I've read a couple of small debates on here about the use of split screen for dance recitals, utilizing the top half of the screen for closeups of the dancers, while putting the wide shot at the bottom half to keep the choreography intact. I'm curious to see how here many provide this in their work.

I am meeting with a studio tomorrow that could lead to our first large dance recital recording. I've always despised the look of the split screen, not to mention the logistics of getting it into my multicam workflow (I use Vegas Pro and haven't done research on how to do it effectively), but it looks like it's something that the studios in my area have come to expect. If it's a dealbreaker, of course I will give them what they want. However, I've always felt that I'm able to maintain the choreogaphy and still provide tight shots of the dancers - especially the younger ones where that seems to be the most important thing to the parents. The older ones, I keep to a head to toe shot.

I should also mention that the director does not want the cameras any place where they will interfere with providing maximum seating capacity. Meaning I will most likely be stuck with using the control room of a very large high school auditorium to place at least two of the cams. They are newer and have limited zoom capabilities, which also does not lend itself well to this split screen thing.

Thoughts or advice?
Rey

Hi Rey

I did a dance recital a few weeks ago and also was told that "due to fire regulations' I had to be in front of the control room...WAY back and VERY high with the dancers looking like midgets!!
My intention was to have one cam up the top so I could get the audio feed and one nice and close to the stage. My HMC's has 12X zoom and I needed a 3X just to frame the stage!!! Closeups were mostly at 12X so focus was really tricky!! I used a lot of the wide footage to keep the dance teachers happy and just used minimal cut ins from the closeup camera to add variety!!

I don't think they would like a split screen ..are you thinking horizonal or vertical??? Either way you will get a much smaller frame on both the wide and CU's .... If you have any previous footage I would give serious thought to doing a small sample and show them what you are intending otherwise they might just freak out when they see the actual footage.

Sometimes, as already mentioned, people are happy with just a tight shot as possible without missing any action which means you only need one camera (or use the other as a backup)

It's a tough gig to do as you are at the mercy of the theatre organiser about where you can setup and the lighting guy isn't going to do you any favours either!! At best the lighting is high contrast resulting in low ambient lighting but totally blown out faces and skin tones!!!

Chris

Hi Rey,

I've been doing the split screen / PIP for recitals for many years and have got nothing but very positive feedback from parents and studio owners. I agree that in general, split screens are not cool, but for this unique application they can be a necessary evil that customers LOVE. I learned this pretty quick after getting chewed out because mom didn't see enough of Little Sally on the video.

Note that it is not applied to all acts - rather, it is mainly for the little ones that are lined up straight across the stage and remain in place for the duration. Frame up ALL the kids to fill the lower part of the screen on one camera, and then the close-up camera will slowly pan across all kids head to toe. There are two options - shoot the CU full-frame and do a PIP, or keep them in top two-thirds of CU frame and do a split-screen.

The latter option is more difficult of course because alignment becomes critical when shooting. I place both cameras side by side, rear center of auditorium. With the cameras side by side, I can see both LCD screens and by using some of the on-screen data overlays as guides, I can frame both cameras properly for an easy edit without having to move or scale things (still need to adjust in software sometimes).

Now for the disclaimer - this was MUCH MUCH easier when shooting 4:3 video. Now with widescreen, there is less "empty space" in the top of the frame. Basically, PIP is no longer a decent option and split is the only way it fits good.

I just remembered that I had done a blog about this, hope it's ok to post here - http://www.sharbor.com/tutorials/1681.html

As mentioned, the split techniques are mainly for little kids, or Irish / tap dances, anything where kids are lined up and NOT moving around. For the rest of the dances, I try to stay with the action and keep everyone in frame, but NEVER go any closer than head to toe. I have seen many videographers get in trouble with the studio for shooting tight shots, that's not what they want. We have to put aside our creative ideas and give the customers what they want. I had a friend that did recitals and he was trying to add slow-motion and stuff to the ballet and boy did he get in trouble!

For older kid dances where they move around a lot, one camera keeps ALL performers in the shot at all times, while the other camera can do closer head-to-toe shots. For instance, the performers may split into 2 or 3 groups on stage for part of the number, and only one group moves at a time while the others remain stationary, then you can cut to the close up shot of the group that is moving. Dissolves? Use sparingly, maybe on a slow solo. Transitions draw attention to themselves and are generally annoying for this type of work, use cuts 99% of the time and they are invisible when timed right (the PIP or split does use a quick dissolve in/out like 15 frames, I'm talking about full-screen shots being cuts).

I don't use MultiCam to edit these - simply overlay the WIDE shot over the CU, then scrub through the CU clip and cut out the parts you are not using, to reveal the wide shot beneath. Same way I do wedding ceremonies. The wide shot is assumed to always be good to use when the CU is not.

Hope this is helpful

Jeff Pulera

Thanks for the tips, guys.

I primarily shoot choral concerts and showchoirs & have done a few smaller recitals, so I'm very familiar with what I'm up against. I do have an interview with the owner/director, so I can get a better idea of what she is looking for and what I can do to find some common ground (if possible). At some point, I'll just have to suck it up and set aside the habits I have from shooting so many choral shows.

Thanks for mentioning the dissolves too. That's something else that I see in EVERY recital video. I only use them for instances such as a singer performing a slow song.

On the good side, I have recorded many shows at the venue they use.

For dance recitals, I generally shoot a wide shot showing all the dancers, but tight enough so there's no dead space top, bottom, left or right. Dancers want to see everything head to toe, with everybody included in it. It's tight enough so they can see individual performances as well as the entire ensemble. I think the only appropriate time for closeups would be in a "break" of the action when nothing is artistically happening, though these may be far and few between for dance.

One of the biggest mistakes I see for dancing is when the cameraperson is too tight and allows the dancer to leap out of frame (heads and/or hands get cut off.) The position of the hands and feet are very important when looking at the "lines" of the dancer. No part of the dancer should ever be cut off.

In my opinion, a split screen is a distraction to the dance because it forces you to watch 2 poorly composed images at the same time.

I author the DVD such that two versions can be seen:

1. A track with cuts between the wide cam and the close cam as I deem to be the best balance of the two.

2. A track that is ONLY the wide cam with all dancers in frame that has identical chapters and sound as #1

Their DVD plays both ways. Everyone wins! I get to showcase what I think is the better artistic (from video standpoint) version and yet they can be sure to watch the track that doesn't miss a single hand or foot if they choose. Otherwise, there's really no way to please everyone. Any close-ups at all and someone's not happy.

Interesting idea. I have used split screens only when dealing with duets, trios, and quartets and the dancers are on the sides of the stage. The split screens are employed for a very short time, then it is back to full screen for one of the three cameras. I'm going to think about longer use of split screens for some pieces.

Hi Tim

You are Oh so right!!! I did a recital just before Christmas and the dance teachers are now worried that some mother's will feel that I favoured another's child!!! I'm considering actually scrapping the two cam shoot and just giving them wide angle thru each song so there is no favoritism!!!

My problem is that I have each recital running for 2 hours so one fills a DVD so I would have to have a dual set for each show as I already had to drop the bitrate to squeeze the clips onto one DVD!!!

It sounds like you really HAVE to provide footage throughout that doesn't favour (or seem to favour) any one child.

Chris

I shot these events with three cameras. All cameras are placed in the center access aisle of the local performing arts theatre space, about 60 feet (about 18.5 meters) from the stage. Center cam is locked in place and not manned. Framing is to the first set of masking leg curtains. This allows the size of the dancers a similar scale between the other two cameras, which have operators. The theatre allows us to use the house intercom (double-muff clear-com system). Left and Right cameras can coordinate shots while being able to communicate with stage manager, sound board operator, and lighting operator. Left and right cameras are always at different focal lengths, but can adjust more closely when conditions allow.

Our biggest issue is we, like the dancers, have about four hours rehearsal to get familiar with the space. We are at the biggest disadvantage because rehearsal is the first time we get to see the choreography. This forces us to "shoot from the hip" most of the time, all the time hoping we are following dancers the way the choreographer intended.

I offer two versions for purchase. My cut, which involves all three cameras, and the "choreographers cut" which is center cam only.

Performances are usually delivered on two discs, each involving about one hour, 45 min.

Wish I could offer both versions on one disc, but I don't think that is possible.

Anyone have any good suggestions regarding online delivery?

Has anyone mastered a DVD with multiple angles for this? The advantage would be the viewer could switch angles as desired during the dance.

Hi Waldemar

I really like that idea!!! A multi-camera clip and then a choregraphers clip. My end result was a two camera shoot with one locked down. The only person so far to show some anguish was the dance teacher..and it seems reasonable that she isn't interested in how pretty Penelope's costume was!! She wants to see the choreography wide screen from start to end.

Do you offer each shoot on a separate DVD ????? I think this might be the answer to my problem..it was be a simply task to edit the two video track render to a single track simply by just eliminating the second cam which was the closeups, and according to the teacher might be seen as "favouring" various dancers (which didn't happen but some were in shot more than others)

I think I might email the teacher and offer parents the choice or either DVD !!

Chris

I've found that the larger companies in our area provide each recital with both a "choreographer's angle" and an edited version on two separate discs. Unfortunately, those same people also squeeze 2.5+ hours onto a single DVD - something that I am not willing to do.

Each of my recitals were pretty close to 2hours so I would just have to either give them a 2 disk set which means an extra disk to burn and print (assuming you use a double case) OR would it be feasible to offer either version at the order stage??? You could maybe even give a small discount if they take the 2 disk set otherwise they decide whether they want version one or two.

Chris

Hi Waldemar

I really like that idea!!! A multi-camera clip and then a choregraphers clip. ....

Chris

I've long known choreographers prefer to see the entire stage when watching dance. This is because dance is a linear art form. It is the progressive accumulation of movements that gives the performance depth and presence. The spatial relationships between individual dancers are key compositional elements of the art form.

Once dance schools lock onto the idea that the "choreographers cut" can be part of a portfolio, the teachers and a few of the better students want a copy. The bulk of my orders are my edit from three camera angles which tend to have tighter focal lengths and allow individual dancers to be recognized.

I offer a choice. I like it when some parents order both. Like another post here, I don't like over compressing the video just to get 7 gigs of video onto a 4.3 G disc, so offering a choice of two different camera angles isn't an option for me. Besides, I've never made a DVD that way. Not sure how to begin the process. I also offer to make portfolio discs (mp4) and audition discs of specific pieces for an additional fee. Not too many takers there. Not that many students actually pursue a professional dance career.

To make editing easier I place the center cam on video track 1. That way I can export only it for the choreographers cut.

I do not do split screens. Not that I'm necessarily opposed, but it has never seemed useful.

As others have suggested, it is not uncommon for me to provide two or three versions of a video for my clients.

Thanks Waldemar!!

Sadly I didn't offer an option at the order stage and I REALLY should have done so..it would have kept people a lot happier. Then again only the principal dance teacher has expressed concern that all the orders are multi-camera!! She naturally would be only looking at choreography whilst mother's of the 5 and 6 year olds might be more interested in their cute little daughters and not the totally out of time dance routine!!

Pity, as I have already processed close to 100 disks and they are all multi-camera..but I have offered to supply the parents that want it, a choreography version.

Chris

Split screen throughout the whole dance?
Makes me think of Mario Kart... LOL.

To me, I would have a separate timeline on the final DVD/Bluray that has the static/master shot, so people can watch the full routine.

Hi Guys

I'm not too sure whether a split screen would go down well??? I have had around 120 parents order our DVD and so far 3 only have admitted that they would prefer the wide only version...I'm happy to churn out an extra 3 disks to keep them happy next year.
Maybe next one I will ask them what they want ....tick column "A" or column "B" then they really cannot complain. Each of the 3 that wanted the wide only cut, were NOT in the audience but were the backstage 'mums' that were helping with each group so maybe they are more interested in the choreography ???

On the next one I will engage in a lengthy discussion with the Dance School to see what is the best way to go regarding orders.

Chris

I author the DVD such that two versions can be seen:

1. A track with cuts between the wide cam and the close cam as I deem to be the best balance of the two.

2. A track that is ONLY the wide cam with all dancers in frame that has identical chapters and sound as #1

Their DVD plays both ways. Everyone wins! I get to showcase what I think is the better artistic (from video standpoint) version and yet they can be sure to watch the track that doesn't miss a single hand or foot if they choose. Otherwise, there's really no way to please everyone. Any close-ups at all and someone's not happy.

I'm rather new to this editing idea. Would someone please explain what Tim means?
How can you have two tracks on one DVD show at the same time?
Maybe he means: put track 1 as chapter 1 and maybe track 2 as chapter 2 on the DVD ???

I assume that Tim is talking about multi-angle which was one of the features of DVD that was strongly promoted when DVD was launched but is little if ever used except in some porn discs (so I have heard:-)

Thanks Nigel. I never knew that feature was used. Do you(or anyone else) know if I can use that feature using CS 4 ?

Multi-angle isn't available in CS5 so by deduction it's not in CS4 either. Adobe Forums: Encore CS5 and multi-angle… (http://forums.adobe.com/message/3245677)

Nigel, at the risk of making you "tired of my questions", I emailed Tim Bakland about his technique. Here's his answer:
" Hi Tom,
I just merely created two different tracks with two different links to the tracks (yes, it means it is only good for short enough recitals and means using a dual layer disc) and of course the tracks use the same audio track.
Tim"

Well, I know he is a very busy fellow, but I simply do not understand his answer....Maybe you do. What does he mean to put "two different links" on a DVD ?? Are these like chapter title buttons on the menu??

Tks, Tom

Hi, Tom,

Never too busy to answer an honest fellow like you! (And would have continued the email conversation if you had written back!) :)

All that I meant is that I create a second option in the menu of the DVD so that there are two tracks linked: 1. To the wide-angle view track (with the regular audio track) and 2. Two the edited together angles (as I see fit artistically) over that same audio.

So, this means having ONE audio file used twice in the DVD and TWO video files. Does that make sense?

Tim

I assume that Tim is talking about multi-angle which was one of the features of DVD that was strongly promoted when DVD was launched but is little if ever used except in some porn discs (so I have heard:-)

Not at all, Nigel! :) I was simply meaning that I give both options on the DVD menu. 1 - first, to watch it from ONLY the wide angle. Second, to watch it the way I spliced the two together at my discretion. No porn!

The multi-angle idea seems neat though. While researching I found a yoga instructional DVD that used this feature. It's really just a neater version of Tim's two chapters that you can flip between with one button push. It's just a shame that not many DVD authoring packages support it.

... and of course how many people know how to activate it on their DVD machine. I asked my wife and she didn't know what I was talking about!

The reality is that there are two very different audiences, so two different products make the best sense.

It's actually not just the choreographers who needs wide only. I do a lot of work with education, and get sent all sorts of dance DVDs used as evidence of grades. Sadly, I have to reject many of the nice looking ones because I need to follow an individual dancer to verify they have covered specific criteria, and when the camera cuts to somebody else, then back, I lose continuity and cannot verify the grade, because I didn't see all of it. I need a wide angle only - which of course is very dull - but that isn't important for my use?

... and of course how many people know how to activate it on their DVD machine. I asked my wife and she didn't know what I was talking about!There should be a dedicated button on the remote control.

And this whole dilemma gets exacerbated when (especially modern choreographers) use video backdrop on a screen behind the dancing. Yikes.

It doesn't seem to me that the multi angle process was explained well enough . . . so for the benefit of those still confused:

-Create a master timeline with the wide angle and audio.
-Duplicate it and edit in the other angles. This timeline would be output without audio.
(you could also simply edit the other angles on separate tracks then deactivate them when outputting)
-What's important is that both final video streams are the same length, to the frame.

In the DVD authoring program (i would use DVD Studio Pro), the second timeline is designated as the alternate angle. The viewer can then use the angle button on their dvd player remote to toggle between the 2 edit streams.
If using a dual layer dvd, the compression shouldn't be bad for a 2 hour program. Are there compatibility issues with dual layer? Is that why it hasn't been adopted?

This is certainly a more elegant solution than a 2 disc set or having to require a client to decide before seeing the final product. I would put something on the disc cover or a separate 20 second demonstration chapter on the disc to explain the feature.

Hi Guys

Well my Christmas Dance Recital had the teachers a bit worried but I have so far supplied a total of 130 DVD's and all of them have been dual camera...At this stage just a mere 3 Mum's want a choreography cut so it's probably cheaper to just duplicate a dual cam shoot so Mother's can see their little darlings up close and then offer a choreography DVD for those more technically inclined!! I was quite happy to toss in an extra 3 wideangle only DVD's to the Dancing School at no charge and they are happy!!! Probably less work and less hassles than doing a dual video track and have them coming back to you asking how it works!!

Chris

Around 2004-2006 I had some Dancing groups requesting multiple angle DVD's (did one as a test for one convention and other organizers really liked it). In that particular case, the clients didn't care about a drop in quality and preferred to see their every movement during the dance competitions. There were 4 video tracks sharing the same audio: the Default mixed version, and then an angle for each of the three cameras. DVD SP worked fine with it. Due to the quality drop I used Cinemacraft Encoder to get the best picture at low bitrates. The final result spanned 4 discs (cheaper than 2 dual layers at the time) and orders made it worth the effort. Haven't done any since, nor has anyone been willing to pay for the extra time involved.