recording from 3 different cameras for one video

[Arturo Celleri]

I am doing this video as an in house job for my own company. No pay.

My goal is to up the pro appearance of the teaching videos with the use of more cameras shooting from diff angles, etc

I have no experience with equipment mentioned.

The budget is not set. We may invest I’m creating this set up for future events if it is the right thing to do. For this event, most affordable solution is desired.

I learned that blackmagic is not a possibility.

[Mark Suszko]

The most cost-effective thing to do in a one-off situation where you don’t know for certain if you’re going to keep doing the thing, is to hire out the thing to someone with the skill and the gear. Second best is to rent the proper gear one time to benchmark what the best way to do it is. The worst thing to try and do is a project completely outside your area of expertise, while still under the expectation to deliver a legitimate quality product. It is GOOD to expand your core competency, don’t get me wrong. But… it is BAD to do it on a high profile project without backups. Do it right on the first try, with the right gear.

[Lance Roller]

Love the flash point idea, Thanks Chip

[Giacomo Bisesti]

When you’re recording a video with three cameras at the same time, the challenge isn’t just capturing three points of view, but ensuring that all the material is synchronized, stable, and easy to edit later. Your suggestions are sensible: using a flash or a clap visible to all cameras to create a common sync point, avoiding writing to a single drive to prevent overload, and above all considering whether live-switching might be more efficient than dealing with hours and hours of footage in post-production. It’s advice we fully agree with: often, the real complexity isn’t in shooting, but in editing.

From the perspective of an agency like Company Trailer, every multicamera project requires order above all else. When we prepare setups for events or workshops, we always begin with a clear sync signal—a traditional clap, a flash, or a strong audio cue. This simple gesture, at the start of filming and whenever a camera restarts, saves hours in post. Likewise, each camera must record to its own dedicated media, preferably SSDs; mixing data streams or using slow storage is the fastest way to create drop frames or file corruption.

Experience has taught us that when recordings are long—conferences, corporate events, training sessions—the real bottleneck emerges during editing. That’s why, whenever possible, we prefer to manage a live switch with a video mixer: the director selects the “good” camera in real time, and by the end we already have a rough cut ready for refinement. The individual cameras remain as backups or as alternative angles, but the workflow becomes much lighter for both us and the client. If instead the choice is to edit everything afterward, then it’s best to immediately create a multicam sequence in post, using the clap or the audio as the reference for aligning the clips.

There’s also the whole aspect of visual consistency: all three cameras must be set with the same colorimetry, frame rate, and image profile. Otherwise, even the best multicam edit becomes a difficult puzzle to reconstruct. And of course, audio should never be overlooked; we often use an external recorder to capture a clean master track, which becomes the sync reference.

Multicamera shooting is simple only in
appearance. It truly works when there’s a clear method, a minimum amount of
discipline on set, and a workflow designed in advance for the edit. Whether you
choose live-switching or the classic “record everything and edit later,” the
goal remains the same: to make the workflow as smooth as possible, so time can
be spent on the narrative quality of the video, not on the technical management
of the material.