This training section is for the camera crew. It covers basic camera settings and composition rules. It also include dynamic handlings such as Focus, Zoom and Gain. Each manned Camera has some specific notes regarding the camera angle and ZOOM setting.
General Rules for Manned Cameras
- Do not oscillate (move back on forth) on pan, tilt and zoom. Oscillation look very unprofessional and should be avoided unless you are advised by the Technical Director to do so.
- Use the Focus Wheel to make the picture sharp and also use Peaking as a Focus Assist.
- Do not cut important handling space such as the piano keyboard.
- Distribute the picture evenly and do not allow unneeded space such as on top.
- Use the Rule of Thirds.
- If you shoot close up do not cut through body joints.
- Be sure the White Balance is set correctly
- Be sure the exposure is strong enough in your monitor or you need to change the Aperture or Gain. Aperture us usually set to 4.0
- Monitor the camera all the time, even if there is no “current motion” involved.
- You don’t have to care for sound and recording in the camera. This is all done separately on the switching table.
Camera 1 (GH5)
Scenario 1 – Piano Performance The camera should pan the right and capture the student from the back and centered. Don’t zoom closer so the keyboard is cut.
Scenario 2 – Stage Performance The camera is pointing to the stage. Zoom setting is given by the Technical Director. If no voice from the TD select a wide shot that covers the performance action. Use the Rule of Thirds
Scenario 3 – Trophy Handout (all student performers on stage) Use wides angle at 12mm and distribute picture evenly.
Camera 2 (GH5)
Scenario 1 – Piano Performance The Camera captures performer from the side. Keyboard should be fully visible. Zoom level may slightly change from performer to performer.
Scenario 2 – Stage Performance WITHOUT Piano accompaniment Camera is directed to the stage action as directed by the TD
Scenario 3 – Stage Performance WITH Piano accompaniment Camera is directed to piano performer, same as in Scenario 1.
Scenario 4 – Trophy Handout Camera is directed to stage with wide angle (12mm) with even distribution of students standing on stage.
Camera 3 (AG-UX180)
Scenario 1 – Piano Performance The camera is on wide angle centered to the stage.
Scenario 2 – Stage Performance The camera is pointing to the stage. This camera has a 20x ZOOM and is now used to do close up shots. No tilt or pans or shaking the camera.
Scenario 3 – Clapping Wide angle centered on stage.
Scenario 4 – Trophy Handout Close up of faces.
Camera 4 and 5 (G85)
Those 2 cameras are unmanned and are in a fix position.
Camera 4 points to the keyboard of the piano and shows only the hands of the student playing. It is also used as PIP in conjunction with Camera 1 or 2. It has a 12-60 mm lens and is mounted on a small tripod.
Camera 5 points to the Commentator and is only active during the pre- and post- announcements. Camera 5 has a 20mm prime lens and is mounted on the back of the switching table.
Camera 6 and 7 (GH5)
Those camera are both on a “camera tree” and can be remote controlled by the TD. (Tilt and Pan)
Camera 6 points to the stage and has a fixed foca, length of 12mm (wide angle)
Camera 7 points to the student announcer. Focal length is set so the announcer fits well in the frame.
Lights are controlled by the Web-Presenter/ Commentator with a DMX switching console.
Light 1 is turned on when people are clapping and turned off when TD switches off camera 7.
Light 2 and 3 are always on when piano is used. They can be gradually be reduced when there is a stage ONLY action.
Light 4 is a fill light and needs only about 20% when the commentator is active on camera.
ATEM Switcher 4K
The ATEM Switcher is being operated by the TD. It works in conjunction with a Laptop PC (Thinkpad) that has expanded functionality such as audio control, Media Player, PIP setup, Upstream and Downstream Keying and Camera Control (not used in our case).
Scenario 1 Beginning of recital Intro Clip from Desktop Computer via Camera port 8. (45 seconds)
Scenario 2 Commentator Welcome (2 minutes) Camera 5.
Scenario 3 John Kolbrich welcome and announcement Camera 1, 2, 3, 6
Scenario 4 Student announcement (Avril) Camera 7
Scenario 5 Piano Performance. Camera 1, 2, 4 (4 as PIP as option).
Scenario 6 Audience clapping. Camera 2, 3
Scenario 7 Dual Action (Stage, Piano) Camera 1, 2, 3, 4 , 6 (4 as PIP as option)
Scenario 8 Single Action Stage (no piano) Camera 1, 2, 3 and 6.
Scenario 9 Trophy. Camera 1, 2, 3, 6 and camera 5 when Commentator talks (camera 5 as PIP as option)
Scenario 10 Credit Roll. Clip from Desktop Computer via Camera port 8
The camera audio is not used in our case. All camera microphone levels have to be set at -100 dB.
XLR level is the level that comes from the L-12 audio mixer. It needs to be set at 0 dB.
Master has to be set between 0 and and +10 dB and also can be set at the Switcher console.
The ATEM Software Control has 4 pages: Switcher, Media, Audio and Camera.
The Laptop is connected with an ethernet cable and a network switch to the ATEM console and Tally Interface.
Sound is controlled with the ZOOM L-12 mixer with 7 active microphones and a LINE-feed of the wireless event microphones. Channel 1/2 piano microphones, Channel 3-5 Stage Microphones, Channel 9/10 TASCAM (Commentator), Channel 11/12 LINE feed.
Scenario 1 – Preroll Microphone 9/10 active, other microphones closed.
Scenario 2 – Commentator Microphone 9/10 active, other microphone closed.
Scenario 3 – Piano Solo Microphone 1/2 active, other microphones closed.
Scenario 4 – Piano Solo with Pianist Singing 1/2 active and 11/12 LINE feed mixed in so a balanced mix is present.
Scenario 5 – Stage action without piano Microphones 3-6 and 11/12 balanced mix. Other mikes closed.
Scenario 6 – Stage performance with piano accompaniment Microphones 1/2 reduced, Microphones 3-6 and 11/12 balanced mix
Scenario 7 – Trophy same as Scenario 2
Scenario 8 – Credit Roll same as Scenario 1
Master Mix should not go into red range on the level meters. Best peak signal is in the higher end of the yellow/orange range.
Each recital is recorded independently 0n the ZOOM L-12 (audio, each single track in 48Khz/24 bit) and Hyperdeck (audio stereo track and video in 4K).
Scenario 1 – Start Sound Engineer starts recording on Hyperdeck before the life stream starts. He also starts the L-12 recorder before streaming starts.
Scenario 2 – Stop Sound Engineer stops the recording on Hyperdeck and L-12
Scenario 3 – Changing SD Cards This is only for the Hyperdeck (The L-12 has the capacity to record all 6 recitals and more). The Hyperdeck has 2 SD Cards at 128GB each. Each card is good for one recital. That means that after each second recital the two SD cards have to be changed before the recording. SD cards are numbered from 1-6, one for each recital.
Even though one the non active card on the Hyperdeck could be changed during the recording process, we change both cards after 2 recitals in the break.
All recitals are recorded locally in 4K and can be used later if any of the live streams was faulty.
SD Card control lights
Steady GREEN light when inserting Card for about 5 seconds -> Card is good/ ready for recording
Steady RED light when recording -> Card is recording properly
Steady GREEN light when playing back -> Card is playing back correctly
Blinking lights -> Error