Attend several rehersals.

If possible, get some footage during dress rehersal. This will allow you to do shots that would block the audience during performance. If you know the numbers and the blocking you can get cameras between or into the dancing during the numbers. .

During edit you can do what I call soft PIP - if you know what I mean. A close-up with a soft non-straight edge - possibly some transparency.

If you have a good zoom and room in the back of the theatre you may be able to set-up your dolly there and gets some shots, but few places have a good layout as you tend to shoot down on the performers which doesn't look as good.

Any chance you can get your hands on a second camera. Even a consumer grade camera you can probably borrow somewhere.

... Orcatek, Stonefield ...

... good stuff ... thanks for the tips ...

Is the choreographer getting the videos or are you selling them to the public directly? Most choreographers want everything shot wide and tend not to like closeups whereas the public often likes them.

John

John,

.. public wants them ... choreographer doesn't care as long as the dance routine isn't interrupted ,,,

Orcatek's point about a second camera is well taken. I wouldn't have it on the dancers, however, but on the audience.

We sometimes set up a camera with a remote head (Bescor) at the front of the auditorium and run it from the rear of the theatre. We have a cable bundle I've made up which contains three 150 foot runs: a cable for the remote head, a cable to the i-link on the camera and a cable that carries video back to a monitor at the rear of the theatre. Bogen/Manfrotto makes an inexpensive tripod (about $75) which has a remote zoom controller build into the handle; we mount a 6" LCD monitor on the tripod, tape the Bescor pan controller to the tripod handle and are able to run the remote camera quite well. We use the same rig for a variety of event shoots, even for corporate conferences, etc. It allows a single camera operator to increase event coverage considerably.

Being able to get audience cut-aways will enable you to cover problem pans and other camera moves on the dancing. Without some "B" roll footage you're stuck with whatever happens from start to finish -- no way to hide the footage from a kicked tripod or a jerky camera move or, for that matter, to provide reaction shots. Depending on where you're able to set it up, you can also probably get some interesting stage shots from the remote camera as well.

If the remote is not feasible for your dance shoot, I'd set up my camera at the rear of the auditorium so that it's possible to include some of the audience in a really wide shot. A shot that has audience in it helps to create a sense of performance-- i.e., dancers AND audience -- and having the heads of audience members in the foreground of the shot creates a good sense of depth in the composition.

If anyone is interested in the specs for the remote rig, email me at jack@videoccasions_nw.com and I'll be glad to share them.

Jack