Bodybuilding/Fitness event

[Neal Buconjic]

Not sure which forum to post this to?

I'm a short filmmaker who was recently approached by an organizer of a local bodybuilding/fitness contest to cover the event this spring. Due to the inquiries of many of the competitors who have signed up, he would like a DVD available for sale to these individuals. This is a level 1 competition that will likely have close to 50 competitors.

Having had little to no exposure to these types of events, I've been trying to determine how to adequately cover the event.
There will be a morning, pre-judging show that will allow me more flexibility for camera movement as there won't be as many spectators in attendance. However, in the evening, I won't have the same unrestricted movement in front of the stage.

FYI, the guys will be competing in the bodybuilding portion. Likely 3 or 4 weight classes with 3 to 10 competitors in each class. (To give you an idea how many individuals will be on stage at a time). Bodybuilding is fairly static - for the comparisons, the competitors will be standing side by side performing the same poses so the judges can compare them. Later during the routine portion, each competitor will do a choreographed posing routine (set to music) and will be solo on stage.
Due to a lack of interest in women's bodybuilding, the women will be participating in a Fitness competition. This combines bodybuilding/conditioning with gymnastics and strength moves. Much more dynamic than the static bodybuilding, as these women will be running, flipping, the works.

Just tossing some ideas around:
- I was wondering whether two cameras would provide me enough flexibility for coverage? Hate to have to bring in a third cam as the margin is low already.
- Also wondering what the ideal frame rate would be? I like the 24p look, but was thinking that (with the gymnastics) I should probably do 60 to capture the detail and have some flexibility in post (slow-mo, etc).
- Music. The competitors will be bringing and performing to the music of their choice. This will most certainly be copyrighted material. Do I have any liability with having this copyrighted material on the DVD that I produce? I was planning on getting a feed from the auditoriums mixer.

Thank you in advance for the input.

 

[PerroneFord]

I've never filmed a bodybuilding contest, but I've seen quite a few.

With 2 cameras you're going to be restricted in what you are doing. In broadcast, generally there is a commentating crew that has a camera, there is a backstage camera, a camera just off-stage in the queueing area where contestants are interviewed just after their routines, etc. There are also two cameras front stage, one some distance out covering a wide shot of the entire stage, and one down front where the cameraman can move side to side and cover the contestants up close.

With two camera's you are going to have to give up the "background" fluff like backstage or offstage stuff during the competition. Focus on the wide shot and the solo shot. Bodybuilder are interested in how their muscles look to judges. In this sense it's like a beauty contest or a pagent. The contests may try to upstage each other so be aware that even during the normally static posing late in the competition, they will be jockeying for position on stage and that can wreak havoc with framing.

In terms of audio, patching the house sound probably would be best. You could probably ask for a copy of the music from the contestants if you really want to fool with that. House sound will probably have an announcer on it as well.

Can you get a look at the lighting? This is really where a lot of this stuff falls down. Try to get them to use white lighting without the gels if you can, otherwise it will play havoc with your white balance.

I would most certainly not shoot 24p. Maybe 30p, but most likely 60i. You can de-interlace in post. Also watch the sharpness. Normally, we cut it back for that filmic look, but this is a posing competition, and sharpness and grain count.

I'd love to see a clip of this thing when you get done. I hope you post one.

 

[TimurCivan]

you really need AT LEAST three cameras, rent them and hire operators. one master shot of the whole stage, two Broll cams.

I would shoot in 30P if yo uwant a smoother look, that still has the benefits of Progressive scan images.

Charge the client for the aditional cameras and explain that unless he wants the video to be unwatchabel, they nee the extra crew. if he rejects this, do what you can but, you will have LOTS of trouble.

 

[Neal Buconjic]

Thank you for the feedback guys.

As I stated, the margin on this project is very slim (to be honest, it's not worth the time and effort - but I'd like to get SOME return on my equipment investment), so I'll try to borrow a third cam, rather than renting.

I'd love to provide a first rate, 5-6 camera coverage, interviews, crane/pan/tilt head shots, but the reality is that my client really just expects a locked down camera pointed at the stage the whole time.
It's ME who wants to do it up right. This is the reason I can't make requests for additional $$$ for equipment.

I'm sure you'd all agree, it's your name and reputation on the line - you want to deliver the best end product you're capable of. I have no doubt that I'll exceed the client's expectations, but I want to be proud of it too.

I appreciate the advice, and if anyone else has attended, covered or watched a broadcast of one of these shows, please post your thoughts and input.

Thanks.