ASSuming these are licensed productions from MTI, DPS, etc., You want to be EXTREMELY careful doing this type of thing. Every licensing agreement prohibits audio or video recording of the production, in any form. In some cases, there's an allowance for archival purposes. If any of these recordings somehow make it out into the wild, you're opening yourself up for legal entanglements.
ASSuming these are licensed productions from MTI, DPS, etc., You want to be EXTREMELY careful doing this type of thing. Every licensing agreement prohibits audio or video recording of the production, in any form. In some cases, there's an allowance for archival purposes. If any of these recordings somehow make it out into the wild, you're opening yourself up for legal entanglements.
For multitrack audio syncing with video the professional way is to record time code onto 1 track of the multitrack and the same time code onto 1 track of the video audio.
I'm not on that level at all. The video is just recorded onto a SD-stick, then I just transfer it to my computer. The camera is just a Bob Saget home video camera. I just look for a spike of sound in the video recording and my multitrack and manually align them from there.
I haven't recieved a singel waving finger about this. The theatre do it all the time, and it's a state funded theatre. Some times lights want a video, some times costumes want a video..and sometimes audio. We just ask for a camera and get it set up.
But we all do understand that this it not to leave our in-house hands.
I haven't recieved a singel waving finger about this. The theatre do it all the time, and it's a state funded theatre. Some times lights want a video, some times costumes want a video..and sometimes audio. We just ask for a camera and get it set up.
But we all do understand that this it not to leave our in-house hands.
ASSuming these are licensed productions from MTI, DPS, etc., You want to be EXTREMELY careful doing this type of thing. Every licensing agreement prohibits audio or video recording of the production, in any form. In some cases, there's an allowance for archival purposes. If any of these recordings somehow make it out into the wild, you're opening yourself up for legal entanglements.
Archive recording is a whole different thing and is covered under the respective CBA's. Recording a production is a no-go, but rehearsal for clean-up work and production as an archive are covered. I've had several theaters watermark all archive video, but generally the answer is Use the footage from the show last night and delete tomorrow after you've finished work notes. I'm not sure when the union's will step in and say technology is taking away working hours, but that's a whole other argument.
Stamp is what all the Lighting departments have been using recently -- they roll an FOH Camera shot, Mono vocal send, Mono band send, Timecode, MIDI from the desired console, and SM Intercom into their capture device and when it comes time to cue they have a lot of information all at their fingertips to diagnose what went wrong with a scene the night prior.
