ASK & DISCUSS INDEX

7 years, 4 months ago - John Lubran

Different cameras record differently. It's when they are shooting the same thing simultaneously that the difference can be even more of a problem. With most high end cameras (which has little to do with raw resolution these days, even at 4K) adjustment of things like knee and pedistal, where contrast handling latitude can be biased towards either the blacks or the whites and where high gain is grainless, it's possible to get a workable match. At the cheaper end such adjustments aren't available. Fixing things in post can work, especially where colour is concerned. Fixng exposure problems is limited though. It's notable that each manufacturers different cameras across their range are often more compatable with each other than with those of another. I've found that Canon and Sony for example have a different look that requires a fair bit of fiddling in post to synchronise. If the bit rate is high though there's more head room to play with and more grading possibilities. So whilst an awful lot can be done in post it's better for everyone to fix issues in camera as much as possible because it takes a lot less person hours than fixing in post. If in doubt it's wise to do some test shots and see what the edit suite makes of it.

7 years, 4 months ago - Alève Mine

If you in any way can, gather instances of the same camera to shoot - with the same parameters. If not, yes, they will look different, and it is not necessarily easy to pinpoint in what exactly they are so. What I ended up doing on an action shoot with a merry random bunch of cameras is make it all black and white with an odd effect to minimize the difference (and make the background less normal, but that is another issue). Otherwise you want to watch https://youtu.be/F6b6r0LO63w

7 years, 4 months ago - Yen Rickeard

Hi James, best to get camera people with the same make of camera. Do test shots before. Set white balance before shooting, by shooting the same white board (When strapped for cash I tend to wear a white top so that there is always a white to work with). Get the guys to make settings similar (they won't be same distance from the subject etc so as similar as they can) Try to use one camera as the base, so you only have to alter images from the other. Do a couple of shots at the beginning so that you can use these to work out how to alter shots so that the pics will cut to each other easily. This is your base adjustment, which you can apply to all shots from that camera, and then tweak for each shot seperately.. In practice you will usually have to do some tweaking on camera 1 as well. NAME AND SAVE your images carefully so you know which are altered etc. If necessary use some effects that will explain/use the differences. If the cameras are similar it is doable but like John says, the more you can do in camera the better.

7 years, 4 months ago - Paddy Robinson-Griffin

There will be a difference, but don't panic too much. In many film and TV programmes you've watched, different cameras will have been used. The "look" is always a bit different, but you can grade some of that away to be similar, and frankly if the choice is between making your film or not, get it made. If the story and action are right, people won't complain. If they complain, it means you're not holding their attention properly with your storytelling ;-)

7 years, 4 months ago - Suzanne Smith

Try to get the same make of camera if you can; if one of your camera ops has a Canon then then next one that comes in is shooting on a Sony then it's going to have a slightly different look. You could end up down grading one to match the other, etc. But it can work, for example, if you have one camera op shooting the interiors on Day 1, then another shooting exteriors (or a different location) on Day 2, then you'll probably get away with it. It's only if you have two different cameras cross shooting in the same location that you'll see the difference when you cut between them. Lot's of films use a mixture of cameras, even using 35mm cameras and digital cameras, and no-one knows the difference. It's all in how you plan to shoot. I would recommend that, if you can, get your primary DOP to work with you on the schedule and make sure that you plan to shoot in a way that will allow you to make it work.

7 years, 4 months ago - Suzanne Smith

Oh and just to add to that, you must shoot Log on both cameras, that will allow your colourist to match them as best as they can be.

7 years, 4 months ago - Hamish Nichols

You'll find that different lenses make almost as much difference as different cameras, so try to get the identical set-up, if you can, even if it means renting. That will save even more tweaking in post.

7 years, 4 months ago - Mark Wiggins

Also, a good Colourist is essential if you are going to mix cameras, as well as a very good DOP who understands colour science.

7 years, 4 months ago - Vasco de Sousa

Just apologize to your cinematographer. Or offer more money.

It's not about the camera, it's the settings (things like white balance and grain.) Fixing these things in post is not fun. (Unless it's horror or experimental, or a dream like thing where you don't have to match things.)