Our process is to catch 100% of the content recorded during the session, so that the actual take selected has the actual footage to match. Some b-roll can be captured, but typically used for intros or marketing materials, and not for use in a music video. Multiple takes can be composited together, much like combining takes in an audio edit. Usually small fixes are not captured, as they are unnoticeable on camera, or we can select a different angle for small fixes that do appear noticeable.
CAMERA OPERATORS
How many camera operators depends on how focused you want to be on the music creation/recording process, vs how you want it to look. Many camera operators gives the best visual, but can clutter up a tight space and have extra bodies.
MULTI OPERATOR
Multiple operators can be placed in different parts of the room, or in isolation booths. The biggest advantage to multiple operators is the ability to stay in stations, not needing to move around the room, risking being caught in other lines of sight, or reflections bouncing off of windows. The gentle movement of operators keeps the images interesting and dynamic. Slating is helpful before each take (calling out the tune name and take), and the need to call for “rolling!” Is only required after a break as the session resumes, only cutting when listening back or breaking.
SINGLE OPERATOR
This is helpful to keep tight spaces uncluttered. Static cameras are placed on each player (as possible), with one person moving around stealthily catching solos and other places where some movement helps. Slating is still required for convenience in post-production, but otherwise no “rolling” calls are required, and mostly the operator becomes a fly on the wall. There is an automated moving slider that can be setup as well, but requires a bit of time and space to setup.
NO OPERATOR ON THE FLOOR
In rare cases, it is possible to not have an operator on the floor at all, and the session can be entirely remote recorded. Using static cameras that can pan, tilt and zoom remotely, cables are sent to a control room where the video feeds can be monitored and recorded remotely. This is ideal when the studio floor is at occupancy, or the sensitivity of having no operators present is requested.
SETUP TIME
Typically, our setup time is similar to the audio setup and checks, and are ready to roll when audio is. As it takes longer to setup for a large group than just a couple musicians, the setup time can vary. As a rule of thumb, one hour is requested if no lighting is being used. If there are multiple operators, this time could be shortened. If 4K is requested, please allow 1.5 hours of setup time as some cables and power need to be run.
LIGHTING
We have the ability to light a studio environment 100%. Some studios require this, whereas some do not. This will be considered in the planning and proposal phase. In any case, some backlight or accent lighting can be brought in regardless of how much available light there is to make the images more interesting and three dimensional. These lights are discrete and quiet. We request an additional half hour for accent lighting setup, or a full hour for full lighting setups, in addition to the camera setup time. In an ideal situation, a layout/diagram is created before hand so a game plan is created heading into the day. For very large or complicated setups, a dedicated setup day is recommended.
Please visit our lighting section for more information.
ISOLATION BOOTHS
Helpful for audio recording, but not always visually interesting as it lacks the depth of having multiple people in one frame. Using isolation booths have a particular look in music videos, cutting from one player to the other (or split screen in rare instances), and requires many static cameras, as it’s not often possible to get moving camera operators inside booths, or lacks adequate sight lines to get movement through isolation booth windows. If possible, having multiple people live on the floor keeps imagery interesting and dynamic. A combination of both works great too.
