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Your iMag style
I’m curious on everyones approach to iMag for concert scenarios.
Do you have every camera coming into the switcher (even if your not going to use it for iMag?). I’m on a DFS700P switcher and currently using all inputs but i’m wondering if its neccecary to have ultra wide and wide tracking cameras taking up input space. I’m not to keen on putting up anything thats wider than a full stage shot up on iMag but I would like to know how everyone approaches it.
We direct the shoot for DVD/ISO and then just use the medium/cu shots from FOH and the pit in the iMag mix with some stage/jib shots. How does everyone else do it?
I think basically I want to know if its better to do a 4 cam iMag mix and use recorder backs (and not studio backs) on the other cameras that won’t be part of the mix. Or have all sources coming in. Currently we are running a 6-8 tape ISO rec system with another 2 DSR570 kits up in truss and not used for the imag mix. Everything will be re-cut from the ISO’s for a DVD version. (read: painful ingest period – lol)
Thoughts?
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2 Replies
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Most of the time, I’ll have all the cameras available to me. The thing about iso records is if I have to bust my 45 wide to say, a tight shot of the singer’s g.f. entering from stage right, (or the President of the United States – yes Mr. Clinton unrehearsed did that to me once, the Service guy barely let me know just before he walked out) I’ve still got a cover shot somewhere, and i-mag got a killer look.
I also don’t over call the show – I tend to work with operators who sell me shots and who understand music and flow. And who can spin and pick and roll focus on cue so I’m able to concentrate on flow rather than telling my crew what shots to get all night.
As far as looks to the screen, I try not to put anything wider than a head to toe, except video roll-ins, unless I’m directing for a satellite screen in an ajoining venue – then we cut it like tv.
Cheers,
Frank Otto
“Design is a process by which you create something for a client who has no idea of what they want until they see your design – then they know what they want, but your design isn’t it.”
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The main point of IMAG is the MAG. You don’t switch the same for IMAG as you do for sit-down screen viewing on TV or whatever. The primary point is the best close-up detail of the main talent, for the benefit of the people not in the front row.
Not that you can’t get artsy at times, but you have to keep the two styles distinct, so following my philosophy, you would not need to feed the really wide shots to IMAG for live switch, particularly if you will ISO everything or most things and re-cut a home version later.
What I sense is a desire to reduce the workload for the future re-edit by getting as much done in the IMAG up front as you can get away with. That’s cheating one audience or the other, IMO. Do the best IMAG job you can at the time, while protecting a better post edit.
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