[Sareesh Sudhakaran]

I did a project like this a few months ago. You want my honest answer? The only way you can theoretically guarantee an exact match is to ensure the same camera, settings and lights are used.

Since it’s unlikely that will be the case, shoot test images with color chart and grey references. Assign a DOF and tell each camera person to use the corresponding f number for their sensor type. Make test images to show the look you are aiming for. Keep the lighting type and ratio similar.

All this is simple in theory, but be prepared for frustration. Even with the most precise instructions, some people don’t just get it.

One idea I’ve used when a DP fell sick was to shoot an image of the lit scene and quickly email it to him. You could also stream the video live if matching is critical. One last idea is to keep an image directory online of each shoot as it progresses, so that the next DP can look at it. But don’t mix conflicting shots, or it will lead to confusion.

Remember, each camera behaves differently regarding color and exposure, so written settings are only practical up to a point.

Hope this helps.

https://www.wolfcrow.com – Workflow information and support for filmmakers, photographers, audiographers and videographers.

[Sareesh Sudhakaran]

Zoom H4N is fine.

https://www.wolfcrow.com – Workflow information and support for filmmakers, photographers, audiographers and videographers.

[Sareesh Sudhakaran]

Here’s the link: https://www.blackmagicdesign.com/media/4965548/Resolve_Mac_Config_Guide_2012-10-10.pdf

If it still doesn’t work, you can find it under ‘Support’ on their website. Your monitor has DVI-D, you can feed it off the graphics card. Get an ATI GPU capable of 10-bit.

But if you want an SDI pipeline, look at Decklink SDI or Duo. It depends on your setup, and the cameras you mentioned all have file-based workflows so I don’t see the point of wasting money on SDI cards just to drive a monitor. Hope this helps.

https://www.wolfcrow.com – Workflow information and support for filmmakers, photographers, audiographers and videographers.

[Sareesh Sudhakaran]

Maybe you’ve seen it already, but BMD has an excellent configurations guide: https://www.blackmagicdesign.com%2Fmedia%2F2384470%2FDaVinci_Resolve_Mac_Config_Guide.pdf

https://www.wolfcrow.com – Workflow information and support for filmmakers, photographers, audiographers and videographers.

[Sareesh Sudhakaran]

Resolve is resolution and frame rate independent. You should have no problems.

https://www.wolfcrow.com – Workflow information and support for filmmakers, photographers, audiographers and videographers.

[Sareesh Sudhakaran]

H.264 in a .mov or .mp4 or .avi wrapper. 24 fps progressive (1080p24). Regarding 15 fps, only tests will confirm if your work ‘works’ in 15 fps. Compression codecs think in terms of data rate per second, regardless of fps, so I say stick to 24 fps.

If you’re seeing interlacing, check your project settings. You should be in a progressive only pipeline.

Regarding size, you might have to keep rendering bits in data rate increments to find your sweet spot. There’s no easy way. But whatever you do, don’t compromise on audio.

Hope this helps.

https://www.wolfcrow.com – Workflow information and support for filmmakers, photographers, audiographers and videographers.

[Sareesh Sudhakaran]

When placing animations, follow the safe areas found in your NLE. No problem with your workflow.

https://www.wolfcrow.com – Workflow information and support for filmmakers, photographers, audiographers and videographers.

[Sareesh Sudhakaran]

Are you able to see the full image on a computer monitor? If yes, then It seems like overscan, which is quite normal.

https://www.wolfcrow.com – Workflow information and support for filmmakers, photographers, audiographers and videographers.

[Sareesh Sudhakaran]

A DSLR will cost you valuable time to setup and repack after each shoot. You will need to rig it up, which is not cool for the kind of work you are undertaking. The disadvantages are frustrating for run and gun work. On my blog I have a Nikon D800 rigging guide. Take a peak to see if the trouble is worth it.

Built-in ND filters are fine. Nothing to worry about. If you want more ND buy a good variable ND filter for those rare ocassions. Daylight in India is extremely bright, even in winter. You will come to love the ND filter. I’ve just uploaded the filters chapter of the new comprehensive rigging guide. You might find it useful.

Also take a look at the wide angle adapter. I’m currently traveling in Rajasthan and I’m finding 28mm (in 35mm equiv) insufficient sometimes, but I’m shooting stills, not video. The XA 10 is about 30mm max at the wide end. Not bad, but not wide enough in my book.

I personally have owned Canon, JVC and Sony, and will recommend all of them. But the Canon has everything you need, plus one important fact: Canon has brilliant service in the major metros, like Mumbai and Delhi. JVC service is non-existent, and Sony is hit and miss.

Hope this helps.

https://www.wolfcrow.com – Workflow information and support for filmmakers, photographers, audiographers and videographers.

[Sareesh Sudhakaran]

A DSLR is not the right choice for what you have in mind. You will greatly appreciate a camera that is turnkey, has great battery life, recording times, and is rugged.

You will need ND filters most of the time during daylight. You might not have the best vantage point on most ocassions, so will be grateful for a good zoom range lens with a large constant f-stop. You will have a hard time focussing manually so you could use a focus peaking option. Also zebra, histogram, waveforms, audio levels, etc.

For $2k, check out the Canon XA10.

https://www.wolfcrow.com – Workflow information and support for filmmakers, photographers, audiographers and videographers.