On concert DVDs which tend to be spectacularly photographed videos, is there any consideration given to exposure for video? In other words, is the usual concert lighting used, or are changes made when video is involved. I know a lot of large concert venues have i-mag, but I'm talking about a concert video.
Typically when adapting live events for television a lighting designer will be brought in to see the concert weeks before the shoot. They will then augment the touring rig with whatever additional lighting they feel is necessary to produce a proper exposure for television. Lots of things go into consideration here, type of music, the visual style of the existing touring production, wants and whims of the artist and concert LD, venue, budget, and recording format.
It's not uncommon to add ministrips across the entire front of the stage, moving lights for key/backlights of non-moving performers, and followspots for mobile performers. There is usually an audience package, and an architectural lighting package. On large productions, this TV system can get into the hundreds of moving lights. There will typically be a lighting director programming and running all the movers that are part of the TV package. (this is what I do) We will sometime make changes to the tour cueing if there are some TV un-friendly looks, ie green front light on the singer ect. All the followspots and keylights typically get balanced by a gaffer. Depending on the venue, and ambient conditions, it's somewhere around 50 fc.
I don't typically try to produce the pristine looks associated with an awards show, but we try to keep the basic rules of TV in mind. No color contamination of the performers, create interesting backgrounds and lots of backlight. A lot of the work is done by the camera shader. Because the looks onstage are changing so often, even our base TV looks can be affected by a big white cue, or blackout ect. Ultimately, it is a concert so we have a little leeway on exposures ect. Sometimes that blown out look is just what the audience needs to know they are watching a concert event, and not some studio shoot.
Good response, Mark. You might have mentioned that often follow spots are "warmed-up" for video shooting. A normal follow spot is around 5200K and plays bluish to the live audience, which is not a bad thing, but when recorded it is definitely the wrong color, so a color correction filter is added to the spot to bring it to the more proper 3200K temperature. Why not just balance the camera to 5200K? Because almost all the other lights are 3200K, with gels added to provide color effects. Balancing the camera to 5200K will "cool" these lights somewhat, so the preferred method is to color correct the spots, although often news shooters will balance their cameras to uncorrected 5200K spots, so at least the skin tones look correct.
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