In advance, I apologize for the length of this post. I have some back-info to put out before asking my questions! I just did a very ambitious project for a small opera compny (Amore Opera) here in New York. I own a Sony FDR-AX100 4K camcorder with which I have made many opera videos. Theatrical shoots are challenging because the lighting is not natural and needs to be constantly adjusted; not only is it unnatural but it changes from scene to scene in a way that sets a mood for the theater audience but often needs to be worked against in the video context. The nice eyedropper in the Lumetri window saves a lot of work for me (sometimes its work needs to be adjusted but it's a good starting point at least; point it at something that's supposed to be white and magic happens!) The opera, if anyone's curious, was Johann Strauss' DIE FLEDERMAUS ("The Revenge of the Bat"). I believe, however, that the only way to deal with scene changes within an act (as well as lighting changes within a scene) is to do a razor cut and apply a new Lumetri effect on the new scene; I'm all ears for anyone with a more elegant idea! Operas are in multiple acts, usually two, three or four. Each may last anywhere from 20 minutes (BOHEME Act 2, for example) to an hour or more, and are shot in one continuous clip. I had the company rent two additional AX100s for the gala New Year's Eve performance for which I had operators control only the iris; the cameras were locked down in position to the diagonally opposite corners (in this theater I have access to the entire space behind the back row of the audience and the three cameras - one with a camera person, usually me, in the center, and right and left locked down to position). Since I had the rented cameras, I also did three-camera shoots on 12/30 and 1/1 (our final show) with no operators and the f settings of the other cameras set to an average (f8, 18db, 60 shutter speed) which gave usable if not perfect shots about 98% of the time. The shot with operators was significantly better in many respects. Setting up the project in Premiere (CC 2017) was as follows (of course can be changed but I think I'm on the money): Each 128GB chip was labeled 1 to 3. First evening (12/28) I used the standard left-to-right configuration so center camera was 2. Since the primary shot is always supposed to be the controlled center camera rather than the locked down left and right, I re-thought this for this particular situation and decided on 2 1 3 (can be changed if someone has fits over this and convinces me why!) In the computer ingest software (Sony PlayMemories Home) I rename each clip as <date> <opera title> Camera <number> Act <number>. On ingest I create Cineform proxies (boy those are big, but they scrub a little better than h264). I use the audio track 1 to sync the three cameras in a Multi-Camera source, and trim (I allow three seconds before the music starts and three after the curtain closes, unless there's huge applause at the end). I then create a target sequence for each source, which I use to switch the show as if in real time. I have the number keys 1, 2 and 3 as direct cut switches, and re-mapped Timeline to ctrl-3 (an annoying process requiring creating a blank project but here we are). Questions: 1.My suspicion is that color corrections should be made at the SOURCE (where all three cameras are shown on separate tracks) rather than the TARGET level, so that switches will reflect the most homogenous color rather than having to re-invent the wheel every cut. I repeat the question above; when changing from, for example the dialog scene when the character Adele the chambermaid is arguing with her mistress Rosalinda to the scene when Eisenstein and his lawyer enter arguing (there's a significant change in both color and intensity of stage light here), is it best to put a razor cut at the scene change so Lumetri effects are confined within the number? 2. Is there any way using the Lumetri process that the color and effective f-stop can be equalized between the three shots in any given scene? Obviously in the environment with audience in the row immediately in front of the cameras it is not possible to call out f-stop changes to the other operators. Also, I have shots filmed where there is no one to make the changes, resulting in usable footage but imbalance which should be correctable in software. I think I can get an amazing result with this footage; any help the community can give with offering workflow suggestions would put me greatly in its debt (and that of the kind individuals willing to wade through some or all of the above to answer me!!!) I'm willing and able to post sample footage on YouTube, let me know what you'd like to see. Jay Camera: 3x Sony FDR-AX100 4K (Pro-sumer) OS: Windows 10 Pro 64bit System: i7 in Gigabyte z97 Black Edition Motherboard Memory: 16GB DDR3 Working on 1 ViewSonic 1080p monitor and 1 Samsung 4K used as a monitor.
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