Multi-camera 7D shoot: What we learned

In March, Compound was commissioned to produce a series of live concert videos for some prominent groups in the Texas music scene.  For various reasons,  I decided to shoot this event on the Canon 7D.  Actually, four 7D’s.  I come from a live television background, so the multi-camera shoot is not new territory for me.  The challenges were all incidental to the nature of shooting video on a DSLR.  The advantages, similarly, were all due to the nature of shooting video on a DSLR (see what I did there?).  It was a huge learning experience, and below I’ll attempt to lay out the issues and what we could have done in hindsight to prevent them.

The 7D, as we all know, produces beautiful images, and our 35mm lenses offered the tight depth of field that subtly suggests high production value.  Also, everybody has one.

Communication
I hired what I consider to be the best crew in Austin, for reasons I can’t really explain.  They are technically proficient, but they are also each very creative. So when I gave them some guidelines for what I needed, they came through and then some.  I guess I can explain it.  That being said, in a live music situation, you have solos, backup vocals, b-roll and a host of other things worth shooting at any time.  I could have given each camera operator an essay on what to shoot when, but it still wouldn’t have covered every situation that came up that night.  I would have done anything to be able to view all angles simultaneously and communicate to the guys what I needed from them.  Unfortunately, our budget couldn’t afford that.  I came to terms with that very early on in the planning phase.  The result of all this was the occasional double or triple-up of shots on a single member of the band.  Not a huge deal.  It’s the nature of the beast.  Man, would I have loved to park even a simple 25′ truck outside and run multicore cable to each unit to switch live.  Maybe next time.

Also, believe it or not, musicians do whatever they want, so setlists change.  Since we were limited by record times, battery and card storage capacity, we only rolled on certain songs. On a few occasions, I wasn’t able to signal the guys to start rolling in time for the top of a song if it changed positions, which limited my angles in post somewhat.

White Balance
This particular night was the grand opening of a brilliant venue in the city of San Marcos, the Texas Music Theater.  Before the night got going, I spoke with the lighting director for the night, and asked him how neutral he was planning on keeping the color temperature, with my fingers crossed.  He gave me the answer that I would have given him, had I been in that situation, which was that this was the first opportunity to test the lights in a real-world environment, so color temp would be changing approximately every second. And no, tungsten was not in the cards except to light up the crowd on occasion. We ran some tests during sound check and decided that our best option for white balance was ‘Daylight-Shade’. While I’m at it, our other shooting specs: 1080p24 at ISO1000.

CF Card Capacity
This is something we prepared for.  Knowing that a 32GB card could only hold about an hour of footage, we set up a dumping station at the venue, which Ben managed.  I also rented all the CF cards that were available from Precision Camera (as well as a sweet 70-200 f2.8 L series lens). No issues here.  With a fast CF reader, we were able to get cards turned around within minutes. Of course, they never got too full.  I didn’t want to tempt the dreaded buffer issue.

These were our major issues.  All in all, it was a fun night, but also a great experience to test the multi-camera waters in a real-world situation.  I welcome any thoughts or suggestions from people who have gone down this path before.  We’ll be releasing one video per week for the next ten weeks, so stay tuned.

4 Responses to “Multi-camera 7D shoot: What we learned”

  1. Carlos@BOF said:

    Apr 05, 11 at 10:23 am

    nice read, my dude.

  2. Brian Behm said:

    Apr 05, 11 at 10:29 am

    The only way I’ve been able to make sure I get the most coverage I can in the past is to set up general rules and quadrants. I.E. you’re going to follow the bass player and the area around the bass player, you’re going to focus on wide compositions, etc. It limits artistic freedom a little but it also means you have a general idea of what you’re shooters are shooting too.

  3. Luke said:

    Apr 05, 11 at 11:41 am

    Good recommendation. We did that, but the nature of this particular band required the operators to be a little more on their toes and feel out the situation.

  4. Luke said:

    Apr 05, 11 at 11:41 am

    Thanks Carlos.