HIGH DEFINITION MULTI-CAMERA
On March 26th I directed our first HDCAM multi-camera job using six Sony HDW-F900 camcorders. It was a great experience that brought to light several things that you should consider if you do a similar job.
First, some details. We were shooting two performances by stand up comedian Omid Djalili at the London Palladium. The production company that hired us has used Procam before to shoot performances by comedian Ross Noble and other comic acts. The end use will be for a DVD release and possibly television broadcast.
We were asked to use F900s because the company wanted the best quality HDCAM images possible. And of course, shooting in HDCAM increases the opportunity for international sales. After speaking to HD expert Paul Wheeler, we opted to shoot in 50i, the interlaced setting used for television broadcast in the UK and Europe (PAL). Paul suggested this to get more of a live look than using a progressive scan setting (film look) would achieve. (A previous E-Zine covered the difference between the progressive scan and interlace settings).
Downconverters
Using the F900 meant having to put downconverters on the back of every camera. This is because the F900 only has a component HDCAM output. To effectively direct the shoot I needed to watch the images from all six cameras at a basic gallery we set up backstage. Using the camera’s component (RGB) output would require running three cables from each camera to our backstage monitoring set-up much more of a hassle and cost than running a single BNC from each downconverter using the HD SDI output. Also, the camera operators needed to use the camera’s HD component output to feed the 7-inch HD LCD monitors we mounted on their camcorder handles so they didn’t have to stare into the viewfinder for 90 minutes solid to monitor their shots.
Our engineer concluded that downconverters, particularly older models, are often not to be trusted for judging the sharpness of the focus and the exposures. You have to be very careful. We have some brand new Miranda downconverters and they were fine when you used the HD SDI output. On the engineering bench at our premises, we discovered that when using the SD (standard definition) SDI output the results are best when the camera is set to 24P. Otherwise, the image tends to be soft and the exposure you see on the monitor is not the same as that on the recorded image. The best signal came from the HD component outputs on the camera itself.
HD BNC Cables
A couple of comments here. First, if you’re using an HD SDI output and you need to run more than ten metres of cable you need to use BNC cables that are made to carry HDCAM signals. These cables are thicker and capable of carrying more information. A standard BNC cable just can’t handle carrying the signal over more than several metres and you won’t see anything on the monitoring end.
Second, one of our HDCAM cables was about ten metres shorter than we needed. We tried using a barrel to join two HD BNC cables and it didn’t do the job. So we had to use the SD (standard definition) composite video output on the downconverter which, as explained above, is not ideal. To get around the problem of looking at images that appeared to be soft and overexposed, I kept checking with the camera operator using the comms system to make sure he considered the image sharp. As for the exposures, our engineer looked at the images through an HD wave form monitor to confirm they were good.
HD LCD Monitors
In our backstage gallery we used two models of monitors discussed in an earlier E-Zine: the Panasonic BT-LH1700WE 17-inch LCD monitor and the Sony LMD-9050 LCD monitor. This was the first time I had personally worked with them. Both are HD monitors and both are excellent. Using these new monitors has eliminated previous concerns I had about LCD monitors not being able to deliver the same quality of image as CRT (cathode ray tube) monitors. The colours were true, the images sharp and the brightness and contrast were consistent no matter which angle you were viewing the monitors from. They are also light and take up less space. And let’s not forget, they’re environmentally friendlier.
Summary
To sum up, if you’re using the F900 for a multi-camera job, use the latest model of downconverter, use HD compatible BNC cable for longer runs and by all means use the new models of HD LCD monitors. And of course, watch your focus! Keep it sharp.
Paul Wheeler DVDs
We have some more DVDs available with the interview I did with Paul Wheeler on high definition in December. If you’d like a free copy just e-mail me at cal@procamtv.com.
Until next time, happy shooting.
Cal Barton,
Procam Television
About the Author:
Article Source: ArticlesBase.com – High Definition Multi Camera
Michael Phelps freestyle multi angle camera
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