Shooting Theatrical Productions: Legal Considerations and Camera Angles

• Legal considerations
• Camera angles and positions
• Availability of power
• Lighting, and how to contend with it
• Style of recording and number of cameras
• Audio and microphones

In the first part of the series, we’ll look at the practical elements; where to set up and why. The next part will look at how to tape in challenging stage lighting situations. In the third part, we’ll look at single- and multiple-camera recording styles. In the fourth part, we’ll look at some other considerations such as sound recording and the audience. In the last part, I’ll wrap everything together by recounting a recent gig in the theater.

Legal Considerations

I’ve listed legal considerations first because if you haven’t cleared yourself to be there, you don’t have to worry about how to tape in the theater. All theaters have a maximum number of seats that can be occupied because of fire regulations - if a theater tries to pack more people than regulation, there’s a chance the theater gets closed down and fined. So, if a production gets sold out and you wander in asking for a seat for you and your camera(s), don’t be surprised if the theater manager refuses you.

In short, confirm well in advance that there will be seats reserved for you and your cameras.

The next consideration is also a legal one - you have to confirm with the people that you will be taping that you have their permission to tape. If it’s just for archival purposes typically this won’t be a problem, as no one is going to see it. But the last thing you want is to tape someone who doesn’t want to be taped. See the stage manager of the production to sort that out - again, well in advance.

Camera Angles & Position

The camera angle and position is the next consideration. If you only have one camera, you will be limited in your flexibility - your best bet is to simply find a spot in the center towards the back of the theater, so you can see the whole stage or zoom in on the talent (any time I refer to "the talent" I mean the actors, singers, basically the people you are taping). If you have multiple cameras (and possibly operators), you have a lot more flexibility in what you can shoot - you may want to get a camera on the center, one on the left or right or both, etc. Your goal here is coverage, so that in editing later, you can pick and choose from the best angles.

The availability of power outlets near to where you want to set up is an important factor - if there are no outlets, or extension cords, then you had better bring a lot of battery power. This is one of those situations where coordinating with the theater manager can solve these problems, as they are aware of your needs and can accommodate you, and can help you find the best positions.

For a performance where there is an audience, be aware that the members of the audience are paying to see a performance and probably didn’t anticipate having cameras in the audience with them. Don’t take the best seats, and set up near the back of the theater. If you are in the front row, then anytime the talent moves left and right, you will have to make extreme movements to follow them. In the back row, your movements are less severe. Plus, you can zoom out to capture the whole stage. Setting up in the back also lets you use a tripod and stand, whereas if you do that from the center of the audience and forward, you will be obstructing the view of the audience.

In the next article in the series, we’ll look at how to contend with challenging lighting situations in the theater.