{"id":10489,"date":"2022-07-26T16:32:04","date_gmt":"2022-07-26T20:32:04","guid":{"rendered":"http:\/\/demosite2.asurtec.com\/?p=10489"},"modified":"2022-07-26T16:45:45","modified_gmt":"2022-07-26T20:45:45","slug":"lessons-learned-live-multi-camera-directing-in-classical-music-part-i","status":"publish","type":"post","link":"https:\/\/oc.ca\/en\/lessons-learned-live-multi-camera-directing-in-classical-music-part-i\/","title":{"rendered":"Lessons learned: Live Multi-Camera Directing in Classical Music – Part I"},"content":{"rendered":"

By Boran Zaza<\/a>, Director of Communications & Development at Orchestras Canada and content creator for classical musicians.<\/p>\n

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The Setting<\/strong><\/h3>\n

In April 2022, thanks to generous funding from the Canada Council for the Arts through the Supporting Artistic Practice<\/a> program, I had the unique opportunity of attending a workshop that was the first of its kind in the world: Live Multi-Camera Directing in Classical Music<\/strong><\/a>, focused on Orchestras. The workshop was organized by the IMZ Academy<\/a> and hosted by the Gothenburg Symphony Orchestra<\/a>\u00a0in their beautiful Konserthuset<\/em> (concert hall) in Sweden.<\/p>\n

\u201cI was in a convention last year with other classical music directors. I looked at my peers, and realized we all had white hair!<\/em>\u201d, reflected Peter Maniura<\/a>, Director of the IMZ Academy, and an award-winning TV producer and director. \u201cWe had to do something about it, we had to train a new generation of multi-camera directors who know classical music.<\/em>\u201d This is how the idea of this workshop came to be!<\/p>\n

\"Photo<\/p>\n

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The Participants<\/strong><\/h3>\n

16 participants from around the globe came together in the beautiful city of Gothenburg, Sweden from April 26-28 to attend this workshop. Canada was well-represented: I was there, along with 2 colleagues from the Saskatoon Symphony Orchestra! More on that later. Other participants came from the BBC Philharmonic, Latvian Television, the Lithuanian National Television, the Swedish Television as well as music learning institutions that record and\/or stream their concerts such as the Royal Conservatoire of The Hague and Bruckner University among others.<\/p>\n

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(c) Francis L\u00f6fvenholm<\/figcaption><\/figure>\n

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Gothenburg and Digital Concerts<\/strong><\/h3>\n

Why Gothenburg? The city is significant as it is home to Sweden\u2019s national symphony orchestra, which has been creating digital concerts for over a decade and owns state-of-the-art equipment for audio and video! It all started back when the renowned Gustavo Dudamel was the GSO\u2019s Principal Conductor: when he led his farewell concert in 2012, many of the patrons couldn\u2019t get a ticket as the concert was sold-out. This is how the idea to digitize the orchestra’s concerts came. \u201cTaxpayers support our orchestra. Not all of them live in Gothenburg, and many live in remote places and can\u2019t access our concerts. We had to find a way to make our music accessible to them.<\/em>\u201d said Sten Cranner, General Manager & Artistic Director of GSO.<\/p>\n

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Inside the GSO’s Konserthuset<\/figcaption><\/figure>\n

The Gear<\/strong><\/h3>\n

To provide the best possible coverage and digital concert experience for their patrons attending from outside the concert hall, the GSO uses ten Panasonic AW-UE150 4K PTZ (pan-tilt-zoom) cameras, another AK-UB300 4K box camera, two sliders and two Polecam Autopods, which give vertical and lateral movements within shots. Two camera operators control all these cameras remotely, so there are no camera operators physically on stage. This is fantastic for classical music as having a camera operator moving on stage can be disturbing for both the musicians and the audience. The director, score reader, sound engineer and camera operators all work together in the control room, from which the concert is both streamed live and recorded simultaneously, allowing for editing for the final version that lives on the website and mobile app, GSOplay<\/a>. Those digital concerts are regularly followed by over 150,000 monthly listeners (and those numbers skyrocketed during the pandemic). Check this video to learn more:<\/p>\n