Coodinating Colors in Multi-Camera Shoots

I sometimes use three video cameras on a shoot: a Canon 5D II, 5D III and Sony HXR NX5U. I white balance each camera at the exact same spot and same lighting conditions immediately before the shoot. The video clips that are subsequently produced don't seem to match from a white balance perspective. The two Canon cameras are fairly close but the Sony requires quite a bit of work in post in the Fast Color Corrector and 3 Way Color Corrector to get it close to the others from a white balance or color perspective. Of course when you are doing Multi-camera video of a person speaking at a podium, the colors have to match as you switch from camera to camera.
I am very familiar with the tools in Photoshop which allow you to match colors Picture-to-picture. One technique is to use the eyedropper in one picture to get an R-G-B reading and then recreate those settings in other pictures. My question is: are there such tools in Premiere Pro which would allow me to take a reading in one clip and reproduce that reading in another clip, by the numbers? I say "by the numbers" because presently, I'm simply eyeballing it and by doing so am spending a lot of time and not getting that close.

It would be nice, spectacular really, to have a full sync system in PPro. By that I mean a compact and easy way to sync various video feeds temporally, and with audio, and with color. And with anything else that needs syncing. Right now we are missing pieces (like color) and the pieces we have are scattered around. We need a nice central place to do this -- Prelude maybe? IDK.
As far as color goes, it's high time Adobe gave us a way to color sync to standard charts. It would be nice to be able to step beyond mere custom white balance to a full color balance. Instead of shooting a gray card, why not shoot a Macbeth Colorchecker chart? then have PPro analyze the chart and apply the needed color corrections to "true up" the video feed's colors? This would save a huge amount of time in post, and would therefore be a huge value add.
If Adobe doesn't want to do this, how about a third party plug-in? For that matter, are there any already on the market that do anything like this?

Similar Messages

Multi cam shoot using P2 cards. How to move clis to timecode positions

multi cam shoot using P2 cards. How to move clis to timecode positions. We were using free TC. I want to a large # of clips from both cams. and have them move to the correct TC position on the timline. In Nuendo eith audio u hit apple a or ctrl a right click move to orgin. Avid will take care of it for u. FCP???

If you read the "Apple Pro Training Sereis; Final Cut Pro 5" book, it's very easy. You can sync the clips manually by setting In or Out points, specifying TC, or using one of the two Aux TC fields. Since this is the first, and most basic step in doing Multiclip editing, I'd suggest you get the book, or read the appropriate section of the User Manual. I don't think anyone wants to post a full "how to" article in a forum.
It can be done, you're clips have to all have been recorded with synced TC, or they simply won't sync up in any NLE. Read the book. Cause even if I did have the time to explain FCP's Multiclip editing in this forum, you'd still have questions that are in the book.
If you actually walk through the first steps of building a Multiclip to edit, it's blatatnly obvious in the first step. I'd give it a try first.
Problem is the DVCPRO-HD codec is going to require a higher end Mac with tons of RAM and either RAID, or internal drives to do a DVCPRO-HD Multiclip, as DVCPRO-HD (P2) is a pretty high bandwidth codec. I use it daily, I know, it takes horsepower to do.

Editing A Multi Camera Shoot

Can someone point me to a nice tutorial on how to set up my multi camera shoot files so that I can do a mock "live switch" on my FCP? I am tinkering with the "Make Multi Clip" set up, but I just can't seem to figure out how to view the three cameras, make camera angle selections, etc.
Thanks,

its not as hard as it may at first appear Pete
1. open each of your 3 clips in the viewer and mark an In point on an easily identified frame (clapper, camera flash, blink etc)
2. select the 3 clips in the browser and choose Modify menu > Make Multicip
3. in the multiclip window's popup menu tell it to sync on In point and click OK
4. drag the multiclip you just made ( the clip with its name in italics )
5. set the View menu > Playhead Sync > Open
thats it ... now you should see your 3 clips displaying simultaneously in a 4 up display in the viewer

Multi-camera shoot.. having import issues, could use some work flow advice

Okay, so I am doing some multi camera shoots. I have 2 Canon HV20's and 1 Canon HG10. The HV20's are being captured at HDV 1080i setting (1440x1080), and the HG10 is being logged and transferred coming in at it's different setting, (can't remember off hand what it is)
I am syncing these 3 with "in points", however becasue the HG10 is a different format I can not use it to do a Multiclip with, I have been using QT to convert it to HDV 1080i, but a 60 minute record seesion is taking 7 hours for the convert.
is there an easier way to get the AVCHD data from the HG10 to match the captured info from the HV20 tapes, or os there a setting to tell FCP that the multiclip doesn't need to use the same settings?
Or does someone have a better workflow I could use...?? I understand that just buying anothe HV20 would solve the problem, but I can't afford that right now, so I'm etiehr stuck only shooting with 2 cameras or wasting the time of converting to use the 3rd different format camera..
I could use some help or advice, thanks
also, I haven't been able to set my capture in's and out's and do a batch capture with the HV20's... I keep having to "capture now" to get the footage, I always get an error as soon as I tell the batch capture to start
Message was edited by: Chris Fritsche

understand that just buying anothe HV20 would solve the problem, but I can't afford that right now,
so I'm etiehr stuck only shooting with 2 cameras or wasting the time of converting to use the 3rd
different format camera..< </div>
The simple most direct route is to dub (or convert) your odd camera to the base camera's format (or convert everything to a single format). It's not a waste of time at all; simple and immediate and solves everything.
bogiesan

White balance setup error on multi-camera shoot. Help!

On a three-camera shoot two cameras had white balance set to auto, one was misset to daylight. Footage was shot both exterior and interior. How do we (newbies) correct or minimize the damage in Premier Pro CS6 for this short class project if reshooting is not an option?

Scroll down to find a whole series on color correction.
https://blogs.adobe.com/kevinmonahan/2012/09/19/premiere-pro-cs6-video-tutorial-series-by- andrew-devis/

2 Multi cam shoot- one shot in hdv other in ntsc dv

I used two cams to shoot event. One cam was a DV. Other was an HDV. How can i make my picture size the same. preferable to HDV.

If you want to use FCPs multiclip feature, both videos will have to be in the same format.
You can downconvert the HDV to DV on import, or upconvert the DV after import. Which way you want to go depends on your delivery format. If you're delivering on web or dvd, I'd go the downconvert route. Your DV footage will suffer greatly by upconverting to HDV, which is needless if you're delivering in SD.

Confusing Colour Issues with 3 camera shoot. Please help

Hey Everybody,
I have had to re-register, so this looks like my first post!
There is a colour issue which is seriously baffling us, we shot a fighting event with a 3 camera shoot. 3 Days, and on all 3 days the cameras seem to have produced different colour outputs dispite being on the same setting. Can anybody shed any light on how to match the colours here. All settings on the cameras were the same, so we are surprised that the footage has come out differently. The following day the footage from all 3 cameras were indentical. However this is the footage produced from the first shoot
We have tried bightness/contrast, levels, fast colour correction, Colour Balance and CB_HLS and still can't get the footage to match.
While it would appear there might be a slight hint of over exposure when we take the brightness right down, there is hardly any highspots.
If there is no solution for us to do, is there anybody who we could send a short clip, have them correct it and we can duplicate to the rest of the shots? If so what kind of expense do you think that would incur?
Thanks in advance

its important to use the same exact cameras on multi camera shoots. also important to take color meter and see what the lights give you. sodium vapor and tungsten and flourescent all need different " color correction" gels to make them equal 32k or 56k .. and its not just orange and blue correction ...its also green and magenta etc...
professionally , you cant do all that at the " lens " with cc filters..you need to actually get to the lights physically ( with scissor lifts or cranes ( manlifts ) and gel the lights too ).
Once you have your lights corrected and ready to shoot...all cameras need to shoot "color swatches - usually Kodak .. with a single light source that equals what your camera is set to ( color temp )...and that is used to get your balance correct in post.
That said it sounds like you are screwed...
To have someone try to correct that professionally would cost more than you can afford, or you would have used that " money " to correct your color etc in the beginning... in other words, if you could afford to send everything to a pro lab and try color correcting all that stuff, you wouldnt have this problem to begin with IMO.
My suggestion:
Since wrestling is a gritty sport and " manly " and full of emotion that is basically " tough " and " hard " ....trash the color altogether and make everything black and white... maybe increase your contrast a tiny bit ...or maybe add a slight " tone " to it....( not sepia which looks just " old " , but maybe slight blue tint ? ) ...something to make it look as gritty and hard as you can...
Then tell client you did it on purpose ! Is part of your concept to begin with... wow them with your creativity !

3 cam multi-cam, HDV or DV?

First, let me say I read this http://www.kenstone.net/fcphomepage/when_to_staynative.html and even emailed the author about the HDV->DVD workflow. His response was "If you're going to have no HD distribution now or any time in the future, then downconverting to SD on ingest is reasonable. I assume that anyone shooting in HD will be protecting for future and should edit in HD, before doing any current SD downconverts." To my defense, I always keep my tapes and the FCP Project file so I could media manage in the future, but HIGHLY doubt that for what I do I'll ever need to do that at least anytime soon. That being said, I will be doing a multi-camera shoot at the end of the month, two cameras over two days, but one camera on the second day will be strictly a backup, so I'll have 3 angles to mix together. I have two eSATA drives which is what I figure I'll need to end up using for the bandwidth. DV and HDV are the same bit-rate, but not the same processor intensive wise. I've read on here for the past several years the horrors of HDV as a codec, aka, the conforming process. I've also read about rendering in ProRes or even transcoding the footage.
Here's my question, for a 3 angle multicam going only to DVD, should I A. ingest and edit as HDV then export for DVD, B. ingest and edit as DV via the downconversion on my camera, or C. other.
The thing being recorded is a dance show, so I may need to split each dance into it's own multiclip if the time between dances is different each day, but that shouldn't affect my workflow. Really the only thing I edited entirely HDV was a high school's musical which took days to compress for DVD, so I'd rather not need to go through that excruciating process again.
Thanks to you all and any opinions?
-Brian

i have a AVCHD camera (sony HDR-SR1) and its just great! it records on a harddrive and that makes saving/ deleting footage so much easier. the touch screen interface is super simple and took seconds to get used to.
i havent anything to compare it to besides a realy old low res camera that records on a miniDV so i cant realy make any desitions for you but i can tell you this:
i realy enjoy my AVCHD, but MAKE SURE THAT IT IS COMPATIBLE WITH WHAT YOU NEED IT TO BE! before this summer i suffered greatly to be able to edit on Final cut express and i could not keep it at a HD quality
if ur using iMovie 08 then its all good though :P
but be rlyyyy carefull
only way u know itll work w/o doing any research is if it has a firewire
-Josh

Logging takes in the field for multi-camera set-up with OL

Is there any way to designate separate cameras or link shots (to be labeled as CamA or CamB) to advance takes and make notes simultaneously?
OL doesn't really seem set up to use with documentary style shooting with multiple cameras, but maybe there is some way around this?
I just want to be able to add takes in OL to multiple cameras without a lot of typing between each take...and add notes that are applicable to multiple cameras within one shot and one take.
Any ideas?

OnLocation CS5 has an entirely new feature set known as the File-Based Workflow that may be just what you are looking for. The basic steps are as follows:
PRE-PRODUCTION (IDEALLY)
1) Create a placeholder for one camera angle of a given scene/shot. (Consider using Adobe Story to prepare your script. Then you can hand the script off to OL and have it automatically broken down into scene-level placeholders. You will then still need to break those placeholders down to the shot level)
2) Use the Camera Name property to designate the camera for that shot. If you use the "auto-matching" process, which you will likely want to do if you're entering notes per take, then this data point will be used to automatically mate a set of clips from, say Camera A to the correct set of placeholders.
3) Fill in any other metadata that is common to other camera angles.
4) Duplicate the placeholder for other camera angles & shots of the scene. To do this, you can use either the Duplicate Placeholder command or, to create multiple duplcates, the Break Out Scene command, both of which are available in the context menu when you right-click a row in the shot list. Note that both commands work with multiple rows selected.
5) Customize each duplicate as appropriate.
6) Repeat for your other shots.
DURING THE SHOOT
1) [Strongly recommended] For multi-cam shoots, synchronize the date/time on all the cameras. Ideally, synch them all to the date/time on the computer running OnLocation. This greatly simplifies the auto-matching process by saving you the hassle of repeatedly changing the camera date/time in OnLocation.
2) Select placeholder(s) or clip(s) for the next shot.
3) At any time between starting and stopping recording of the take, click the Timestamp button (upper left corner of the Project/Shot List panel). This step applies a timestamp to the placeholder, which makes it possible for the auto-matching mechanism to determine which clip belongs with which placeholder.
4) Optional: Add temporal comment markers to timestamped placeholders, which will be aligned to the clip when you auto-match. (Note that PPRO does not recognize comment markers added in OnLocation.)
5) Repeat steps 1-3 for subsequent shots
AFTER TRANFERRING CLIPS TO THE COMPUTER
1) In the Media Browser panel, navigate to the folder where you copied the content.
2) Select the clips.
3) Click the Auto-Match button at the top of the panel. This opens the Auto-Match dialog.
4) if this is a multi-camera shoot, check the appropriate box and select the name of the camera that this content came from. The list for the Camera Name setting is populated from what you entered in the Camera Name field for all timestamped placeholders. [Be alert for unintended variants. For example, if you entered "Camera A" for some shots and "Cam A" for others, you'll see both versions in the list. Before proceeding, you should standardize the entries.]
5) Set the Camera Date/Time. If you synched the cameras' date & time to the computer's, then this step is not necessary (unless you previously set a Camera Date/Time offset in OL, in which case you will need to reset the Date/Time to match the computer's.)
6) Click OK to proceed with auto-matching. OnLocation will proceed to find the placeholder whose timestamp fits within the Start and Stop Recording times of one of the clips and, if relevant, whose Camera Name matches your selection. All metadata from that placeholder will be merged into the clip.
[Please note that all of the foregoing is from memory--I don't have OL CS5 installed on this home computer--so I may have gotten the names of some of the controls wrong. I'm pretty confident that the basic workflow is sound, however.]
Here's the help page for this feature. I'm afraid it's does not really cover the particulars for a multi-camera workflow. http://help.adobe.com/en_US/onlocation/cs/using/WS89e4fde9608114f41e5eb2de124b454ea2b-8000 .html
As for entering the same string in the Comment field (or any other metadata property) for multiple placeholders or clips simultaneously, simply select whichever rows in the Shot List that you want to edit, then in the Metadata panel edit whichever properties you choose to. Your changes will be applied to all selected rows (assuming they're editable--i.e., not read-only or offline, both of which apply only to clips, not to placeholders)

Multi-Camera Editing

Primiere Pro CS4 Creative Suite
Hi, Thanx in advance for your help.
We did a multi-camera shoot of a band. We ran through the set twice with 4 cameras, thats a total of 8 tracks. The 2nd run through for the stationary camera on the drummer can be dropped to reduce the count to 7. Hopefully the timing on the first and second set will the same. It should be close as these guys are tight.
I'm hoping some seasoned Premiere user can give me some pointers on how to best do a 7 camera Multi-Camera edit.
I was thinking I would do each 4 camera shoot as a multi-camera edit and then, assuming they synch, take the output from each set and do them as a two "camera" multi-camera edit.
Is there a better way?
Of course, if the don't synch...I try not to think about that.
Thanx,
Mel

Assuming all cameras were on continuous roll nd therefore in synch.....I think I would aproach it like this:
The band and the director probably know which of the two performances (takes) were the best.
That one I would edit multicam.
Then I would look at each of the rolls from the other take and cherry pick the shots.
An NLE, like PPRO ,can work a bit like a vision switcher in the sense (and I am sure you know this) that the Upper Track is dominant over under lying tracks. You can use this to your advantage as you cherry pick your other takes. eg find a section you might like to use then toggle the track on/off to see where it fits into the multicam edited sequence.

Multi-Camera Music Video

Hi, Thanx in advance for your help.
We did a multi-camera shoot of a band. We ran through the set twice with 4 cameras, thats a total of 8 tracks. The 2nd run through for the stationary camera on the drummer can be dropped to reduce the count to 7. Hopefully the timing on the first and second set will the same. It should be close as these guys are tight.
I'm hoping some seasoned Premiere user can give me some pointers on how to best do a 7 camera Multi-Camera edit.
I was thinking I would do each 4 camera shoot as a multi-camera edit and then, assuming they synch, take the output from each set and do them as a two "camera" multi-camera edit.
Is there a better way?
Of course, if the don't synch...I try not to think about that.
Thanx,
Mel

Mel,
What version of Pr are you using. Not sure that Multi-camera was added until PrPro. I've got it in PrPro 2.0, and it may have been around from PrPro 1.0. I just do not know about earlier versions of Pr.
If you are using PrPro, then you'll want to post HERE, as this forum is for Premiere, the precursor of PrPro. You'll get a lot more traffic and help in the PrPro forum.
Good luck,
Hunt

Color correct after multi cam edit

Hi Y'all,
I've just completed my mulit cam edit from a 2 cam shoot. I now want to drop a color corrector filter
on just camera 1. Is there a way to drop the filter onto one clip and have it apply to the rest of the clips
or do I have to highlight each clip from camera 1 and then paste attributes?
THANKS!

The only way I could think of would be to duplicate the full clip on the finder level, color correct the entire clip and export it with current settings and then reconnect all the clips from that reel to the exported qt. Multiclips can get a little quirky so I'd probably collapse all my multiclipls first. If you moved your original clip at the finder level (with fcp closed) and replace it in it's original location with the new file and rename the new file to match the old name exactly, fcp should reconnect automatically.
Maybe there's a faster way to do this. Generally I move each angle to it's own video track and then use the t key to select everything in that track and apply the correction.

Color adjustment on Multi-cam clip in 10.1 not working and crash the app

In version prior to 10.1, I can do color adjustment on multi-cam clip and I can see the color change right away.
However, when I do the same action in 10.1, the change doesn't reflect immediately on the viewer. I need to move like a frame to have the effect shown. Sometimes, FCPX shows an error when I do that action and force me to quit the application.
Anyone having similar issue?
Any solution?

In version prior to 10.1, I can do color adjustment on multi-cam clip and I can see the color change right away.
However, when I do the same action in 10.1, the change doesn't reflect immediately on the viewer. I need to move like a frame to have the effect shown. Sometimes, FCPX shows an error when I do that action and force me to quit the application.
Anyone having similar issue?
Any solution?

I am trying to determine the new project preset for multi-camera video shot as follows: 3 Canon camcorders, main shot is DV (tape) (720x480), b-roll is DVD (mini-disk) (720x480), additional b-roll is AVCHD (1920x1080). Film is from a wedding, DV contain

I am trying to determine the new project preset for a multi-camera video shot as follows: 3 Canon camcorders,
Main shot is DV (tape) (720x480, 29fps) - ceremony and reception
b-roll is DVD (mini-disk) (720x480, 29fps) - bride preparations
additional b-roll is AVCHD (1920x1080, 29fps) - groom preparations and misc all day ceremony and reception.
Film is from a wedding, DV contains main footage so I assume it will need to be the base. I am planning to use the preset for DV-Widescreen. Is there a better option? I'm concerned about playback as the three appear to have different PAR. I'm using Premiere Elements 10 on W8.
Ultimately this will be burned for two formats - one for a DVD that can be watched on a widescreen TV, second for a short clip trailer to go on vimeo.
(And no I won't be doing this again for a wedding that I shoot.)

VDRAVES
Please review since I am not sure how you obtained Video 3 tall when you scaled Video 3 with Constrain Proportions in effect.
Before
After
It becomes a zoomed in effect to get rid of the black borders. But, there is no tall and thin involved anywhere.
And, after the Scale increase, you can always click on the screen and move the image around a bit
(without overdoing it to get black borders again).
After and an adjust
Please let us know if you are OK with the information above.
Thank you.
ATR

MacBook Pro display usable as a reference monitor for a camera shoot?

I am shooting a video project and wish to try and use my 17" Mac Pro display screen as a reference monitor on a live mini-DV camera shoot for focus and color versus lugging around a heavier CRT and battery back. Will the MacPro display be sufficient to significantly judge color, exposure, and focus? I know it's not ideal, but with improvements in LCD displays over the last few years I would like to hear from other users who may have tried using their display screens in this way and see what their results were.
Many thanks,
John

While the answer in itself is probably no, you could however spend some time to get yourself a known comparitive situation. With some careful calibration and comparison to a final result you should be able to get it to a point where, while not perfect, you know what you're going to get.
By the way, the matte display will produce far more consistent colour than the glossy display.
Utlimately though for the best results the suggested CRT solution is the one to go for even though it's somewhat a pain.

Coodinating Colors in Multi-Camera Shoots

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