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We were rolling 4 cameras - 3 5D's and 1 7D - on an assortment of L Series lenses. Due to the nature of having that many cameras all honed in on one subject, we scratched our heads for a second figuring out how to maximize all cameras while not diverging off eye line too much. We came up with a configuration that we were finally happy with.
Another interesting aspect to this shoot was the directors request to have one camera on a 180degree dolly. Not only was this was the basis for placing the other angles, but also got us thinking on how to light 180 degrees while keeping it looking good for all cameras. Once we were on set and working, we were quickly able to determine where to set our key light and continue lighting off of that.
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