[Markbutts]

Typically when adapting live events for television a lighting designer will be brought in to see the concert weeks before the shoot. They will then augment the touring rig with whatever additional lighting they feel is necessary to produce a proper exposure for television. Lots of things go into consideration here, type of music, the visual style of the existing touring production, wants and whims of the artist and concert LD, venue, budget, and recording format.

It’s not uncommon to add ministrips across the entire front of the stage, moving lights for key/backlights of non-moving performers, and followspots for mobile performers. There is usually an audience package, and an architectural lighting package. On large productions, this TV system can get into the hundreds of moving lights. There will typically be a lighting director programming and running all the movers that are part of the TV package. (this is what I do) We will sometime make changes to the tour cueing if there are some TV un-friendly looks, ie green front light on the singer ect. All the followspots and keylights typically get balanced by a gaffer. Depending on the venue, and ambient conditions, it’s somewhere around 50 fc.

I don’t typically try to produce the pristine looks associated with an awards show, but we try to keep the basic rules of TV in mind. No color contamination of the performers, create interesting backgrounds and lots of backlight. A lot of the work is done by the camera shader. Because the looks onstage are changing so often, even our base TV looks can be affected by a big white cue, or blackout ect. Ultimately, it is a concert so we have a little leeway on exposures ect. Sometimes that blown out look is just what the audience needs to know they are watching a concert event, and not some studio shoot.

Mark Butts
http://www.markbutts.com