Well 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.
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.
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.
Tomorrow I will continue this discussion with Nat and include a few photos of those first simulcasts.
Tuesday, June 23, 2015
Monday, June 22, 2015
Day 6 & 7 Sf Opera's Marriage of Figaro Simulcast at AT&T Park in SF, July 3
Today 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.
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.
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.
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.
Tomorrow is a blocking day in 29 x 9.
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.
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.
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.
Tomorrow is a blocking day in 29 x 9.
Saturday, June 20, 2015
Day 5 Sf Opera's Marriage of Figaro Simulcast at AT&T Park in SF, July 3
I 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.
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.
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.
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.
Any questions or suggestion so far. Let me know.
Thursday, June 18, 2015
Day 4 Sf Opera's Marriage of Figaro Simulcast at AT&T Park in SF, July 3
Today is a rehearsal day so I will show you an area the camera ops are prepping.
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.
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.
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.
7:14 pm, 16 minutes to show time , got to go…….
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.
This photo is 16 x9
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.
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.
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.
7:14 pm, 16 minutes to show time , got to go…….
Wednesday, June 17, 2015
Day 3 Sf Opera's Marriage of Figaro Simulcast at AT&T Park in SF, July 3
Blocking 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.
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.
This photo shows two robotic stations that each camera person operates during a simulcast.
Tomorrow we cover Figaro for the opera vision audience in attendance.
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.
That's me. !
Tomorrow we cover Figaro for the opera vision audience in attendance.
This photo shows the VIP. This shows 10 cameras below and the preview (upper left)
and program line cut (Upper right) I make selections and changes based on past captures/rehearsals.
Tuesday, June 16, 2015
Day 2 Sf Opera's Marriage of Figaro Simulcast at AT&T Park in SF, July 3
Today 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.
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.
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.
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.
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.
Simulcast technical info with Drew Landmesser – 4:24:
Figaro Highights – 7:33:
Monday, June 15, 2015
Day 1 SfOpera's Marriage of Figaro Simulcast at AT&T Park in SF, July 3
This 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!
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.
http://issuu.com/gerijeter/docs/plsn-zamacona-0810/1
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.
http://issuu.com/gerijeter/docs/plsn-zamacona-0810/1
Subscribe to:
Posts (Atom)