Setups can range from 1 moving camera with operator and many static cameras, to many camera operators and no static cameras.
Typically, more moving cameras deliver more energy, and more static cameras deliver more cost savings. More static cameras require much more setup time. More operators mean fewer to no cables.
CAMERAS
Up to 9 cameras can be used, however, 6 is typical with 2 moving camera operators, with a third moving camera operator recommended.
The format for camera placement is normally as follows:
- 1 camera operator on the side of the stage, normally hidden in a wing, but is not always possible. If being discrete is important, this may be a static camera instead. Typically a slider or monopod is used with the operator here.
- 2 cameras at the far left and right sides of the back of the room, typically in the front row of a balcony, or at the back behind the last row of seats. If the room is very deep, then having a few seats blocked off on the sides half way up the room is a good spot for the left or right camera operators to stand. Normally only 1 operator is assigned, either left or right, with the other on a static tripod. If budget allows, the best case scenario is having 2 camera operators at the back of the room, operating standard fluid head tripods with long lenses for moving medium to close up angles.
- 1-2 static cameras at the back of the room, for a static wide angle shot at the very back and centre of the room. If the room is very large, 2 will be in the back, one to capture the entirety of the space and audience, and the other to capture just the stage. If this isn’t possible, a wide angle can be used from the side, and if the room is small enough, can double as the wing camera as described above.
- 2-3 static cameras on stage, typically at a piano, drum set, cello, or other seated instrument that is stationary. This allows a constant shot that could sometimes be obscured due to line of sight or equipment blocking a view.
CAPTURE FORMAT
The capture format is dependent on how long the concert is. If the show is 2 hours or less, high quality 4K is an option. If it’s longer than 2 hours, then high quality 2K is suggested, and still a much better format than standard HD.
What does high quality mean? It means the files are recorded at a very high bitrate, preserving as much of the original information gathered by the sensor at the time of recording. Youtube typically plays back files at 5 Mb/s, HD content is normally captured at 50 Mb/s, and we typically capture at around 300 Mb/s.
LIGHTING
If the production already has lighting design, then additional lighting brought in is either unnecessary or counter to the design of the show.
If there’s no lighting in the venue, it’s advised to hire a lighting person, or if it’s unticketed and for video purposes only, consider going with the artistic video shoot route.
If there’s limited lighting, usually from the front or above, and there’s no lighting design/designer and the show will have a static wash, then it’s possible to bring in support lighting, either to fill in shadows or create backlighting to add depth to the look of the performance.
AUDIO
If the production already has an audio engineer, the best route is to determine whether that person can do a multitrack recording of the performance, and then provide with the stem tracks.
If the production has an audio engineer but recording is not possible, another audio engineer can be brought in with a splitter and their own system to capture a multitrack recording.
If it’s not possible or in the budget to have a dedicated audio engineer, then it is possible to bring in a Zoom H6 recording system, which can capture the sound of the room using an M-S mic capsule, plus a left-right XLR feed from the board.
The feed from the board can be either the house mix, which isn’t always advisable, especially with drums or naturally loud instruments on stage, as the audio person will be mixing for the live room, not for listening back, therefore the drums, horns, or other loud instruments may be very low in the mix. Ideally a separate mix can be made by the audio engineer designed for playback, that is equally mixed and a good general representation of every instrument. It’s also possible to take 2 isolated sends from the board (for example, lead vocal and mono piano) to the two remaining Zoom inputs for easier mixing afterwards.
Mixing the show afterwards can be done either by your preferred audio engineer, or by ours, visit the Team section for more details.
SETUP TIME
If no audio or lighting is required, 1 hour before sound check is ample time for loading in and setting up. A sound check is always requested, mostly to get people into place and establish sight light lines. 30 minutes of sound and lighting check is enough to get exposures and general framing set for the show. If any form of audio capture is required by our team, or additional lighting is to be setup, then please give another hour of time to establish that, but doesn’t require everyone to be on stage, just someone who can move about and test mics.
EDITING
Editing a full concert is much simpler than editing studio captures, as there’s only 1 take involved, and the lighting and look remains constant throughout. Standard turnaround time for a full concert edit is 2 weeks, though a 48 hour turnaround can be requested for an additional fee. If there are other assets involved in the performance such as slides or projected videos, there may be an increase in editing costs to integrate those components.
For editing only selected pieces from the show, a preview from one angle can be sent immediately for reviewing for preferred sections. Using minute markers from this preview video is the best way to indicate which sections should be used for individual video tracks.
Once the master audio file is delivered, the video track is synced to audio and exported for delivery. There are several delivery options, which can be read about here.
