Live Operatic Performance Recording

kwkeirstead

kwkeirstead

Well-known member
OK, those of us who are 'one-trick ponies" do what we can do - one camera, 60 feet back, slight upward angle due to lack of a platform . . ..

After 3 years of doing these events with my AG-AC160A, the combo of a Libec Tripod/Head (one finger control) plus my Studio 1 Productions remote (no jiggles at the camera), work seamlessly together.

The two accessories are not the only ones available - I would love to have a 7 in monitor, real-time broadcast capability, the list goes on.

Any suggestions for improvements?

https://youtu.be/5-_macB-ff4
 
Not much more you can do. The usual sucky top-down lighting, with lack of fill on the faces. I would focus on audio if you can. Run a long XLR cable and try to get a mic as close as you can to the performers. If it is a space you film frequently ask them if you can run a cable in the rafters if you have to. Get a lower priced pencil condenser and cheap long cable and leave it there!

If you want a cheap monitor try these - http://www.ebay.com/itm/360972255631?_trksid=p2060353.m1438.l2649&ssPageName=STRK:MEBIDX:IT
 
Then, of course, one can add cameras, sliders, jibs, more mics with mixers and so on.
 
Boundary mics, a multi channel recorder, sync in post. There's little you personally can do for the lighting. The image quality is quite acceptable I thought. The most annoying thing for me was the very distracting conductor. Does she really need to stand up? However, that, I suspect maybe outside your sphere of influence.
 
Thanks, Paul...

I do have a separate Tascam DR100 MKII recording done from a tripod positioned just in front of the conductor.

I will synch this audio with the Rode recording I did at the camera using PluralEyes and see what that accomplishes.

The venues are all different and in most cases I only use them 2 nights each per year, so not much opportunity to install/eave cables - some venues have OK sound boards.

I have seen ads on the Zoom F8 - that seems to be a manageable field audio recorder, assuming its pre-amps are not too bad, but no point unless I have my own mics, I suppose.

The monitor looks like a better for-the-time-being investment.
 
If I were in the audience, I would have yelled "Down in front!". How obnoxious the conductor is. Oh well. The only quick fix I would do is add a second camera that is locked for the wide shot. Then you can do all the close-up work. It will save you having some of those uncomfortable moves and framing when the cast moves about the stage and you having to react to it. It will also, of course, give you something to work with for editing a more interesting presentation, with very little additional expense or work. There's nothing wrong with a locked off camera and you on a tripod. So many shows get over produced these days. For this type of show, I think simplicity is a good thing.

If you could only get up a few feet higher to get the head out of the way.
 
Right, I will be doing a repeat of this at the end of this month (different cast/different venue) and the venue apparently has a sloping floor so I should be OK.

I have a mini JVC HD cam that will probably be sufficient for the fixed cam setup you suggest.

Curiously, we had for this same operatic group, last year, a full orchestra and people generally liked the 'look".

Thanks for the good advice.
 
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