August, 1987
TO: Chapter Presidents
and Video Producers
Texas Music
Association
From: Pleas McNeel
Executive
Producer
TMA Video
Project
LIVE STYLE MULTICAMERA CONCERT PRODUCTION
The San Antonio Experience
Here, at last, is the
production info I have been promising about how and why the San Antonio Chapter
took the lead in the production of video showcases, together with a brief
description of the process we used and an explanation of how we were able to
get the use of sufficient production gear to produce high quality television
shows and get them on the air.
The purpose of the
showcases and the video project that evolved out of them is as follows:
1. To create, in each chapter, an independent
and self-sufficient video production crew with the resources and experience to
produce live style multi-camera concert videos.
2. To develop an audience and create a
structure for the intrastate, national and international distribution of Texan
musical product through the Texas Music Association.
3. To increase awareness of the artistic
quality and technical excellence of Texan musical product.
4.
To
enhance the credibility and visibility of the Texas Music Association and the
Texas music and entertainment industry.
HOW WE GOT STARTED
I came to the Texas
Music Association with a credible track record in developing and producing
community television. and a good working relationship with the production
department of the local cable company. Before Mike Tolleson talked me into helping to establish the San Antonio
Chapter, I helped to write the local cable franchise, founded the San Antonio
Media Center and subsequently co-produced a dozen or so location multicam
videos, (featuring classical music, dance, and drama), using the Rogers Cable
TV video van.
So, when we formed our first board
and found that it contained experts in all phases of concert production, it was
only natural that the cable company would be supportive when we joined forces
to produce live concert videos as a chapter project.
After deciding to
proceed, the San Antonio Chapter formed a Special Events Committee chaired by
Steve Cureton, chief engineer of Goingdeafforaliving, to produce the video
showcases.
The committee’s function
was to select the bands and venues for the shoots. All chapter members were invited to participate, to insure that
everyone felt included in this phase of decision-making and that there would be
little reason for charges of insider favoritism. We selected bands that had, for the most part, high visibility
in the community and did not require that the bands be members of the
chapter. The Committee assigned
non-technical responsibilities. such as promotion, box office and security and
became a prime source of non-technical volunteers.
I produced, directed
and edited the initial four showcases. R.B. Blackstone, producer and arranger, Sound Madness Productions,
served as Director of Audio and as Associate Producer with Steve Cureton. Gary Henley was our Lighting Director. John Hogan coordinated the sound and David
Martin, chief engineer and manager IXtland Recording Studio, served as Stage
Manager. Bob Herrick provided technical assistance and equipment. Terry Caven served as coordinator from the
cable company and as Technical Director for Video.
Over two hundred
volunteers were involved in the productions. The large number of personnel involved was due to the fact that we were
pioneering live concert video in San Antonio and many wished to gain experience
in this exciting new field. It is
advisable to overcrew when you are dealing with volunteers, as many will drop
out or get paying work the night of the shoot.
Each showcase
featured a specific type of music, such as Rock, Country, and Tejano. We selected a different large venue for each
showcase. A venue that was well known
for the type of music to be featured. Our best results came from working with a country nightclub (The
Midnight Rodeo) that had a large built in audience and was willing to provide
advertising support and other services. We charged a nominal cover and occasionally broke even when the door
proceeds covered our production expenses.
All talent and labor
were provided by highly skilled volunteers and the equipment (sound, lights and
video) was provided free or for a nominal charge. The spirit of cooperation generated by the Association made it
possible for us to produce the showcases for very little money. Since we were waiting for an understanding
between the TMA and the AF of M, we did not seek advertising support. We ran the shows on the local origination
channel of the local cable system as a public service to promote local music.
During our first year
or so of operation, we produced four showcases, generating twenty-two 1/2 hour
shows. We were asked to select four to
make up a special Christmas Showcase, which was shown on the Texas Cable
Network during the holidays in l985. (Established networks such as TCN offer us an opportunity to begin our
intrastate distribution.)
This year, as you may
know, I have spent most of my time putting together a pilot showcase involving
a live satellite interconnect with Adelaide, South Australia. Our pilot is now tentatively scheduled for
sometime in the spring of 1987. I am
also exploring the possibility of linking us up with either Mexico City or a
major European capital. As the various
chapters get up to speed we will begin to experiment with intrastate
interconnects. Our final goal is the
connection of the Texas Music Association with other states and any or all
foreign countries.
First, however, each
chapter must demonstrate its ability to produce broadcast quality live style
multicamera concert videotapes. The
following is a description of a typical production the way we did it. It worked for us but may not work for you. Experiment and share your experiences will
all of us. Together, we will come up
with the final plan of action for the TMA's involvement in electronic media.
STARTING THE PRODUCTION
At a general
membership meeting we would announce that we were going to produce a showcase
and that a meeting of the special events committee would be held at a certain
place and time. All members were
invited to attend. At the special
events committee meeting we decided upon the number of bands to be featured, (a
minimum of four bands per showcase) and picked the bands and the venues.
Committee members
volunteered or were assigned tasks such as security, promotion, box
office. We set a tentative date and
contacted the venue and the bands to see if they were available and willing to
participate.
The Bands were offered
a copy of the videotape for their participation as well as the opportunity to participate
in the editing process. All the bands
signed a release allowing us local non-commercial usage of the tapes. Everything was somewhat informal. We were
experimenting with community television as a promotional tool for the bands and
the TMA and everyone was very understanding. Since then the Houston chapter has come up with a very interesting
deferred payback plan for the musicians. It will be made available to you as soon as the bugs are worked out.
The venues were a
different story. Some wanted rent while
others were willing to help for promotional consideration. The best venue is a successful and popular
club that always has a large built in crowd. A club that wants to work with the TMA and understands the promotional
value of being involved in your project. If the club has adequate lights and sound in house, you're home
free. This is seldom the case, however,
especially if you want to use a variety of locations to add interest to your
series.
Once the bands and
venues were locked in we chose one or more radio stations to co-sponsor the
event. The station would supply on-air
promotion, MC's for the concerts and VJ's for the videos.
PREPRODUCTION MEETING AND SITE SURVEY
At least one week
before the concert we would hold a meeting of the bands and technical crew at
the venue to discuss the production. Each band was asked to perform one forty-five minute set as their
part of the concert and supply stage
diagrams, mike assignment charts and a song list with each song broken down
into segments, such as:
"I Love Live Local Music"
0 to 1:23 Lead guitar
1:23 to 3:13 Vocal
3:13 to 3:33 Keyboards
These lists are invaluable
to the director and technical director. They help them to anticipate shots and get proper coverage of the
featured musician. Ideally, all these
documents should be turned at the pre-production meeting.
At the pre-production
meeting we would decide on camera placement, where to park the van, length of
cable runs, power supply, location of available telephones and make a list of
any additional equipment, etc. needed for the shoot. Since we chose to shoot up to six bands at each showcase, top-notch
stage management was essential. The stage manager would use this time to
discuss any special requirements with the bands and work out a plan to move the
bands on and off stage as quickly as possible. When possible the isocam operators would attend the pre-production
meeting to get the feel of the venue
and the event. They were also an
excellent source of practical advice on video aesthetics.
The night before the
concert, we would try to hang lights and set up the audio system. That allowed us the luxury of being well
rested during the shoot. In real life
however you'll probably have to start early the morning of the shoot. This makes for a very long day so it is a
good idea to have two separate stage crews so you have fresh people for tear
down and load out. Also be sure to have
plenty of food and non-alcoholic drinks for the crew. Hospitality for the musicians is nice, but don't forget to feed
your crew.
THE SHOOT
The day of the
concert we would park the van next to the venue, set up the video system,
refine our camera blocking, turn everything on, rehearse the systems and do all
our last minute trouble shooting.
The concerts were
taped before a live audience using three cameras on dollies switched live and
one or two hand held isolated cameras with separate VTRs to shoot
cut-aways. The isocams usually roamed
the stage getting the reverse angles and other interesting stuff. (It is important that once the set begins
all cameras continue to roll until the end, no matter where the camera is
pointed. The built in or attached mike
on the isocam records a reference track that aids in locating shots during
editing.)
If your pre-production
has been successful, if everyone knows his or her job and does it, and if there
are no unforeseen bugs in the system, then you roll tape and try not to make mistakes. Basically there are only a limited number of possible shots to
choose from the van cameras. After
having done a few of these concerts you or your director should be able to feel
completely comfortable at the controls. Any mistake in the switching should be covered by the isocam(s).
THE VJ's
Shortly after the
concert, we went to the sponsoring radio station to shoot the VJ intros. The station selected air personalities to
introduce the videos. They were shot in
the control or production room with station logo in background. We taped an introduction, intros and outros
for commercial breaks (we inserted promos for the TMA) and a close in which the
VJ usually plugged band products such as records and tapes). The VJ's were asked to write their own
scripts. If not, we supplied them one a
couple of days before the taping.
We shot these using
3/4 inch ENG equipment (Camera, recorder and light kit) supplied by the cable
company using a volunteer crew from the local chapter. (Be sure to survey the site before the taping, to locate plugs, check power
and camera angles, and to rap with the VJ's and station personnel about the taping
and the TMA.)
THE EDIT
As soon as possible
after the shoot, the bands, or a representative of each band, were called in to
preview the rough tapes and select the numbers for the final show. They were asked to rate their performance on
each song on a scale of one to four, with one being "no good - don't
use" and four "Great - we love it." At this time we would schedule the edit sessions with band if
possible.)
Editing of a 1/2 hour
show usually took between four and eight hours. This depended on how many isocams were used and whether or not
the bandleader or representative sat in on the session. The band representative would select
approximately 24 minutes from the recorded 45-minute set and help in selecting
the most flattering cut-aways from the isocam footage. A band representative can be useful but
sessions generally take twice as long when they are present.
Rogers Cable supplied
the use of a 3/4 inch editing system. The show was assembled according to the following formula, with the
isocam footage cut into the van footage to cover mistakes in switching and to
emphasize lyric and rhythm.
THE SHOW
Each 1/2 hour show
consisted of:
1. An opening electronic graphic (TMA logo spinning
out of frame), and
the words "The San Antonio Chapter of the Texas Music Association presents
THE TEXAS MUSIC SHOWCASE, Recorded Live at (Club Logo or slide of exterior).
2. Fade to VJ introducing band.
3. Three or so songs.
4. VJ - Short outro to commercial or TMA
promo.
5. Promo.
6. VJ - Short intro "And now back
to..."
7. Three or so songs.
8. VJ-Closing comments and band plugs.
9. Credits (rolled over TMA logo) - fade to
black.
We selected a thirty or
so second sound bite from each band to run under opening graphic and closing
credits.
PROMOTING THE SHOW
It is important that
you make a master schedule of when each show will air. This will aid in the promotion and audience
development of the series. Your local cable
system or broadcaster should be so happy to have your series as an addition to
their schedule that they'll promote the hell out of your show. If they don't, you'll have to do independent
promotion using print ads, mailing lists, etc.
If you have a radio
station as co-sponsor they will promote your show (at least the ones that
feature their air talent.) A thirty
second video spot should get a lot of play on the cable system or station that
is carrying your show. Try to get
listed in the TV guide or take out ads in it publicizing your show. Get your local music reviewer to mention the
show. Publish your own guide in your
local newsletter and print and distribute posters to clubs, music and record
stores. Remember, if no one is watching
your show, all your work is wasted.
DEALING WITH THE BULL SHIT
We all know about
artistic temperament...arrogant cable operators or broadcasters. Expect to put up with the standard amount of
small town prima donnas or primo dons and insensitive money-grubbing media
bureaucrats. In addition, once you have
proved that this type of project is possible, you will find yourself up to your
ears in imitators. People who laughed
at you when you started will now become experts and begin to produce their own
shows. Pat your self on the back, no
one else will and concentrate on the bigger picture. We are after a larger market.
Your involvement with
the TMA video project is meant to stimulate local production. We are after national and international
markets. If, for any reason, you wish
to exploit your local market and drop out of the project - Please - leave
behind you a capable core. Don't just
take what you have learned and start your own show. The best you can hope for is a small-time hassle filled job. If we can take this project all the way, the
final rewards will be much more than we can imagine at this time.
A word about
money. In San Antonio we did everything
for the fun of it and for the experience, but the thrill wears off and people
need to be motivated. It is a good idea
to get a sponsor or sponsors as soon as you are able and pay everyone their "good
guy" day rate or local union scale. A paycheck at the end of the gig will insure continuity.
THE FUTURE
Once we have
approximately twenty five shows from each city, we will meet in a central
location and decide how to combine them into a TMA series which we can
distribute as a promotional device (with or without advertising.) This series will serve to demonstrate our
ability to pull off the international satellite networking project as well as
raise the visibility of the TMA. Most
importantly we will know that we are able to assemble the necessary elements to
produce live concert video. This will
give us the confidence as well as the track record to attempt more ambitious
projects.
The following is a
description of the various technical elements of the San Antonio production. They form the basic minimum requirements
for commercially viable and high
quality television. Each chapter is encouraged to improve upon
these minimums.
THE ELEMENTS OF PRODUCTION
1. The Video Van - In San Antonio we used the
small production van owned and operated by Rogers Cable TV. The van had three bottom end Ikegami
broadcast cameras, a simple Grass Valley switcher, and two 3/4 inch Sony
VTRs. The cable company supplied a
basic crew, consisting of a technical director, an engineer, three camerapersons,
and several production assistants.
We used 3/4-inch
format for our pilot shows because that was what was available to us. I recommend that either one inch or
broadcast beta (or equivalent) be used. This will increase our ability to achieve as broad as possible
distribution.
The Deal - Since Rogers Cable wanted the program on
its system, they gave us the use of the van and crew for free with the
understanding that if we sold advertising or profited in any way, they would be
compensated according to a rate determined by crew hours and tube life
amortization. We supplied the tape and
paid any crew time over a nine hour day.
Rogers also supplied
simple editing facilities, gratis, with a similar understanding. If we made any money, they would be
compensated at a rate comparable to commercial cuts-only off- line editing.
2. Audio for Video and The Sound System - High
quality audio is absolutely essential! Audiences will accept less than brilliant visuals but mediocre audio is
an instant tune out.
We used a standard
concert sound system with sufficient gear to create excellent sound quality in
the venue we were using. Everything was
close miked in a location-recording configuration. The mike snake had a three way split, 1) Hall sound, 2) Stage
Monitors and 3) Video van. Since the
van did not have adequate room or mixing facilities, we set up a separate
mixing area (away from the hall noise). This area was equipped with a video monitor so the mixing crew could see
what was being done in the video van. We used a 24-channel mixer and high and low quality audio monitors and
sent a mono feed to the master 3/4 tape deck in the van. In the future we will produce in stereo.
We used first class
audio engineers at each station, but if you have to make the hard decision,
place your best audio engineer at the audio for video mixer. (The tapes will always be with you.) When possible the soundman for the band
either mixed or was present during the recording. Word of caution: do not leave the band engineer unattended no
matter how well you know him, he may not be familiar with your particular
equipment and there are no retakes, unless you have the budget to go
multitrack.
The Deal - The use the audio equipment was
donated by John Hogan. We paid for any
special equipment that he could not scrounge, for rental of a truck and for
other miscellaneous expenses. The total
seldom exceeded a couple of hundred dollars per shoot. John is a first rate scrounge.
3. The lights - In
our neck of the woods you seldom find a nightclub with sufficient lights for a
television shoot. Some clubs that book
the large road shows will have the pipes and power necessary, but you'll usually
have to bring at least some of your own fixtures. Sometimes you'll have to get real ingenious to figure out how to
hang the lamps. And power. Many clubs
will not have sufficient breakers. Be prepared to beef up the power supply, or
go to a mains source.
For front lighting we
used at least 12 1,000 watt Par 64's (white). For back lighting at least 8 Par 64's with assorted gels (red, blue,
amber, rose). We did not use green
gels. If you can, use assorted colored
side lights. Lots of lights can give
your production a big show look, but you can do fine with a lot less than you
think. Our major reason for using
ungeled front lighting was that the cameras we were using were giving us
muddied green in our blacks. White
seemed to add sharpness and definition, and made our black a lot more pure.
The Deal - thanks to
our lighting director Gary Henley, who was with Texas Scenic at the time,
and Bob Herrick, owner of Production
Consultants, we were able to obtain the use of the necessary lighting equipment
for free or at a greatly reduced rate.
4. The IsoCams - These are hand held broadcast
quality cameras connected to separate VCR's. Each should be miked to get a reference track. At each shoot we had one or two of these on stage or roaming the
audience. In our case the cameras,
recorders and operators were supplied by local independent production houses
who worked with us for the experience or for the fun. We supplied the tape, they supplied the rest. We were very fortunate in having some of the
top local professionals donate their time. Among them were Kim Bunch of Oh Brother! Productions, Ron Zimmerman and
Karl Gerber.
5. Communications - It is vitally important
that the camera operators hear the instructions from the video van over the
sound in the venue. We used a seven or
eight station "clear-com" system with double cups for all personnel
working in the hall. (2 at the
switcher, 3 for the van cameras, 1 at dimmer/TV audio station, 1 set for each isocam operator connected to
a monitor in the van and 1 set for each follow spot operator.)
Finally, a note about
creativity. THE ONLY GENIUS IN OUR
SHOWS IS ON STAGE, we are craftpersons. I know it gets boring sitting at the switcher cutting and fading, but
stay away from the special effects. They can always be added in post.
We discouraged
special staging by the bands, unless they could be set up in ten minutes
without interfering with the stage crew. We also discouraged pyrotechnics because of the fear that they would
burn the tubes.
Well that covers some
of the basics. The first few showcases that you do will be exciting and a
little scary, but after that it gets to be just another gig. Call me anytime, with any questions - no
matter how silly they seem to you.
Good luck and stay in
touch,
Pleas McNeel
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