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High Definition Multi CameraHIGH 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 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 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 Summary Paul Wheeler DVDs Until next time, happy shooting. Cal Barton, www.procamtv.com
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Article Tags: Hire, High, Television, Camera, Definition, Multi, Broadcast Article Source: http://www.articlesbase.com/business-articles/high-definition-multi-camera-73685.html About the Author:
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