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Multi-camera Event Taping

If you videotape events with multiple cameras, you can save time in post-production by doing live-to-tape multi-camera shoots. Graduations, dance recitals and sports are prime targets for a multi-cam shoots, but switching live to tape takes careful planning and special tools. This article will tell you what you need to know to pull it off.

Scout the location ahead of time. This will tell you how long your cable runs will need to be and determine where you'll place cameras and your mixing table. Make sure you get to your location early enough to set up and test everything out.

After your gear is unloaded at the location, place the tripods where you want them. Most setups will use the triangle method (Figure 1). This consists of a wide angle camera set up to the rear of the event and two cameras set up close to the action on opposite sides. However, there is no fast and steady rule for camera placement. You'll have to make the call on camera placement based on how you want to tell your story.

Next, run the necessary cables and cords to your mixing table. Let's start with power. If your event is long it's best to run direct current rather than batteries. Bring an extension cord for each camera.

What cables you use to take a signal from your cameras to the video mixer depends on the output capabilities of your cameras and the input capabilities of your video mixer. If you have S-Video outputs on your cameras and S-Video inputs on your video mixer, then by all means run S-Video cables. Be aware that at lengths over 100 feet, signal loss becomes apparent without the use of signal-boosting devices. The basic rule is, the shorter your cables, the better your image.

While all camcorders have composite video outputs, they are not the best choice for long cable runs. When you select composite as your input your signal-to-noise ratio (a rating of picture quality) goes from 62db for S-VHS input (pretty good) to about 54db for composite (not so good).

Some mixers now accept FireWire cables, allowing you to switch the highest quality signal possible. DV cables can now be purchased in lengths up to 150 feet (50 meters).

Whatever cabling you use, make sure you maintain the ends and avoid heavy footed patrons and camera-people from stepping on them as they can become damaged.

Unless you and your crew are telepathic, you'll need to have communication from the mixing table to each camera position. There are a number of suppliers that offer communications units that include cables, headphones and a "comm box" in a variety of configurations. You can even get wireless. Two-way, hands-free wireless communications headsets are available at Radio Shack. Though designed for bicyclists, they work well for communicating with a camera crew.

The mixing table is where you make all the magic happen. The first requirement is a table and you may need to take your own with you. A folding table about six feet long will suffice. Here's how we recommend setting it up.

Position your output monitor on the extreme left. To its right, place the preview monitor. Centered in front of the monitors is your video mixer. To the right of the preview monitor sit your record decks. We recommend bringing a second (stacked on top) to record a back up. To the right of the record decks are the audio mixer and an optional titler.