Lighting guy effed me over

Robert Turchick · June 8th, 2014, 08:51 AM

I've done a fair share of dance and theater videos over the years and here's my take...
First, unless you are willing to dig deeper and go to rehearsals and get involved in the lighting/audio side of things, they are out of your control. I make it clear to my client up front that if they want me to do that, it's extra money. If not...they get what they get. Since they never want me to get involved past the video, i offer to record multiple shows or a dress rehearsal as a backup but at an extra cost. This has actually saved the clients butts on many occasions.
Point is the client has a decision to make. Record the event as-is OR try to make as flawless a video as possible which requires a lot more effort and money. As long as this is discussed up front and is in writing, no problem. And be honest when the client asks your opinion. Say, "the lighting wasn't great and comes across on the video. It's not something I had control over." Of course the client would be at the show and would have seen the same thing so you've done your job.

Mark Kenfield · June 9th, 2014, 02:23 AM

I'd suggest using a slow fade in and out of titles for each dance group to try and cover the black gaps. Keep the full presentation of the music for each performance though, otherwise I agree that it'll probably look like you missed the start of each performance.

If you have any b-roll of audience watching, you might be able to use that for coverage as well.

Mark Ahrens · June 9th, 2014, 05:08 AM

I've had similar experiences over the past year dealing with stage lighting at a particular venue. I believe they're mixing incandescent and led. The color varies widely but my scopes measure a distinct lack of green. I had the best results (not perfect) setting the color balance to around 4000K.
It's a challenge constantly adjusting the iris on 2 angles.
It should be an easy intercut but the CC and audio adjustments are really bogging the work down.
(frequently, a main performer isn't on my XLR feed)
Using Panny AC160a and Canon HFSG30.

June 8th, 2014, 08:51 AM	#16
Robert Turchick Trustee Join Date: Oct 2009 Location: Mesa, AZ Posts: 1,389	Re: Lighting guy effed me over I've done a fair share of dance and theater videos over the years and here's my take... First, unless you are willing to dig deeper and go to rehearsals and get involved in the lighting/audio side of things, they are out of your control. I make it clear to my client up front that if they want me to do that, it's extra money. If not...they get what they get. Since they never want me to get involved past the video, i offer to record multiple shows or a dress rehearsal as a backup but at an extra cost. This has actually saved the clients butts on many occasions. Point is the client has a decision to make. Record the event as-is OR try to make as flawless a video as possible which requires a lot more effort and money. As long as this is discussed up front and is in writing, no problem. And be honest when the client asks your opinion. Say, "the lighting wasn't great and comes across on the video. It's not something I had control over." Of course the client would be at the show and would have seen the same thing so you've done your job. __________________ The older I get, the better I was!

June 9th, 2014, 02:23 AM	#17
Mark Kenfield Major Player Join Date: Apr 2007 Location: Melbourne, Australia Posts: 470	Re: Lighting guy effed me over I'd suggest using a slow fade in and out of titles for each dance group to try and cover the black gaps. Keep the full presentation of the music for each performance though, otherwise I agree that it'll probably look like you missed the start of each performance. If you have any b-roll of audience watching, you might be able to use that for coverage as well. __________________ DREAMSMITHS \| SHOWREEL www.dreamsmiths.com.au

June 9th, 2014, 05:08 AM	#18
Mark Ahrens Major Player Join Date: Dec 2002 Location: Plantation, FL Posts: 239	Re: Lighting guy effed me over I've had similar experiences over the past year dealing with stage lighting at a particular venue. I believe they're mixing incandescent and led. The color varies widely but my scopes measure a distinct lack of green. I had the best results (not perfect) setting the color balance to around 4000K. It's a challenge constantly adjusting the iris on 2 angles. It should be an easy intercut but the CC and audio adjustments are really bogging the work down. (frequently, a main performer isn't on my XLR feed) Using Panny AC160a and Canon HFSG30. __________________ Mark Ahrens www.heritagefilms.net