I’ve been a camera operator since many years, on multiple subjects and various conditions. I am comfortable with the equipment and eye on what is happening, those live elements not to be missed.
I filmed many of concerts, often without a tripod, as close as possible to the musicians and the public, thus to catch the emotions.
I also like filming making-of, journalistic reports, protests, demonstrations, conferences, to capture what is said and illustrate the story’s atmosphere with extras b-rolls, specific to each event.
With a taste for photography, I try to frame the scene in an original way (as much as possible, serving the subject colvered) and making the best use of the available light, or by recreating an appropriate one. This to make the film to be pleasant, informative and why not surprising, in order to maintain the audience’s attention.
Generally, I do the film’s editing and colour grading myself (but not always, it’s up to you). This keeps the coherence with the original moment’s atmosphere: highlighting with dynamic camera movements with a rhythmic montage and restoring the presence and the synergy of another moment, when it should be framed statically combined with a discreet installation, all depending to the spirit of the moment. The main goal is to keep the energy and emotion specific to each instant in its original environment.
Each event requires a suitable configuration (choice of camera axes, device for sound recording, with or without interviews, inner views of backstages, public reactions and questions during conferences...). Here are some sample configurations according to the kind of event to capture.
Capture of live events
For live shows, I recommend the use of two cameras:
- One to frame the entire scene (with a camera on a tripod),
- A second for close-ups of the characters highlighted at each important moment during the show.
The challenge is to capture emotions and atmospheres as close as possible to the lived reality. Behind the scene images, preparation, etc., can also be useful, but not essential. They will be filmed before or after the show itself, with one of the two cameras. This aspect may require to establish some kind of intimacy with the actors and technicians so that everyone remains natural during recording.
Conference films
During events such as speeches, conferences, inaugurations, presentations... a single camera focused on the speaker may be enough. However, let’s not forget that we don’t look at this type of event the same way behind a screen and in reality. For a more dynamic result, a second camera (static or not) is often considered, especially if there are several speakers and questions in the room. By experience, I can frame people who ask questions on the fly, even if it is also more appropriate to keep another static camera on the stage. The sound will obviously require special attention.
And here too, b-rolls (illustration images) and/or additional mini-interviews can be added, to enhance the film, and add some clarifications.
The broadcasting medium is sometimes a determining parameter for the device to be set up during the event (schematic presentations images prepared by the speakers, for example).
If the speeches are truncated during editing, back and forth validations will be necessary with you or the speaker himself, before broadcasting the film.
And in a particular configuration, I can also provide live video broadcasting on different internet platforms.
Music concerts video recording
This type of show requires special care to be viewed comfortably. A minimum device can include a static camera (wide shot, facing the musicians), but this can quickly become boring for the audience. I thus change the angles of view and show other possibilities, as a spectator attending the concert would naturally do.
I also am a musician during my spare time. On stage, protagonists usually send each others certain signs to communicate during the show. Then, I can read and anticipate some of them to focus the mobile camera on the person who will start a solo or take the spotlight.
So, I recommend setting up a minimum device of two, preferably three cameras to achieve video recording in concert.
- I leave the camera 1 in wide (static) shot during the concert. It covers the whole scene and the musicians.
- I use the camera 2 to focus alternately on each musician, in connection with others, zoom in on a solo, the instrument, the fingers of the featured musician, his face in close-up... to capture the emotion of the scene, as experienced from the inside. Possibly on a tripod, I prefer to keep the camera on the shoulder for more movements flexibility (I can stay very stable during a concert).
- The camera 3, optional, on a tripod, can have various uses, depending on the situation. It can cover the audience in a static position, be askew or behind the stage, to also capture the musicians. I sometimes place it on one side, to show the stage in another point of view, different from what the public sees. The choice of a second cameraman can be judicious to allow to also move this camera’s angle during the concert.
Of course, in the case of a live gig, sound is essential. This is why we will have to study beforehand the ability to record a separate audio take. The cameras will ensure those with the interactions of the public. Like the cameras, the audio tracks will then be mixed in post during the montage.
Reports, mini-documentaries, making-ofs, presentations
Being curious and interested in a journalistic approach, I also make mini-documentaries. Whether to present the inside of an institution, a society, a factory, to cover a social issue, the reporting format lends itself naturally to it. As it is constantly necessary to renew the discipline according to changing expectation of the audience, I often choose (with your prior agreement!) not to copy the classic television models. The film must remain original and its form should reflect the subject’s. For this kind of work, we will not mention any material nor set-up because it varies depending on each project. The important thing is to be prepared before the shooting. Regarding the making-of, I also have to interfere within the daily life of the protagonists, and the editing work often determines the interest of the film.
I have the necessary equipment to carry out the work (cameras, tripods, accessories, LED light, microphones, editing and calibration station) to make a quality film in HD (1080p). I also use other common rental items.