tag:blogger.com,1999:blog-52074954178008575882024-03-20T04:57:43.914-07:00ZamaconaDirectsFrank Zamacona has directed over 60 operas for simulcasts, theatrical distribution, television, DVD's and Opera vision at SF Opera, Seattle Opera and the Opera Company of Philadelphia. He has directed the Messiah performed by the American Bach Soloists at Grace Cathedral in San Francisco.ZamaconaDirectshttp://www.blogger.com/profile/15481553687598070485noreply@blogger.comBlogger45125tag:blogger.com,1999:blog-5207495417800857588.post-80923901356166466462020-10-07T07:19:00.004-07:002020-10-07T20:57:14.226-07:00<p> October 5 and 6, 2020</p><p><br /></p><p>The principal singers at the Cox Center in Tulsa on Monday. We recorded a wide shot with our handy camera for blocking camera shots. All the principals where 40 feet away from each other. </p><p>Tuesday we started the first pass at blocking our shots. I know that we will have to change some of them because the dimensions of the ballroom will be different than the ball field. The show is Friday night, so I hope I don't have to be up all night Thursday changing shots. Let's have fun!</p><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjg3izXRVwLSBRgFvkSMoefUxirD4huoby6T0dExJcG1W94YmO9KgIzQ3sKuPYTK6oZznBFHPHG0PyZ9m7zPpRYlESWwwQ4zTbufF52OBBhAgn-j71tyB81bZQysYjr7OEzHEJEx95ZxlTR/s640/IMG_3876.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="480" data-original-width="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjg3izXRVwLSBRgFvkSMoefUxirD4huoby6T0dExJcG1W94YmO9KgIzQ3sKuPYTK6oZznBFHPHG0PyZ9m7zPpRYlESWwwQ4zTbufF52OBBhAgn-j71tyB81bZQysYjr7OEzHEJEx95ZxlTR/s320/IMG_3876.JPG" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;">Rehearsal at Cox Center. Plenty of social distancing.</div><div class="separator" style="clear: both; text-align: center;"><br /></div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-P-_cuvJdPjnI43_UGUAv6BAMs8oTZlKtRqLPPdWXe9PIyi_QAC_D5h9u4zP98roaNfDHHHIcDoI5N3k6xZ2Js-ECZd4nfM1-I5Ffkmfop8OpLnHTlYxgoduRSDZpstkKmU00YKa254Si/s640/IMG_3878.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="480" data-original-width="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-P-_cuvJdPjnI43_UGUAv6BAMs8oTZlKtRqLPPdWXe9PIyi_QAC_D5h9u4zP98roaNfDHHHIcDoI5N3k6xZ2Js-ECZd4nfM1-I5Ffkmfop8OpLnHTlYxgoduRSDZpstkKmU00YKa254Si/s320/IMG_3878.JPG" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div> Blocking camera shots in the score.<div><br /></div><div><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><br /><p><br /></p></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsqeC2ZR8_YeKC3cu8RzcryhQT6sD99-VTjOVFqWvmwMcdSxwK27HbokTcUO2WuPo6pl4a2xVjqHqTy4lKxS-3ujyVzUs4zSopE9DLliAl_dOk7CCiuDSUOurdyj5rDsvaHcGKvnTRW6IT/s640/Rehearsal%2540night.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="480" data-original-width="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsqeC2ZR8_YeKC3cu8RzcryhQT6sD99-VTjOVFqWvmwMcdSxwK27HbokTcUO2WuPo6pl4a2xVjqHqTy4lKxS-3ujyVzUs4zSopE9DLliAl_dOk7CCiuDSUOurdyj5rDsvaHcGKvnTRW6IT/s320/Rehearsal%2540night.JPG" width="320" /></a></div><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> Rehearsing Wednesday night. Interesting the </span><br /><div><span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> cast had a wider "stage" so their movements covered</span><br /></span></div><div><span><span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> a lot more territory so we will be reblocking shots</span><br /></span></span></div><div><span><span><span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> tomorrow morning getting ready for another rehearsal</span><br /></span></span></span></div><div><span><span><span><span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> tomorrow night. Get some rest.</span><br /></span></span></span></span></div>ZamaconaDirectshttp://www.blogger.com/profile/15481553687598070485noreply@blogger.com0tag:blogger.com,1999:blog-5207495417800857588.post-74252548833400885212020-10-05T07:30:00.002-07:002020-10-05T10:50:53.893-07:00<p> October 5, 2020</p><p><br /></p><p>I am in Tulsa to direct the capture and IMAG of Rigoletto in Drillers Stadium Ballpark. For all those baseball fans, it's one of the LA Dodgers minor league clubs. Yes, we will shoot in the Diamond with 5 cameras. It will be a 90 minute version a Rigoletto (usually it's 2hr and 30 minutes including an intermission). It will be a taste of opera for the fans and first time fans who attend. The singers will be in the infield near each base which are 90 feet from each other. The orchestra will be at the backstop behind home plate and the chorus will be either in short left or short right field. Great to use baseball lingo.</p><p>My cameras will be high home looking at the grande wide and also doubling up to get the close ups. It has a 44x1 lens. Two other cameras will be on 6" risers to just behind home plate to pick up singles of the singers and head to toes. The other two cameras will cross shoot from the 1st and 3rd base side to compress duets and quartets. That's the plan today. Going out to the Ballpark for my first site survey this AM. We have been prepping this shoot over the phone during this pandemic. </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEfTPtZLncd10G0m-SgMTNnfVcGjTNXlwXbfYoqLqr2z0voZcbGrspL21tYLv_KOTX7sTjx3US4I8gUEUOknYDb9jGyoNXHMeQrkwvzoBgkdYgevKfyyGIE6m_PSvUTvhXPrDz3ZhugjTF/s640/Sketch.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="480" data-original-width="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEfTPtZLncd10G0m-SgMTNnfVcGjTNXlwXbfYoqLqr2z0voZcbGrspL21tYLv_KOTX7sTjx3US4I8gUEUOknYDb9jGyoNXHMeQrkwvzoBgkdYgevKfyyGIE6m_PSvUTvhXPrDz3ZhugjTF/s320/Sketch.JPG" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div> Here is a diagram of the field and position of singers.<div><br /></div><div>Here's a photo of the ballpark as the grounds crew get it ready. They are changing it from a soccer configuration back to the baseball. They will build up the pitchers mound.</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQ4nMVVEwEQHi1MvtOdBnczcPSW5olLVlsg65IVWTJ5taLUCk8ADlDnMDN-S7RTdhyEZIh25oe4q8UpRIE5bmyi-MFGnEQ3RrZYL5wSPg2LorKfbD7cGwPc4PJczBFY2EO1wdXwFRqKLGa/s640/6A26CC23-2E51-4B51-ACF0-47783A2FBB25.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="480" data-original-width="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQ4nMVVEwEQHi1MvtOdBnczcPSW5olLVlsg65IVWTJ5taLUCk8ADlDnMDN-S7RTdhyEZIh25oe4q8UpRIE5bmyi-MFGnEQ3RrZYL5wSPg2LorKfbD7cGwPc4PJczBFY2EO1wdXwFRqKLGa/s320/6A26CC23-2E51-4B51-ACF0-47783A2FBB25.JPG" width="320" /></a></div><br /><div><br /><p><br /></p></div>ZamaconaDirectshttp://www.blogger.com/profile/15481553687598070485noreply@blogger.com0tag:blogger.com,1999:blog-5207495417800857588.post-13439772958304055832016-04-09T11:25:00.001-07:002016-04-09T11:25:16.438-07:00OperaVision: A New Twist on an Old Classic at the San Francisco Opera<a href="http://plsn.com/current-issue/35-video-world/19192-operavision-a-new-twist-on-an-old-classic-at-the-san-francisco-opera.html">OperaVision: A New Twist on an Old Classic at the San Francisco Opera</a>ZamaconaDirectshttp://www.blogger.com/profile/15481553687598070485noreply@blogger.com0tag:blogger.com,1999:blog-5207495417800857588.post-25349068123172754802015-10-04T20:57:00.001-07:002015-10-04T20:57:30.935-07:00October 4, 2015 - Lucia di LammermoorThis afternoon the HD crew and I watched and recorded our first look at the Final Dress Rehearsal of Lucia Di Lammermoor at SF Opera. We captured this afternoon's rehearsal so the marketing group at the opera can promote it on the SF Opera's website and it gives us a rough rehearsal for future camera blocking.<br />
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The cast was terrific and strong. We will capture this opera for potential distribution. This Lucia has a futuristic tone and look. We will be capturing it on Oct 11, 16 and 21. If you are in SF come by and enjoy Lucia Di Lammermoor. <a href="http://sfopera.com/Season-Tickets/2015-16-Season/Lucia-di-Lammermoor.aspx">http://sfopera.com/Season-Tickets/2015-16-Season/Lucia-di-Lammermoor.aspx</a><br />
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to be continued...ZamaconaDirectshttp://www.blogger.com/profile/15481553687598070485noreply@blogger.com0tag:blogger.com,1999:blog-5207495417800857588.post-77868137192239278732015-07-06T20:56:00.000-07:002015-07-06T20:56:02.744-07:00July 3, Simulcast - How it happenedThis was SF Opera's 9th at AT&T Ballpark. It was a challenge. Figaro had a young cast who not always hit their marks. We had to improvise some of the time but that is part of live television. Overall my crew did pretty well. We had a couple of bumps in the road but it flew by, even though we started at 7:30 and ended a little after 11 pm. At the first intermission, the head of Team HD, Jessica Koplos ( Director of Electronic Media at SFOpera ) sent over the traditional hot dogs and garlic fries. We felt like we were at the Ballpark.<br />
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At the second intermission, all cameras changed over to the 16x9 format for our Open Curtain demonstration. This is were staff members from the opera explains what happens during the intermission. The audience at the opera house and at the Ballpark got to see first hand of what the carpenters, grips, electricians, props and stage management do to get ready for the next act.<br />
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After this 10 minute demonstration we switched back to 29 x 9. Act 3 and 4 went into overdrive and before we knew it we were into bows. The bows had the cast and orchestra show up in Giants hats, scarfs, foam fingers and T-shirts. Over 30,000 showed up. It was a blast! See everyone next time!<br />
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ZamaconaDirectshttp://www.blogger.com/profile/15481553687598070485noreply@blogger.com0tag:blogger.com,1999:blog-5207495417800857588.post-87401697434650246602015-07-06T20:38:00.000-07:002015-07-06T20:39:00.147-07:00Day 18 - Simulcast Friday - July 3Okay, I skipped a few days in the blog. On July 1, we captured Les Troyens for the last time.<br />
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On July 2, I changed over 250 shots. Why? The format of 29 x 9 is so wide that it covers lots of territory. So instead of going to cutaways of singers, we might see all of them on a single shot.<br />
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Today - July 3 - Jess (AD), Gary (LD) and I went to AT&T this afternoon to check on how the lighting looked in the 3 acts. We decided that the background light in Act 1 should come up. Here are some photos from Today's visit. <br />
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Me and Gary (LD) checking out the AT&T Projection</div>
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Visiting SFO sound engineer, Alava at the mixing board near home plate.</div>
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Gary decided that for tonight's opera he would add some background light for Act One.</div>
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I think it looked really good and made the singers pop even more.</div>
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I just realized that I have not explained where my camera positions are in the opera house:</div>
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<span style="font-family: Times;"><b>Camera 11</b> - Static camera for the Maestro.<o:p></o:p></span></div>
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<span style="font-family: Times;"><b>Camera 10</b> - overlooks the stage from above. Almost a straight down overhead look.<o:p></o:p></span></div>
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<span style="font-family: Times;"><b>Camera 9 </b>- Grand wide shot from the first balcony
rail. This camera can also pickup the percussion group in the pit and
the woodwinds.<o:p></o:p></span></div>
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<b>Camera 8</b> - also on the rail but 20 feet left of
camera 9 which gives me an off center wide look and can zoom into the chorus
and give me dramatic zoom outs as well as zoom ins. This angle can also
give me two shots-head to toe and group shots when needed. This off center look is one of my favorite angles.</div>
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<span style="font-family: Times;"><b>Camera 7 </b>- Located on the orchestra level (main
floor) back of house - long lens 42 x 7. This will give me extreme
closeups as well as medium wide shots.<span style="font-size: 16pt;"><o:p></o:p></span></span></div>
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<b>Camera 5 and 6</b> are in the pit and pickup singles
and group shots of the musicians in the orchestra as well as pan and zoom in to
the action on stage. Some of the most dynamic and impressive shots come
front these camera positions. The extreme close ups are stunning as well
as the wide shots. These two cameras can make shorter performers look taller.</div>
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<b>Camera 1 and 4</b> are in the walls of the opera house far left and far right. This lets me great over the shoulder shots and compresses three to four performers. The lenses on these cameras are 26 x 9.</div>
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<b>Camera 2 and 3 </b>are located under the first balcony, above the heads of the orchestra level seating. These two cameras get me closeups, medium closeups, medium masters, stage wide and head to toe framing. Cameras 2,3 and 7 are constantly working.</div>
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<br />ZamaconaDirectshttp://www.blogger.com/profile/15481553687598070485noreply@blogger.com0tag:blogger.com,1999:blog-5207495417800857588.post-65539050095204129822015-07-03T18:37:00.000-07:002015-07-03T18:37:20.782-07:00Day 15 Sf Opera's Marriage of Figaro Simulcast at AT&T Park in SF, July 3Day 15 - June 30 Captured the last Two Women performance at SF Opera. <br />
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Besides directing the capture, one of the camera operators and I go up to the Upper Balcony during an intermission and ask the audience their opinion of Opera Vision. We have been doing this for the last 8 years and have been always surprised. Here was our experience.<br />
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<span style="font-family: Helvetica; orphans: 2; text-align: -webkit-auto; widows: 2;">"Last Night after Act one of Two Women, camera operator Doug Hunt and I went up to the Upper Balcony to visit "our opera vision audience." Out of 12 interviewees, only one did not care about the screens. By the way, he was with a friend who thought the screens greatly enhanced his opera experience.</span><br />
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What was really "cool" for us was that two of the people we interviewed told us that they initially hated opera vision when it first began 8 years ago, but now, they loved it and plan their season around it. The one woman who I interviewed who thought it was a joke when opera vision first came out 8 years ago told me that she wrote a very nasty email to the opera saying how she hated it and thought it was some sports nuts idea! She was happy to tell me that now she believes in it and really enjoys the closeups and hopes that by telling me how much she enjoys it that it will absolve her from the negative email 8 years ago. </div>
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The capture had a couple hitches. Camera 3, our wide master went down during the show, so we had to use a wider master from the upper Balcony. This was a little too wide. I went to a quick sequence where there was no one there. I was too quick fro my own good.</div>
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If this is ever distributed or streamed it will have to be edited. Overall it was a pretty good live cut.</div>
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ZamaconaDirectshttp://www.blogger.com/profile/15481553687598070485noreply@blogger.com0tag:blogger.com,1999:blog-5207495417800857588.post-46880508790637114512015-06-29T18:49:00.002-07:002015-06-30T11:34:46.370-07:00Day 14, Sf Opera's Marriage of Figaro Simulcast at AT&T Park in SF, July 3June 29, 2015<br />
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Today was adding a few more shots and meetings. Our production team met over the July 3 rundown and it was put together by Francis Crossman our ace editor at the opera. <br />
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The director's team did as much as possible to finish off Figaro. Tonight will be our shakedown and by that I mean our backup recording for the AT&T simulcast. What I mean by backup is that if something goes technically wrong at the Opera House on July 3. What we tape tonight will be shown at the Ball Park. We haven't had to do that in all of the years I have directed but like they say, "There is always a first time." However, I remain positive.<br />
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I joined my camera crew for a brief review of Act 3. Glad I did as I changed some framing and descriptions on the shot sheets. At the opera we have what we call shot driver and is pushed by Uwe, our engineer in charge who is also watching all recordings. Here is a paper version of the shot driver:<br />
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Working the Directing team until show time, gotta go!</div>
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<br />ZamaconaDirectshttp://www.blogger.com/profile/15481553687598070485noreply@blogger.com0tag:blogger.com,1999:blog-5207495417800857588.post-1280470057561094362015-06-29T11:02:00.000-07:002015-06-29T11:02:50.282-07:00Day 12,13, Sf Opera's Marriage of Figaro Simulcast at AT&T Park in SF, July 3<div style="font-family: Helvetica; orphans: 2; text-align: -webkit-auto; widows: 2;">
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Day 12 - June 27, 2015</div>
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Spent some time adding 250 shots to Figaro and asked the Associate Stage Director, Morgan Robinson if she could have the gardener, Antonio move between Figaro and the Count during two musical systems (about 10 measures). Right now Antonio is "buried" behind the supers and chorus so the cameras cannot see him. We will see how it works on Monday our rehearsal day for the simulcast.</div>
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Day 13 - June 28,2015,</div>
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Sunday was our 2nd capture of Two Women and also an opera vision afternoon. We had a good show and we will make a few changes for our final capture later this week.</div>
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Once in awhile I take BART into San Francisco. This blog is about my trip on my way back home and some unexpected reviews of my crews work.</div>
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<span style="font-family: Helvetica; orphans: 2; text-align: -webkit-auto; widows: 2;">Today was our second capture of Two Women and as usual was our best capture to date. The afternoon crowd loved the show, as all of the audiences have during our captures. I suspect the other performances in between our captures are also popular with the audiences too. I confirmed that as I was waiting in line at the Civc Center BART station waiting to go through the turnstiles as the Pride parade masses were jamming their way onto BART. Next to me were two opera goers who I identified with a program in their arms. I asked them what they thought of the opera and they gushed about it. They said that they had been reading the critics and they thought that the critics were wrong and enjoyed every moment of the opera. I wanted to ask them more questions but they, like me got lost in the sea of pink and rainbow people racing their way to the BART trains. My opera adventure did not stop there. </span><br />
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As I boarded my train, I encountered a young couple (early 40s) with programs and I asked them what they thought. They both enjoyed it. In fact, they went on to tell me that they were in the upper balcony and were so happy because they not only had great sound but they could see the close ups on the screens and said they loved all the angles and felt like the were watching a film. They could watch the stage or go back to their screens. Now without me giving away of who I was they kept going. They told me that they design their 4 to 5 opera visits a year based on opera vision. That's the way they saw Show Boat, Moby Dick (they DVR'd the PBS broadcast too) and many others. They buy 4 tickets per opera and they also bring their 16 and 14 year old. They also mentioned the critics were negative but they couldn't understand it because "hey it's an Italian opera and it sounded like one!" My stop was coming up and we said our goodbyes with them saying that I should tell someone at the opera how they felt. I told them I will!</div>
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See you tomorrow,</div>
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Frank Z.</div>
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ZamaconaDirectshttp://www.blogger.com/profile/15481553687598070485noreply@blogger.com0tag:blogger.com,1999:blog-5207495417800857588.post-43493857212780227282015-06-26T14:39:00.002-07:002015-06-29T11:06:54.830-07:00Day 9,10,11, Sf Opera's Marriage of Figaro Simulcast at AT&T Park in SF, July 3Well here is Day 9, 10, 11.<br />
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Day 9 - June 23.<br />
Here is Part 2 of my interview with Nat Koren, who works in the Sound Department at SF Opera.<br />
I asked Nat how the sound signal gets out to AT& T. The video and audio is sent through fiber optic to the Ball Park and converted from an optical to electrical signal. The video and audio is split and Nat takes the audio signal into his board at AT&T. He mixes about 400 feet from the Loudspeaker arrays in the outfield. Light travels faster that sound and light in this case is video. Sound takes a half second to reach the seats, so Nat has to make sure his delays are set so sound and picture are in lip sync. Once he is set, he mixes the sound coming from the opera house. I asked Nat what his biggest challenge is and his response was to get the sound to be as close as what is heard at the opera house as he can.<br />
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Day 10 -June 24 I went into blocking more shots for Figaro. My AD and I locked ourselves in our viewing room and put our heads into our score. I am not sure how many shots we have lined up but it will be well over 1500. Comedy is tough but as you will see if you are coming to the Park on July 3 or the Opera House, the cast is talented and very funny. We hope to capture every nuance and of course the great singing. You will also have an opportunity to see the orchestra during the overture in Act 1. Maestro Patrick Summers is heading up the orchestra and cast and has a good time of it.<br />
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Day 11, June 25 - This was my day to direct Opera Vision for the upper balcony and the opera was Les Troyens. I snuck in 2 hours on Figaro and and hour on Two Women. Again blocking shots. Les Troyens was beautiful. Susan Graham and Anna Caterina Antonacci were incredible. 5 hours seemed to fly by! On my way up to the control room on the 5th floor, I ran into General Director David Gockley in the hallway. We talked about Figaro and Super titles matching what I am cutting on the screen. I assured him that we didn't need any changes at this time. I like these brief meetings in the hallways of the opera house, you get a lot done.<br />
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Day 12, June 26 - This afternoon I will be working on Figaro. Monday the 29th we have our rehearsal in 29 x 9. <br />
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As promised here are some photos from my first Simulcast that was broadcast to the Civic Center and one of the first simulcasts at AT&T. Can you guess the opera's? I will give the answers in the next post.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAybpIv3hlt7JT4VHIeomNwWx3RXelT8rZ7na5npRXOqGPxmpd0fETQmqACt7NR1DRYtSmUHHn5NtqI5K4cgVxOfYFvP2oAnLhOnIFUbMEcIj8LRfX6Kbl6QHTP9fYS_jqRPogGuiLc6Gs/s1600/CityHall_Rigoletto2006_domeRigoletto.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" height="184" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAybpIv3hlt7JT4VHIeomNwWx3RXelT8rZ7na5npRXOqGPxmpd0fETQmqACt7NR1DRYtSmUHHn5NtqI5K4cgVxOfYFvP2oAnLhOnIFUbMEcIj8LRfX6Kbl6QHTP9fYS_jqRPogGuiLc6Gs/s320/CityHall_Rigoletto2006_domeRigoletto.jpg" width="320" /></a></div>
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San Francisco Civic Center</div>
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Photo Courtesy Drew Altizer/San Francisco Opera</div>
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San Francisco Civic Center</div>
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Photo Courtesy Drew Altizer/San Francisco Opera</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihyxUdkwviMneG38w7ytlQvcEDLqW6SzDbbveSi8j7miem5JI-YyuK4wSTW0uUbuJFO0IxfvAIjBb59rLMMjcJ4Z5xnL2qhGfmycZjWCBU4yklBxQw8hZVYu5CXwp9EAgDxb-q-1HVCJxJ/s1600/2009+Tosca+BallparkPanoramic_photobCoryWeaver.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="127" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihyxUdkwviMneG38w7ytlQvcEDLqW6SzDbbveSi8j7miem5JI-YyuK4wSTW0uUbuJFO0IxfvAIjBb59rLMMjcJ4Z5xnL2qhGfmycZjWCBU4yklBxQw8hZVYu5CXwp9EAgDxb-q-1HVCJxJ/s320/2009+Tosca+BallparkPanoramic_photobCoryWeaver.jpg" width="320" /></a></div>
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Photo Courtesy: Cory Weaver and San Francisco Opera</div>
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Photo Courtesy of San Francisco Opera</div>
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<br />ZamaconaDirectshttp://www.blogger.com/profile/15481553687598070485noreply@blogger.com0tag:blogger.com,1999:blog-5207495417800857588.post-26332942414467247492015-06-23T21:00:00.003-07:002015-06-23T21:00:53.479-07:00Day 8, Sf Opera's Marriage of Figaro Simulcast at AT&T Park in SF, July 3Well Jess my AD and I blocked some more shots for Figaro. Act 3 which is the longest of all the Acts - 75 minutes - has all the principles and chorus singing all together at one time or another. I don't want to bore you with more blocking techniques so I decided to speak to the sound engineer who sets up the speaker arrays and mixes the sound at AT&T Park for the SF Opera Simulcasts.<br />
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This is the 9th simulcast at AT&T and Nat Koren has been in charge at the Ball Park 8 of the 9 times. He also helped setup the first simulcast in 2006 at Civic Center Plaza in San Francisco.<br />
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Nat tells me that it has gotten to be a routine setup and of course it is planned well in advance. Two months prior to the simulcast the Sound Department, headed by Doug Mitchell, who is also in charge of HD pulls out the plans with Nat and starts getting ready. A day before the broadcast a 24 foot truck pulls up to AT&T's loading dock and it is packed with sound gear. The tallest setup is the Meyer Sound Milo speaker arrays. These two main arrays stand approximately 32 feet tall and are positioned in left center field and right center facing home plate. Nat's crew also sets up front fills for the outfield audience. At the same time they strategically place sub woofers on the warning track in center field. In the past we have had productions that have featured operas by Verdi, Puccini Rossini and Mozart. These had larger orchestras as compared to this Mozart opera which features a smaller Baroque Orchestra. Nat is taking this into consideration for his final speaker/fill/subwoofer placement.<br />
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Tomorrow I will continue this discussion with Nat and include a few photos of those first simulcasts.<br />
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<br />ZamaconaDirectshttp://www.blogger.com/profile/15481553687598070485noreply@blogger.com0tag:blogger.com,1999:blog-5207495417800857588.post-46134352983486327882015-06-22T09:49:00.002-07:002015-06-22T09:49:15.104-07:00Day 6 & 7 Sf Opera's Marriage of Figaro Simulcast at AT&T Park in SF, July 3Today is Monday and I am taking the day off but before I do want to
write a little about the capture we did yesterday, Sunday the 21st.<br />
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Sunday was the last capture of Marriage of Figaro in 16 x 9. Our opera vision and the general audience were enthusiastic Sunday afternoon. The cast really fed on this and I find that when they get that energy they play "bigger." Meaning they move a little faster, and they always don't hit their marks . That's live opera. As you know if you have been reading this blog, I block cameras shots so we can tell the story to the viewing audience. Comedy is the toughest because not only is there's singing, there is physical comedy, there are reactions to that comedy and because there is quite of few principals you want to get all of their reactions. Timing is everything. <br />
I spoke to the Philippe Sly, who plays Figaro. I asked him when he interacts with another singer(s) would he hit the same marks each time so I can get we (the crew) can get our timing down. He was happy to do it. When he is singing an aria or he is by himself he can go and do what he wants. <br />
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I want to see the interaction as close as I can so I can see the singers emotions, their connections to each other. Obviously if their doing something physical I want to see them from Head to toe. <br />
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Tomorrow is a blocking day in 29 x 9. <br />
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<br />ZamaconaDirectshttp://www.blogger.com/profile/15481553687598070485noreply@blogger.com0tag:blogger.com,1999:blog-5207495417800857588.post-62807763197572946692015-06-20T13:23:00.002-07:002015-06-20T13:23:53.494-07:00Day 5 Sf Opera's Marriage of Figaro Simulcast at AT&T Park in SF, July 3I am suppose to be talking about our process on how we prepare for the simulcast, but I had to take a right turn and prepare for another opera yesterday. I was blocking camera coverage for SF Opera's, Two Women" and then shooting and capturing it last night (Friday). The primary audience was directing it for the projection screens in the upper balcony and screens around the opera house for operas vision. I thought the crew and I did a pretty good job. Opera Vision lets the in house audience see the close ups and details of each performance. We use all 11 cameras and put as much time in our coverage and preparation as we do for simulcasts, DVD's and other productions that go live. <br />
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Below is a photo of what the it looks like from the balcony. If you want to see an opera for the first time, sitting in the upper balcony is a good introductory ticket. The sound/acoustics are spectacular up there and having the screens let's you see the closeups. The screens also have the supertitles too.<br />
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Tomorrow is our last opera vision and capture of Figaro in 16x9. Then we will have to see what shots stay in our shot sheets for 29 x 9 framing.</div>
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Any questions or suggestion so far. Let me know.</div>
<br />ZamaconaDirectshttp://www.blogger.com/profile/15481553687598070485noreply@blogger.com0tag:blogger.com,1999:blog-5207495417800857588.post-24391007501450434462015-06-18T19:15:00.000-07:002015-06-18T19:15:25.614-07:00Day 4 Sf Opera's Marriage of Figaro Simulcast at AT&T Park in SF, July 3Today is a rehearsal day so I will show you an area the camera ops are prepping.<br />
We shoot the simulcast a little differently. The screen is 103 feet wide and 31 feet high and so instead of shooting 16 x9 which is the common aspect ratio for TV and computer monitors these days, we are shooting 29 x 9 so it's a little like cinemascope, almost twice as wide.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibqf5-0GPuYJvH8ZeY-ZlaYbFcvWsX44837Nxl4uwX6eGx6ru_X7CO4pf_iueawYQWeXiy2SK8cuGKfKmK89Nw-yFrIzhbTG5DL35gzpAwv0z_firflK5TKkzptsqwcBFjbc6sGX-SVXG1/s1600/16x9.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibqf5-0GPuYJvH8ZeY-ZlaYbFcvWsX44837Nxl4uwX6eGx6ru_X7CO4pf_iueawYQWeXiy2SK8cuGKfKmK89Nw-yFrIzhbTG5DL35gzpAwv0z_firflK5TKkzptsqwcBFjbc6sGX-SVXG1/s320/16x9.JPG" width="320" /></a></div>
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This photo is 16 x9</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRgEy7tQSNbnGzyKYn2ESt9uSgEDsA0btaF9KGdFISADz6Ni69lVmLgKESvqDIjhTLGGYcerXfJsKd1PMDxKJ8ksE6ZCaTpyrVaf_-1Th-D-_tEfO37ZvafFXC6ovCAji8jOvNbhm36ETR/s1600/29x9.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRgEy7tQSNbnGzyKYn2ESt9uSgEDsA0btaF9KGdFISADz6Ni69lVmLgKESvqDIjhTLGGYcerXfJsKd1PMDxKJ8ksE6ZCaTpyrVaf_-1Th-D-_tEfO37ZvafFXC6ovCAji8jOvNbhm36ETR/s320/29x9.JPG" width="320" /></a></div>
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This photo is 29 x 9 (between the vertical lines is the area that will be framed). You will notice less info from top to bottom.</div>
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This means we have to create a template for the viewfinders/monitors for each of the camera operators. This afternoon we will test the waters to see what the sets and stage looks like.<br />
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Test one: Wide shots won't be as wide. Two shots head to toe will be good but 2 shot cowboys (from head to hip) will have to be tighter to avoid jump cuts in 29 x 9 framing.<br />
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7:14 pm, 16 minutes to show time , got to go…….<br />
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<br />ZamaconaDirectshttp://www.blogger.com/profile/15481553687598070485noreply@blogger.com0tag:blogger.com,1999:blog-5207495417800857588.post-41092540213398526742015-06-17T22:18:00.001-07:002015-06-19T09:05:17.795-07:00Day 3 Sf Opera's Marriage of Figaro Simulcast at AT&T Park in SF, July 3Blocking Figaro today. I have added a couple of photos to today's blog. The first one is my score. It's 494 pages. Blocking involves watching our split screen 11 camera coverage from our rehearsal and then selecting the best possible angle. The yellow post-its are the camera numbers and brief description and the pink ones are the corrections that I have made since the camera rehearsal.<br />
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Figaro has a lot of fun moments in it and the principle singers not only sing but do sight gags, physical comedy and react. I am estimating at least 2500+ shots. This process will go on up till the day before as I am also working on Two Women and Les Troyens at the SF Opera.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMKaOTHHcyzgAwcqqUvMSVNb4wBQ5K422FzLtylBT5ccK4uqUb8ufkZ5KNbG0WVacjl38OkaME7QJJ38CQ1Tn4_WIJRYxflG8xlQ2lykJDIVJM6kQX6YfXeXnI3gIJs0XrAtSm3jmwOu4U/s1600/IMG_0576.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMKaOTHHcyzgAwcqqUvMSVNb4wBQ5K422FzLtylBT5ccK4uqUb8ufkZ5KNbG0WVacjl38OkaME7QJJ38CQ1Tn4_WIJRYxflG8xlQ2lykJDIVJM6kQX6YfXeXnI3gIJs0XrAtSm3jmwOu4U/s320/IMG_0576.JPG" width="320" /></a></div>
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<span id="goog_531068729"></span>This photo shows two robotic stations that each camera person operates during a simulcast.<br />
Tomorrow we cover Figaro for the opera vision audience in attendance.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJmPUA-ceKA-4-PjZusddNjaNcBwW-eU0WsYWlVtWOAy4632Xcz-OYa2cxqk9DEWugOe5AJEre4unt9OUvegwRm0lCtCIjPwaITeULWQKVFstJze2qvcjyY0Hl3a73KroliXrI4pxjbyfr/s1600/VIP.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJmPUA-ceKA-4-PjZusddNjaNcBwW-eU0WsYWlVtWOAy4632Xcz-OYa2cxqk9DEWugOe5AJEre4unt9OUvegwRm0lCtCIjPwaITeULWQKVFstJze2qvcjyY0Hl3a73KroliXrI4pxjbyfr/s320/VIP.jpg" width="320" /></a></div>
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This photo shows the VIP. This shows 10 cameras below and the preview (upper left)</div>
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and program line cut (Upper right) I make selections and changes based on past captures/rehearsals.</div>
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ZamaconaDirectshttp://www.blogger.com/profile/15481553687598070485noreply@blogger.com0tag:blogger.com,1999:blog-5207495417800857588.post-55860829969082599892015-06-16T14:41:00.001-07:002015-06-16T14:43:29.344-07:00Day 2 Sf Opera's Marriage of Figaro Simulcast at AT&T Park in SF, July 3Today I reviewed lighting notes for Figaro with our Lighting designer, Gary Marder and Jess (AD) and Jessica our Executive Producer. Taking a stage lighting design and transferring for video is sometimes a little tricky. We want to keep the mood right, so we don't want to add to much light but just enough so we can tell the story and bright enough so the cameras can see what is going on. Gary and his crew will work on these notes as we build up "our look" for July 3.<br />
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At the same time we look at wigs, costumes, props and sets. These areas /departments are also working to make sure everything is looking good for the simulcast. <br />
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I included a couple of videos as background for the simulcast. The first one is a 2009 video hosted by Drew Landmesser who was the Director of Production at SF Opera. He talks about how our HD suite works during a Simulcast. The second one are highlights of this year's Marriage of Figaro. Enjoy.<br />
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Simulcast technical info with Drew Landmesser – 4:24:</div>
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Figaro Highights – 7:33:</div>
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<a href="https://www.youtube.com/watch?v=EEorTDORC5I">https://www.youtube.com/watch?v=EEorTDORC5I</a></div>
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<br />ZamaconaDirectshttp://www.blogger.com/profile/15481553687598070485noreply@blogger.com0tag:blogger.com,1999:blog-5207495417800857588.post-18123975931053454532015-06-15T14:25:00.000-07:002015-06-19T09:11:12.507-07:00Day 1 SfOpera's Marriage of Figaro Simulcast at AT&T Park in SF, July 3This is Day one of Marriage of Figaro Count down. I am preparing to direct the Marriage of Figaro opera for broadcast to AT&T Ball Park in SF on July 3. I will be directing my crew and 11 cameras from the high atop the 5th Floor, HD Suite at the San Francisco Opera. I will let you in on what I go through on directing, I think it's my 10th simulcast ( I did one for Seattle Opera and another for Opera Company of Philadelphia). I can tell you from one rehearsal the cast is fantastic. They are entertaining and humorous. The SF opera orchestra is led in this production by maestro Patrick Summers. If you would like to see it at the Ballpark on July 3 for free, check out this link. I will be back tomorrow!<br />
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Here is a past article by Geri Jeter that will give some background on the simulcast and what was in our HD suite a few years back. We have upgraded since.<br />
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<a href="http://issuu.com/gerijeter/docs/plsn-zamacona-0810/1">http://issuu.com/gerijeter/docs/plsn-zamacona-0810/1</a>ZamaconaDirectshttp://www.blogger.com/profile/15481553687598070485noreply@blogger.com0tag:blogger.com,1999:blog-5207495417800857588.post-40081823613405779312015-04-15T16:45:00.002-07:002015-04-15T16:45:44.811-07:00Goldman Awards preparation - April 20Next week I will be directing the Goldman Awards at the Sf Opera House. Here is a link to site <a href="http://www.goldmanprize.org/ceremony/">http://www.goldmanprize.org/ceremony/</a> This is the third year that I am directing and it's not only fun but it really has a strong message concerning the world's environment and the recipients who fight the good fight and receive the award. <br />
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I will be using 5 robotic cameras, one static and one handheld. This will be streamed on the G<b>oldman Prize YouTube channel</b>. This is obviously different than an opera but using the same gear and crew (thank goodness) will make my job directing this event smoother. It will go live from the War Memorial Opera House in San Francisco.<br />
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The host will be Dana King, who was a news anchor here in San Francisco on CBS/5The entertainment will be the Afro-Cuban inspired dance troupe, Alayo Dance Company. <br />
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More to come…...<br />
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<br />ZamaconaDirectshttp://www.blogger.com/profile/15481553687598070485noreply@blogger.com0tag:blogger.com,1999:blog-5207495417800857588.post-72273957676059698492014-10-18T10:58:00.001-07:002014-10-18T10:58:30.823-07:00This last summer SF Opera produced Show Boat. We captured it and had our first look at it yesterday. The first cut was really pretty good. Our brain trust had some constructive notes. The cast was terrific and their singing was superb. The final mix is still being worked on and we will take a look at it one more time before it goes out. I will keep you posted. <br />ZamaconaDirectshttp://www.blogger.com/profile/15481553687598070485noreply@blogger.com0tag:blogger.com,1999:blog-5207495417800857588.post-31990311200973325752014-10-03T14:40:00.001-07:002014-10-03T14:40:28.421-07:00I had a great time directing the behind the scenes at SF Ballet on Oct. 1 - World Ballet Day. Our talent were terrific and the crew was fantastic. My thanks to the SF Ballet Bravo volunteers and staff at the SF Ballet. Producer Judy Flannery was outstanding as usual as well as SF Ballet's Lauren Chadwick. This live 20 hr. streamed marathon on Youtube started with the Australian Ballet at 7 pm on Sept. 30 followed by the Bolshoi in Moscow, who tossed it to the London Royal Ballet, cross the Atlantic to the National Canada Ballet and it ended with the San Francisco Ballet. The stream of the SF Ballet's 4 hours is still available on their youtube channel until 1 pm this Sat., Oct. 4 on<br />
<span class="commentary" style="border: 0px; font-family: inherit; font-size: 13px; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><a href="http://lnkd.in/b3Mm7p5.">http://lnkd.in/b3Mm7p5.</a></span><br />
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ZamaconaDirectshttp://www.blogger.com/profile/15481553687598070485noreply@blogger.com0tag:blogger.com,1999:blog-5207495417800857588.post-79363371703939474912014-07-21T20:10:00.001-07:002014-07-21T20:10:17.410-07:00Lucrezia Borgia
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I directed the SF Opera presentation, Lucrezia Borgia
starring Renee Fleming. If you are in the San Francisco Bay Area watch it on KQED's Life channel next Monday at 7 pm. Comcast
channel 189 and Digital channel 54.3. Check out the DVD reviews <a href="http://www.amazon.com/Donizetti-Lucrezia-Borgia-Featuring-Francisco/dp/B00FABG404">http://www.amazon.com/Donizetti-Lucrezia-Borgia-Featuring-Francisco/dp/B00FABG404</a> Enjoy!</div>
ZamaconaDirectshttp://www.blogger.com/profile/15481553687598070485noreply@blogger.com0tag:blogger.com,1999:blog-5207495417800857588.post-3853271362702482962014-07-04T14:54:00.000-07:002014-07-04T14:54:00.383-07:00July 5, SF Opera SimulcastI am ready for the simulcast at AT&T tomorrow, Saturday, July 5 at 8pm. We will have 11 cameras covering the the opera, La Traviata. At 10:30 AM, I am heading out with Jess and Mark to check the playback of the rehearsal capture in 29 x 9 and see how the lighting looks and how the scoreboard is color balanced. After that we will head back to have a meeting with our camera crew and go over the many notes for this live broadcast to the thousands at AT&T Park. The screen is 101 feet high and 31 feet wide, so it is wider than cinemascope. We have special masks installed on our camera viewfinders so the camera operators will frame properly. It will be a challenge tomorrow because there are 3 new principles playing Alfredo, Violetta and Alfredo's dad, Germont. In our scratch tape, they all move differently and act differently than the former cast we rehearsed with. It's good that I am going in early tomorrow to talk to the crew and update the shot sheets. I have given notes to the stage AD and lighting director and makeup and wig department. It's going to be fun!<br />
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This will be my 7th, Simulcast for SF Opera and my 9th overall (Seattle Opera May 2012 and Opera Company of Philadelphia Oct. 2012)<br />
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<br />ZamaconaDirectshttp://www.blogger.com/profile/15481553687598070485noreply@blogger.com0tag:blogger.com,1999:blog-5207495417800857588.post-56419407200406381882014-05-03T19:26:00.003-07:002014-05-03T19:26:39.431-07:00Goldman Prize and Michael Pollan<b>April 27-28</b>. It started with the load in at the SF Opera House for the 25th Anniversary of the Goldman Prize. This world wide prize honors six individuals who have taken an environmental stand for Mother Earth and their communities <a href="http://www.goldmanprize.org/blog/celebrating-25-years-environmental-activism-2014-goldman-prize-ceremony">http://www.goldmanprize.org/blog/celebrating-25-years-environmental-activism-2014-goldman-prize-ceremony</a>. They are selected from around the world and flown in for the ceremonies, where the audience members have the honor of seeing their stories through short documentaries. Each recipient is given $175,000 each and presented with the Goldman Prize at the event. I had the pleasure of directing the Prize's first live webcast on You Tube and Image Magnification screens for the capacity audience at the SF War Memorial Opera House. CNN journalist Soledad O'Brien was the host and the keynote speaker was Robert F. Kennedy Jr. Another highlight was the special performances of Bonnie Raitt and Graham Nash. Covering these two musicians were one of the highlights for me as I have always been big fans. <br />
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We covered the two hour event with 6 cameras and it was flawless. Thanks so much for the crew and the Goldman Prizes' Lorrae Rominger, producer Marika Holmgren and event maestro Jim Schelstrate.<br />
When the gig was over I ran into Ms. Raitt on her way to the reception for the recipients and found out that she has attended two operas, one here and one in Germany. I mentioned that I worked on a TV show in 1975 called "Went Like It Came," in which she and Arlo Guthrie performed a few tunes. It aired in the SF Bay Area. She didn't remember - no matter. It was great just walking with her for a block.<br />
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<b>April 29 - May 1</b> had me directing and production consulting another live event at the Nourse Auditorium in San Francisco for Kikim Media and City Arts and Lectures. The journalist and author, Michael Pollan was speaking on his latest book, "In Defense of Food." <br />
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I did a warm up with our audience, before I sat in the director's chair asking for reactions and applause. (See photo: That's me standing behind the table) We captured this presentation that will be part of a documentary on PBS that airs later this year. The audience was fantastic and Michael Pollan had a great night presenting lots of food facts, discussing what's in processed and fresh foo and a lively Q&A session ended the show. Michael Pollan was great to work with and he felt it was his best presentation ever. We covered Pollan's presentation with 4 cameras that included a jib/crane. We used Sony F55 and F5 cameras. The crew was headed up by DP John Chater, sound and video was masterfully done by Conrad Slater and lighting by Alan Steinheimer and Eric Blum. The set was designed by Acme Scenery Company.<br />
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It was a great week of creativity, good vibes and good tips on food!<br />
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ZamaconaDirectshttp://www.blogger.com/profile/15481553687598070485noreply@blogger.com0tag:blogger.com,1999:blog-5207495417800857588.post-43222200704280384152014-02-15T21:37:00.001-08:002014-02-15T21:37:26.635-08:00Gramophone gives Moby-Dick DVD Annual Classic Music Awards 2014<!--?xml version="1.0" encoding="UTF-8" standalone="no"?-->
<span style="orphans: 2; text-align: -webkit-auto; widows: 2;"><span style="font-family: Calibri, sans-serif;"><span style="font-size: 15px;">Just heard that San Francisco Opera’s “Moby-Dick” has been selected by prestigious Gramophone magazine (based in London) as the opera DVD for their “Annual Classic Music Awards 2014.” This special edition of the magazine will come out in early February 2014. We are the only opera DVD to receive this distinction by the editor. This is great news and I am proud to be a part of the creative team gaining this </span></span></span><span style="font-family: Calibri, sans-serif;"><span style="font-size: 15px;">recognition by Gramophone.</span></span>ZamaconaDirectshttp://www.blogger.com/profile/15481553687598070485noreply@blogger.com0tag:blogger.com,1999:blog-5207495417800857588.post-73652456183611505692013-12-18T10:30:00.002-08:002013-12-18T10:30:57.942-08:00Directors Guild of America
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I am honored to be on the DGA Awards <span style="mso-spacerun: yes;"> </span>entries (Specials) list <span style="mso-spacerun: yes;"> </span>for Moby-Dick, the opera that aired on PBS this November with 32 other directors,
especially Don Mischer and Matthew Diamond.<span style="mso-spacerun: yes;"> </span>Don brought me into the DGA in 1983 and I worked with
Matthew briefly a few years ago.</div>
ZamaconaDirectshttp://www.blogger.com/profile/15481553687598070485noreply@blogger.com0