I posted a query on doing multicamera sync about two weeks ago, and got a number of interesting replies, but none were really on target for my job. I then developed such an interesting and effective solution, I felt I had to share it here.
First the problem:
3 cameras filming continuous stage performances for over three continuous hours. - While you might be able to start the cameras with a clapboard, how to keep sync (or really, resume sync), once you changed camera rolls. This was (boring) talking presenter stuff. No visual clues for sync information, at all. Just a guy on stage for 30 and 40 minute intervals.
My solution - I bought three $10 digital portable stopwatches from Radio Shack which had a 24 hr time of day option in big bold numbers (about a half inch tall). We synced the clocks together (started them all at the same time), and gave one to each cameraman. When the inevitable roll change came (each camera staggered so as to avoid two cameras down, at the same time), the cameraman simply zoomed to full wide, and shot about 8 seconds of the clock to start his new shot. (We used little flashlights to light the clock screens).
Syncing then became a snap - we put the first clip (each of which ran a full 40 to 60 minutes) on the timeline (in Vegas, of course), and inserted the appropriate amount of time to get the timeline in sync with the first clock. In this case the first shot was at 8:03:22 AM, so we inserted 8:03:22:00 of time at the head of the timeline. It looks weird, but once you've got the three tracks lined up, you can delete all the un-necessary blank time. Once the timeline and the first clip were in sync, we added new tracks for the other cameras and did a "GOTO" on the timeline with the other clocks. We used the Track Motion to shrink up the video so we could see all three cameras on screen at the same time. We moved the next two video tracks into position and Voila, instant sync... ok, we did have to slip each new track a little in each case to EXACTLY line up the sync but each track was easily within a half second of each other. We used available sound spikes in the voice track for this, but overall, it was EASY.
We then used the (fabulous) Excaliber to produce the multicamera master.
I hope this helps others who are venturing out into the multicamera world.
First the problem:
3 cameras filming continuous stage performances for over three continuous hours. - While you might be able to start the cameras with a clapboard, how to keep sync (or really, resume sync), once you changed camera rolls. This was (boring) talking presenter stuff. No visual clues for sync information, at all. Just a guy on stage for 30 and 40 minute intervals.
My solution - I bought three $10 digital portable stopwatches from Radio Shack which had a 24 hr time of day option in big bold numbers (about a half inch tall). We synced the clocks together (started them all at the same time), and gave one to each cameraman. When the inevitable roll change came (each camera staggered so as to avoid two cameras down, at the same time), the cameraman simply zoomed to full wide, and shot about 8 seconds of the clock to start his new shot. (We used little flashlights to light the clock screens).
Syncing then became a snap - we put the first clip (each of which ran a full 40 to 60 minutes) on the timeline (in Vegas, of course), and inserted the appropriate amount of time to get the timeline in sync with the first clock. In this case the first shot was at 8:03:22 AM, so we inserted 8:03:22:00 of time at the head of the timeline. It looks weird, but once you've got the three tracks lined up, you can delete all the un-necessary blank time. Once the timeline and the first clip were in sync, we added new tracks for the other cameras and did a "GOTO" on the timeline with the other clocks. We used the Track Motion to shrink up the video so we could see all three cameras on screen at the same time. We moved the next two video tracks into position and Voila, instant sync... ok, we did have to slip each new track a little in each case to EXACTLY line up the sync but each track was easily within a half second of each other. We used available sound spikes in the voice track for this, but overall, it was EASY.
We then used the (fabulous) Excaliber to produce the multicamera master.
I hope this helps others who are venturing out into the multicamera world.