4. The art of the mix

Fri - March 3, 2006

With IMAG - Remember to tell the artists where to look..and give them something to look at!

Making eye contact with the audience means looking into the camera for IMAG, but do your artists know where to look? Here's some tips...including a REALLY cheap way of faking a tally light on a FOH camera...read on.

If you don't communicate to the artists where they should be looking, then the emotional connection to the audience from having IMAG at all will be lessened. so during setup or rehersal, remember to tell the artists where the main camera(s) that you want them to look at are.
Once the lights go down, they won't be able to see them so it's best to point them out beforehand.

Of course in a pro gig you would have tally lights on the cameras so they know which one is live, but on VLOBLIVE gigs that's almost unheard of - most prosumer videe mixers don't support tally anyway.
A GREAT way of faking a tally light on the cheap is to buy an LED rear bicycle light - you know the kind that flashes?
Tape this onto the front of the camera with a 'cone' of gaffer tape to keep the light off the audience.
Put it in flashing mode and I can guarantee even in a dark auditorium, the artists will be able to pick out the camera locations and look right at them.
Of course it will run all the time, so they won't know WHICH camera to look at, but we can't make it too easy!!

If this is not appropriate, try the old trick of sticking some white tape in a line on the floor where they need to stand to be facing the camera, and tell them to make sure they are standing on the line.

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Thu - January 12, 2006

how to learn: record your IMAG mixes.

it sounds a bit narcissistic but a good way to learn how to get better at doing video mixing is to record your own mixes to tape or via a fixed DV cam, and watch them back later. Here are some suggestions on how to get the best out of it....

It's pretty certain that the person who will be most obsessed with every detail of how you did in mixing a live gig is you.
During the gig you are usually too caught up in the mechanics to really assess how it is going, so having the chance afterwards to review what you did is very useful.

Also you can't always trust others to really notice the things that make a difference. People saying 'it was really nice' isn't what we are after here.

There are two basic ways to record your mix, each of which has advantages and disadvantages:

1. Record the mixer output to tape or computer

This doesn't have to be anything fancy - just a VHS VCR hooked across the video mixer outputs is fine (in fact there is a good arguement for NOT making a high quality recording - as it prevents temptations to bootleg a tape of the show!).

Whatever format you choose, pick one that lets you record the whole show on one tape. You don't want to have to remember to swap tapes in the middle of a gig. Also try really hard to get an audio feed to record with the video, as watching two hours of only video from a gig is REALLY boring regardless of how motivated you are. This will usually require a balanced audio feed from the PA desk at front of house, so make sure your audio guys know that you want this and plan it into their cable plans. You will need some way of converting the balanced feed on XLR cables into unbalanced phono inputs to go to most VCRs.

The advantage of this method is that you get a good look at critical focus, lighting etc as the cameras actually captured it.
The disadvantage is that since you weren't actually doing a recording of the event, but doing IMAG, you may get a skewed idea of how it all looked to an actual punter sitting in the audience.

It is likely, for example that there will be no wide shots and you will never see the screens in shot (if your campos are doing their jobs properly).That leads us to the second method...

2. Record the show on a static camcorder at front of house

Another very useful technique is to set up a dv cam at the back or at FOH on a locked off show of the whole stage INCLUDING the screens.
This gives a better idea of how your IMAG or playback fits in to the whole show. This can be very helpful to know what shots work or what ones are just distracting. A bonus of this method is that you can usually get a passable reference sound from the onboard camera mics without having to worry about audio feeds.
The disadvantage is that you may need someone to be available to swap tapes, and you also have to watch for people standing in front of the camera etc You may also feel that you can't sacrifice a perfectly good camera to this job, when it could be giving you an extra IMAG source on stage!!

Either way it's important to get an objective assessment of how your mixing skills are improving and this is a handy way to learn.

Finally remember the answer to the question "are you recording this gig?" is ALWAYS no, regardless who asks!!

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Sat - October 22, 2005

Tips to consider when using static cameras for IMAG

Static cameras, i.e. cameras set up on a single fixed shot may seem like an attractive option if you have more cameras than you have operators. They can be very useful, but they have their drawbacks, some of which are outlined here...

It's ironic that in most VLOBLIVE gigs it's actually easier these days to get good cameras than it is to get good operators who can use them well for IMAG. Lots of folk have perfectly decent miniDV cameras that they use for filming their offspring or whatever most of the time, but which can be pressed into service at VLOBLIVE gigs. But what if you don't have anyone to operate them? Or what if you want to get a shot that would be impossible for a person to get, either because it's from a position where they couldn't stand onstage, or it's too close to a performer to be safe.

In this case using a 'static' camera, i.e. a camera locked off on a single shot is definitely an option, but be aware of some issues that can trip you up with this kind of use.

1. Don't overuse static shots - they get very boring very quickly, and as soon as the audience have worked out how you got the shot, the next time they see it they will think "oh yeah, THAT camera again". Don't worry if you only use the shot two or three times during the whole event. The temptation is to think "I've got this shot so I better use it". Like all good IMAG, the audience should understand WHY they are seeing this shot, not just coz you got bored.

2. Be careful about framing - it is VERY easy to line up a shot in rehersal or soundcheck and then for the performer to step out of shot and you have no way to tell them to step back in! This is why static shots work best for static performers. Keyboard players, drummers and percussionists are among the best candidates.

3. Be careful about focus - it is nearly always best to put a static cam in fixed focus, as the danger or focus hunting with auto-focus is very high.

4. Keep the static shot for when there's something worth seeing - this will require some preparation, but if you know there's a keyboard flourish or a drum fill coming and you cut to it just in time it can be very effective.

5. Don't forget to light them well - the static shot is a good case for using specific video lighting, just for that shot, as you know what needs to be lit. An on-camera light is a good option to fill in the shadows but try to diffuse it a bit if you can.

6. Consider buying a pan-tilt head with remote control to give you some framing options. Even if you don't have a pan tilt head, consider getting someone (one of the other camops) to re-position the static camera, say at the interval, to give at least two different framing and positioning options.

7. Consider using the camera remote control to control zooming remotely. You may need to get clever with where you put the camera to allow the remote to still work, or you may want to invest in a Lan-C wired remote.

8. finally consider only using static cams for shots that is impossible for a manned camera, rather than one that could be a manned cam. This will give a motivation for using them and will make the shot more interesting for longer through the event.

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Sun - August 21, 2005

Tips for using intercoms with live camera operators

If you can possibly do it, having wired intercoms, e.g. RTS, tecpro or Clearcom is a great benefit when you are mixing a live IMAG show with camera operators.
But what do you say?
Here are some suggestions...

The first thing to remember is that wired intercoms are 'party line' i.e. everyone is on the same channel and everyone can speak to everyone. This can get a bit confusing, especially during a gig when it gets noisy and camops can't really talk back. It is important that you agree a nice simple communication technique with your camops to avoid confusion.

Speak in a logical order
When talking on comms it isn't always clear who you are talking to, so it's good practice to always say:
1. who you are talking to
2. when you want them to act
3. then what you want them to do,
in that order. This avoids lots of confusion and people moving on shot.
So you would say "Niall, after this shot, can you get the drums?", rather than say "someone get the drums NOW!" :-)

Agree how questions will be answered
- If you ask a camop a question, e.g. " Niall, can you get the harpist?" or "Dave can you zoom in more?" the normal way to answer negatively is to 'shake the head' of the camera, i.e. move it slightly from side to side as if shaking its head. This prevents the camops from having to open up their comms mics which should of course normally be left off to avoid noise spilling onto the channel and making it hard for everyone to hear what is being said. You may need to explain this.

Keep good shots for when you need them
- if someone has a shot you like, but are not ready to use immediately, tell them to hold the shot, e.g. "Dave, hold that shot of the drums." It also helps them understand what kind of shots you are going for so they know for again.
Equally if someone is holding a shot you know you can't use (too dark? wrong framing, etc.) then tell them you won't use it and to change shot. You don't need to say why, just say "Dave, can't use that, try another shot"

You have a better view of focus than they do
- you will get a much better idea of focus on your bigger monitor or on the screens. If someone is out you can just say "Niall, check focus" and they should react, then give them an "OK" to confirm when it is fixed.

Audio tally lights
If, as is often the case in VLOBLIVE gigs you don't have tally lights wired up on the cameras to tell them who is live, you can give an audio tally equivalent. For example say "going to Niall....Niall is live......Niall is still live.....going to Dave....Dave is live...." etc. effectively a running commentary of what shots I am selecting and using. It's fine to NOT go to someone even if you said you would, if you suddenly see a better shot, but let them know.

Prepare for the next bit during gaps
- in between songs, try to talk through what you might do for the next song, so that they can prepare e.g. "OK for this one, lets have Niall sticking on the lead singer, and Dave can you try to get keyboards, and Gordon watch out for the guitar solo after the second chorus.." etc.

Encouragement
- remember to encourage them if you like a shot, or if it works out well. You want to motivate the camops to get good shots, and use their imagination.

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Matching colour balance on multiple cameras

Here's a tip for checking colour balance matching on multiple cameras...

When you are using multiple cameras for IMAG etc. it is important that there is a reasonable match in colour balance between the cameras, so that mixing between the shots the audience are not distracted by someone's blue shirt suddenly becoming purple, or whatever.

One easy way to check this is in the soundcheck or rehersal to get your camera operators to all frame up the same person (or static object) and then use the WIPE transition on your video mixer, rather than the fade, to wipe halfway across the screen so you get one camera in one half and the other camera shot in the other half.

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When to change shot?

The eternal question - when do you go to another shot when mixing live video? ...

At last we get to the ART of mixing. All the technical stuff counts for nothing, if your mixing ends up distracting the audience from what is going on, rather than enhancing.

Chop and change too quickly and everyone will get dizzy. Stay on the same shot too long and they will all think something has gone wrong (unless you only have ONE camera, but that's a different problem)
So it's getting the balance that matters.

Some tips from video editing apply here:

- less is more. resist the temptation to cut (or fade) too often. There is a huge temptation, especially with an individual giving a talk or similar, to cut just because you can.
- cut on action, rather than on nothing. Make your cuts motivated by something in the shot. This gives a reason for the cut, so it makes sense to those watching why you changed shot at that point and makes the cutting 'disappear'. So if someone moves you can cut, or if they look in a different direction, or if they do something different with their arms, or they turn away. You can cut to a different person when they speak or sing, or start playing or stop playing etc. etc.
- another rule of thumb is to cut when you blink (really!) The argument goes that if you are intently focused on something, you hold off your blink until your brain has had enough and can cope with losing a few frames.
- If there is music, the cutting should reflect the timing of the music. Faster music needs faster cutting, slower music might cut less often and more gently. Notice I said REFLECT the timing not MATCH the timing. The temptation is to cut on the beat, but this is generally considered a big cliche now, and should be avoided if possible. That doesn't mean you can't ever cut on a beat, but don't time your cuts to match the beat of the music.

There are other factors that are unique to live video:
- cut away from a shot that you can see is about to become irrelevant
- cut away before the end of a moving shot
- try to anticipate and cut to something JUST before it happens, e.g. cut to the soloist just before they start singing, not just after (You did know there was a soloist, right?)
- always cut away from a dead shot as soon as possible - prolonged shots of peoples feet or the back of their heads or the stage are not recommended.

I am sure there are millions of other rules that could apply, but ultimately it is a subjective thing.

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Song words - overlay or not?

The big question about song words is whether you overlay them on your live video (if you have any) or still images or whether you keep it all plain and simple. Here is my personal viewpoint...

Overlay or not?

It's not a technical question any more, as every presentation package worth its salt will let you put a still image or even a movie behind text. Also, if you have a mixer with a chroma key or downstream key function you can overlay over live video from a camera.

It's more a question of what you are trying to achieve. What is more important? That people can read the words clearly, or that they can see what's happening on stage?

Here are my personal thoughts on this:

- If any of the songs are new to the audience, or they are not used to reading words on a screen you should always start with NO overlay - just words on a plain background.

- You can feature an overlay in a repeat of a song, or in a chorus once folk have seen it once, or if it is repeated later in the set.

- If there are people who genuinely can't see the stage and are relying on the IMAG to see to know when to sing etc. it is OK to overlay from the start, but make sure that your words are positioned on the screen to allow space for the IMAG as well.

- If it is a concert rather than a service or worship event, then I would probably go for overlay, as this balances the requirement to see what's on stage, but to be aware of the words as well.

- if your IMAG is very weak, i.e. you have poor shots, or bad camera positions, or limited number of cameras, or inexperienced operators, then take every chance you get to go to words only, to give everyone a break from the IMAG. The IMAG will work better if used sparingly.

- Always check with the artists. They may have very strong views about overlaying, or they may not mind, but if you don't ask you risk distracting them, or worse offending them.

In general, if there any doubt, play it safe and stick to just words. Restraint is a hard-learned lesson in live video.

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Overlayed text or song words

Overlaying words to a song etc. over the top of live video is a very common requirement.
You can use a feature of the downstream key on a Panasonic MX50 video mixer to make overlayed words more legible.

The MX50 video mixer is a common choice for VLOBLIVE video as it is the least expensive 'proper' video mixer that doesn't need additional timebase converters.
It has a nice feature on the downstream key function that is not immediately obvious.
There is a button marked EDGE which applies an edge effect to the overlayed graphic BUT here is the trick: there are several edge effects - you have to keep pressing the button to cycle round them. You will find one that adds a black border to your text
Here is an example of words overlayed on video with the black edge: