Live Cinema and Its Techniques by Francis Ford Coppola

Author:Francis Ford Coppola
Language: eng
Format: epub
Publisher: Liveright
Published: 2017-03-16T04:00:00+00:00

The confetti solution may (or may not) have worked in the experimental workshop, but it certainly didn’t solve the question of marks in future Live Cinema productions. I considered a number of other solutions, for example, marks in invisible paint that would fluoresce when under black (ultraviolet) light. I had even found very small UV flashlights that I thought the camera crew might carry, although this would not help the actors, who also needed to see the marks. Finally, I just ignored the problem—and hoped the confetti on the floor would be sufficient to disguise the marks.

At this moment, I’m still not sure how to fix the problem of marks. Perhaps there’s another way of marking positions that would be invisible to the eye—magnetic, textural, or some other means. I feel confident that once I find myself attempting Live Cinema for real, I’ll come up with a solution to eliminate the thousands of colored angles and lines that decorate the floor.

I’m trying to think now what other unresolved problems I found along the way, but I come up with nothing—other than the sheer immensity of the number of pieces one must juggle to do such a production. At one point five days before the broadcast, my technical director (TD) Teri Rozic, who’s among the best there is, told me that in spite of the fact that our program was only about 30 minutes long, she thought I really should have had two TDs and two associate directors (ADs) to handle all the tasks. From Teri herself: “Here is how I can imagine two TDs working on a project like this. There would be a lead or main TD who would be the one to figure out all of the moving parts and how to put them together. They would be the primary operator of the switcher and therefore do the live switching. A second TD would help in the massive amount of programming, primarily the multiviewers.” It is a great feature that the EVS switcher can have multiviewers programmed per scene (stage), but it is a tedious process that requires a great deal of time, time that needs undivided and uninterrupted attention.

Then, during the show, the second TD could be responsible for following along with the show and routing the correct multiviewer layouts at the right times as well as helping to get the next scene (stage) ready. If I had had a second TD at UCLA I would also have had them cue my playbacks. As Teri told me, “It was too much on my plate to manage the multiviewers, cue the numerous EVS clips for roll-in, and keep my brain on the show to do what was meant and not what was said. If I were to do it again I would not have all of the playbacks that were rolled in under my complete control.”

I find myself still thinking about what that could mean—you might divide the performance into two leapfrogging video units, having each TD and

Download

Copyright Disclaimer:
This site does not store any files on its server. We only index and link to content provided by other sites. Please contact the content providers to delete copyright contents if any and email us, we'll remove relevant links or contents immediately.