I have a client who wants to make a number of tutorial videos regarding their particular line of business. They are talking about a 2 camera scenario shooting against a greenscreen. Branding/info will then be added in post. They intend to buy one of the cameras and lights. They want me to use my own XF300 as the other camera. Thus I will be the Director, cameraman and editor.
Thus far they have been advised to look at the XF100. Therefore the XF100 will be the locked off wide shot (involving full length shots of presenter/guest) and I will use my XF300 to get close ups. Incidentally the genlock option on the XF105 seems unnecessary for them given the footage from both cameras will be sync'ed during editing with potentially only a 50th of a second sync difference (in PAL). That's acceptable for their intended Net viewing audience.
Right now I am unclear whether their budget will only allow them to go to the older XF100 or if it might stretch to a XF200. In due course I'll know more.
However at this stage my question is whether the XF200 brings anything significant to the table 'for the described scenario' over and above the XF100? It's unlikely they'll ever use the camera for much else, so other features/versatility is a reasonably moot point outside this scenario.
Finally I realise there are alternative camera options. Thus far the Sony PXW-X70 stands out. Can anyone suggest others together with potential pros/cons?
Thank you for any advice given.
Grandma and eggs etc but….
I assume that you have sorted the backgrounds?
a two camera shoot will be a pain to do with chroma, unless you have a pretty good system.
consider hire another XF300?
Hi Dave. Why will a 2 camera shoot be a pain with chroma? I assume no more so than one camera. If you mean angles I'll just shoot both from the front.
what I meant was that you'll need two matching angle backgrounds, one per camera.
if you do it as a multi cam, and cut the cameras but use the same background, it will look weird.
sometimes on Sunday am TV ( the frost thing) they would use the same bookcase background chroma'd over a remote camera head and shoulders.
This looked ok so long as the host was always cut back to before another guest. But if they went from remote studio to remote studio, without bouncing back to the main, the guest "popped" out of shot while the background stayed the same and a new guest 'popped" in
It happens sometimes with QI where the opposing teams have very similar wide shots and cutting between them looks really weird.
So if using both cameras with a CSO background, the background needs to be selected carefully .
Ignore me if it is a talking head with maybe a closeup of the desktop.
If I had to do it I would make two chroma's movies with the correct background already inserted and then multi cam it together so when it cuts, the background also cuts.
I have good live chroma but only use it for locked off shots like a weather forecast. Otherwise it looks as if the presenter is on roller-skates
Gotcha. The background will most likely be a solid colour with branding on the wide shot. Here's one I made for a charity a while back:
So on the CU I can just key in the appropriate colour for the branding.
I read it as a two camera ( on the one talent) type shoot with a 'fake" background. I get a lot of people assuming that it can be done on the cheap.
What you suggest should work easily, just choose a tabletop material that compliments the background.
Camera wise, You can always just use one camera, but if using second one, it depends on how long the shot is. I used to use PD150's for cutaways in gigs and they looked fine because they were on screen for a few seconds compared to the the DSR main cameras.