-emerge simultaneously Volume change, just because one prefers the somewhat worried.
Hm, what else ...? Yes:
Fits with the FX1 in manual mode, that really all three controls (shutter, iris + gain) is set to manual. Gain should be set to "low" (and in turn the setup on 0db) be asked.
Does not use the Cineframe mode. About Cinegamma could but after thinking, because the picture then, in fact, a slightly better Gradationskurve (for only about its own preset possible).
No ID on skin toner (in the setup is synonymous hidden)! Good for nothing and distorts the colors.
The setup should be basically all controls to zero. That brings the most neutral colors, and the camera sharpens the material is still quite pleasant after.



Antwort von RobS:

Thanks for the tips,

the band, hopefully we can change in one of the many short breaks conversion.

I wanted the shutter at 1 / 50 can gain to zero and then the aperture for each light mood at the dress rehearsal down.

Skin toner is the default ID?









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