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[Reg from AB] “I live this problem and can echo the “manual iris” advice (although I rarely use manual focus).

I just wanted to add though that I shoot with VX2000 and VX2100, and their exposure setting is on a “clicky wheel” – which makes the setting changes somewhat visible.
I read somewhere that the PD150/170’s exposure setting is “continuously variable”, so I’m guessing that setting changes are less noticeable. So if that’s true, and you’re planning to rent, consider the PD150/170 over the VX2000/2100.

Can anyone with experience on both the VX and PD versions comment?”

Yes, the auto-focus on the PD and VX is astoundingly accurate and fast!
I don’t think I coluld ever follow the focus as well as the camera does it
(and I have shot a lot of location video with BetaSP and earlier.)

The PD-150 has the same “clicks” as the VX2000.

The PD-170 has “clicks”, but the STEPS (larger number of clicks, if you will) have a much smaller difference in exposure between the clicks.

The PD-170 has 3 times the number of “clicks” but the same RANGE of iris as the VX2000.
That means that when you change the iris manually, the level change is not nearly as obvious (much smoother) compared to the VX2000 or PD-150.

As to the VX2100, I’m not sure as to its “Clicks vs. iris resolution.”

I think its odd that there ARE only “clicks” on the manual iris.
I wish it were simply a smooth transition as it is in “Auto-Iris” mode.
I know that it has to do with the iris info that is recorded on the Data Code file, but to heck with that… give me smooth iris control.

I’d love to be able to adjust the iris (smoothly) via the LANC cable, but apparently that is not a LANC function.

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AND…

I’m still back at why you don’t just PLAY both tapes at once and see if you get the drift on PLAYBACK, or if this is strictly an in-the-Mac-or-Hard Drive FCP problem.

If they drift just PLAYING, then its a tape problem and we know not to chase it in the Mac.

If no drift just PLAYING, then we can look at capture or FCP issues.

Play one tape on a deck, the other on a camcorder, or any combo of the two.

We could even see if CAPTURING from a CAMCORDER will change things, but we need more info so we know wherein the problem lies.

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[David Roth Weiss] “So, I sync ’em up to cut multicam and whatta ya know, they only stay in sync for a few minutes before one camera’s audio appears to lag behind the other,”

How many minutes before the drift?

There’s the time-honored “Capture in short segments” technique that has saved many a sync issue in the past.

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Global Warming.

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[Ryan Santos] ” Did they add lights (aside from the stage lights) to get a good image? Or did they simply used a camera that’s good in low light?
“

Too many variables to say just how each situation is handled.

But in YOUR situation, you likely won’t be able to add your own lighting to the stage, so your only hope is to get a better low-light camera or boost the levels (along with video noise.)

And, since a PD-150/170 is so much more sensitive in lower light, its auto-focus will likely perform vey well (unless the stage is in virtual darkness… then, NOTHING will work.)

I shoot auto-focus on stage productions 100% of the time with a PD-150.
Unless I’m coming out of a “black-out,” the focus is perfect.

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[David Roth Weiss] “but I don’t have two DV decks…”

That’s why I said “two players/camera.”

Don’t you have a camcorder?

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Just (approx.) sync the two tapes to the same point on two players/cameras and PLAY them at the same time and see if they drift… without capturing.

That will answer a lot of questions.

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If its as low as you say,
you really need to rent a camera that’s better in low light conditions.

Nothing in DV beats the Sony PD170 or VX2100.
Those cameras (and the older PD150 and VX2000) offer astonishing images in low light.
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Now, as to what the overall show will look like as the dancers move in and out of the pools of light…

It can be a nightmare for video exposure.

You must shoot with manual iris (auto-iris will ALWAYS guess wrong in pools of stage lighting) and you will need to “ride” the iris most of the time.

Good luck!

I’ve been there many times.

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Here you go-

https://www.kenstone.net/fcp_homepage/basic_motion_paths.html

Sadly, you may not find it very easy to adjust.

I never do.

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All I can say is you need to be listening more carefully.

If you are otherwise distracted with the job of capturing the image of the shoot, you should bring along a competent audio assistant (at the very least) whose job is to carefully monitor the audio.

BTW… WHICH Sony headphones?

There must be dozens of models out there, of which, about 6 might be considered really suitable for critical monitoring.