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Re: Getting MCE to work in Pinnacle 21 Ultimate

  •  07-03-2019, 7:38

    Re: Getting MCE to work in Pinnacle 21 Ultimate

    The two center cameras are on Bescor 101 motorized pan/tilt devices. (MPT)  If you look at the table, you can see one of the remotes tucked there. Mrs V is blocking the view of the other on the right. 


    There are 4 cameras in that shot, the outer ends being 'fixed' and the center on the MPT bases. 

    1)  One of he 'fixed' cameras is a wide shot, close to the biggest picture I can get. It is nice in the outdoor venues to give a sense of atmosphere. I work with a few lighting people that are exceptional, and it is nice to get this part of their performance captured also.

    2) The other fixed is a much closer, but still a full stage view. I get all the musicians in, and the event/venue badging (banner/sign/logo) prominent. Gotta keep the promoter happy.

    3) The first MPT camera is a stage view with 1/2 to 1/3 of the stage visible. 2-6 musicians depending on group.  This is to get a closer view of the musicians and their interactions on stage. Some bands are 'set and forget' with little movement, others are more animated and need more attention. 

    4) The other MPT is the tight solo cam. Generally only one musician in the frame. I put my best camera on this. Gets the tight solo work, and the view most at the event dont see. This one requires the most attention.


    The TV monitors are for the two MPT cams. (I can switch them using a remote to show the 'fixed' cams also, but hardly ever do) In the previous pic with me controlling, you can see the monitors are low, cameras high and I can see the band in the middle. So can other event participants, I am blocking minimum view with my rig.  Once again: capture the show without being the show. 

    The four cameras make it possible for one guy to cover a stage well. I found that watching the band was critical, as it gives me hints as to where to pan for the next 'spotlight' moment. I can pan the wider MPT quickly to the correct area, allowing a quick transition later in post,and 'with' the music. Then I can get the solo cam into position, and transition to that without 'bumpy footage'. Sometimes in a fade you can see I was moving a camera, but I am getting better at having my live filming make post production a bit easier. 

     The two fixed cameras I do move with the aid of the small aluminum ladder you see on the lower left. I did hook them up to the monitors, but it was difficult to aim them and see the monitor. Just as easy to use the viewscreen. 


    This rig is a work in progress, and the first time I had it set up !! Not bad for a shakedown cruise. :)

    Previous to this, I had the tree with the cameras on some absolutely HORRIBLE clamps. My only way to aim/monitor the cameras was through the viewfinder. Adjusting was while on the ladder. :O     

    I would have to aim the cameras pre-set, and hope I was close.. moving them during the set rocked the tree badly.  Had to be done sometimes. Even now, when my fixed cam/s need adjustment during the set, I try to minimize shake. 


    ********************  Back to the thread topic........ 


     Had good success splitting the set up into pieces, looks like 3 large and one small part. I kept the total file involvement below 32GB for each project, and it was freeze free.  WOOOOOHOOOOO!!!! 


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