Sooner or later there comes a time in a cinematographer’s career when he or she is forced to shoot with multiple cameras – either on a multi-cam shoot or just because the main camera is not available anymore and you’re forced to shoot with another.
Sometimes you’re lucky and the cameras are close enough to make shot matching easy, while other times you might be asked to match an iPhone to an Alexa.
Never say never!
In this article, I’ll show you how you can ensure you have the best chance to have your shots match so the most important people – your clients and your audience – can’t tell the difference.
Let’s get started.
The steps (more like a flowchart) to match shots from different cameras
1. Try to get the same camera models, and you can avoid 8 of the 12 steps on this list! So, the question is: Can you get the same camera models?
- Yes: hold your horses. Try to get the same lenses and filters. Don’t forget to custom white balance or use the same presets, codecs, LUTs, etc. E.g., if you were filming log with a 709 LUT at 5600K, then make sure the same settings are applied to the second camera. This part ought to be obvious.
- No: go to step 2.
2. Try to get cameras with the exact same sensors (choices are limited here). Can you get cameras with the exact same sensor?
- Yes: Follow the same advice as in step 1. Then go to step 4.
- No: Go to step 3.
3. Try to get cameras with the same sensor size (Full Frame, Super 35 or APS-C, etc.). Can you get cameras with the same sensor size?
- Yes: Your footage will have similar depth-of-field characteristics and so on, but that’s about it. Go to step 4.
- No: You’re screwed, and must tread carefully – to step 4.
4. Custom white balance both cameras using a neutral white or 18% grey card (Amazon, B&H) that has been printed to standards. Watch my video on White Balancing to know how to do this.
Why “custom” white balance?
Different cameras might have different daylight presets for example. On some cameras daylight is 5600K, on others it might be 5400K. Even if they are the same, you’ll notice the whites don’t look the same most times. Custom white balance ensures both cameras are forced to render white as white.
5. Do both cameras shoot Rec. 709 or with a log profile that can be transformed to Rec. 709 with an official LUT?
- Yes: Then pick one of the following options:
- If filming Rec. 709: Set both cameras to Rec. 709. It gives you the best hope to survive this apocalypse. Go to step 7.
- If filming Log, then apply the official Log to 709 LUT for each camera (separately, they will be different LUTs). Go to step 7.
- No: Hope for step 6.
What if you’re not finishing for Rec. 709?
If you’re filming for HDR or DCI-P3 (for a theatrical release) you probably are not considering 709. In that case you can pick the output color space if the LUT is available.
Also note you need the right monitoring solution for these output color spaces and gamuts.
If LUTs for these color spaces aren’t available, then pick 709 (as a temporary measure) and match the cameras (assuming you’re filming in Log). Don’t bake the 709 in!
Later, in post, you can use color space transforms to get the output you need without any loss.
6. Does either camera shoot RAW?
- Yes: Shoot RAW on that camera. It’s easier to change white balance, exposure and color space information later. On to step 7.
- No: You will have to earn your pay, and then some. Start with step 7.
7. Use a color chart (Amazon, B&H), individually with both cameras. Record video (not stills). Make sure the lighting does not change. Custom white balance both cameras so the color charts are at least accurate for white, grey and black.
8. Are you the kind of person who likes to carry broadcast monitors to set?
- Yes: Are you under studio lighting conditions (no changes to lighting)?
- Yes: Go to step 10.
- No: go to step 9.
- No: Go to step 10.
9. Tweak settings on the camera till the colors look similar to you on the charts. Don’t like it? You asked for it. The alternative is to fly blind. Go to step 10.
10. Shoot! And take notes of any changes in lighting, exposure or camera settings.
11. Bring the footage back into your color grading software, preferably DaVinci Resolve or Baselight (or any professional grade color tool). Then follow these steps:
- Use color transform settings to bring the footage to an even starting point. ACES or Davinci are good options. They have standard transform LUTs so you can finish in whatever space you want.
- Use RAW settings to adjust white balance, ISO, sharpness, whites or blacks, etc.
- Play with lift, gamma, gain to first ensure the exposures match. The waveform monitor will tell you when it does.
- Use the same tools or whatever is available and watch the RGB Parade or Vectorscope to ensure the white balance is accurate. Pay attention to the white and grey patches so they don’t change. The colors might not match at this point yet.
- Use the color wheels or secondary color correction tools to make sure the color patches match – to the best of your ability. Don’t overdo this. Changing one shot will not have the same effect on other shots with secondary color correction tools. If the cameras are poles apart, you can’t expect miracles.
- Add noise or grain to match.
12. Publish your video and test it on different monitors, projectors, the Internet, etc. Do they still match?
- Yes: You made it! You’re all set. Time to ask for your payment.
- No: Return to step 11 and tweak till it hurts.
I hope this quick run-through has given you the confidence to tackle multi-cam setups.
There are always extenuating circumstances that force you to use different cameras, it’s normal and quite common. For all other cases, your safest, fastest and most economical bet is to just use the same camera.
Here’s an older video that takes you through some of these steps (some of the apps and info is outdated but you’ll get the idea):
Notes:
- Just because I say the F5 and F55 sensors match, it does not mean they do; nor are we interested in the minor differences between the sensors of the Sony a7R and the Nikon D810.
- If you’re wondering about which color chart to pick, buy the DSC Labs OneShot Pocket. It’s designed for video, unlike the Calibrite ColorChecker Passport or Datacolor SpyderCHECKR color charts. But, any of these charts will do.
Should you use the color chart matching feature in Resolve?
No. I’ve tried it and used it, but they’re only good enough for Internet video. If your goal is cinema, don’t use it. Even if you get the color charts to match, subsequent shots won’t match the same way.
Do you have any tips you use to match cameras? Let me know in the comments section below.
