Here at Crosscut, we have been working in the theatre sector for several years now. We produce a wide array of content for theatres including content for electronic press kits (EPKs) such as production trailers, rehearsal trailers, cast interviews, voxpops and more.
Here are some examples of an insight into some of the different projects for theatre content!
Sadlers Wells x Curve Theatre commissioned us to produce various rehearsal trailers to promote the tour of 42nd Street. We filmed in London with two static C200 cameras on tripods and one C70 camera on steadicam. Having multiple cameras and a mixture of static, roaming, wide and close-up shots gave us various exciting and dynamic shots to work with in the edit; we also experimented with different positioning for each take eg. a camera positioned on the top of a set of ladders to get a birds-eye shot! We thoroughly enjoyed pushing our capabilities, and working alongside the creative production team to produce a vibrant, kinetic rehearsal trailer that mirrored the upbeat show itself.
To produce this trailer we filmed the entire show during it’s final dress rehearsal. Our camera operators were directed by Fran, who had previously watched the show and had made a shot list that would best portray the incredible costume, set design, performance and choreography. The setup consisted of 5 cameras. We used one wide, two close up and two mid angles. This gave us the best opportunity to have as much coverage as possible for post-production. During the filming, Fran noted down visuals which she thought were especially impressive so we had reference time codes for the edit!
To prepare for this shoot, our camera director travelled down to the theatre to record an archive of the performance which was used alongside her notes during the show, to later create a shot list for filming the EPK. The shot list included: scene number, script page number, description of the shot, characters in the shot, the camera to be used & a description of the composition. This shot list was then shared with the client who gave feedback regarding if there were any shots they think would also be useful to capture during the shoot. Once signed off, the shot list was then handed to the relevant creatives who formulated a schedule that would best take into account the number of costume changes, lighting cues, set changes & actor availability during the shoot. The logistics for filming this EPK included having a crane camera operator, a steadicam operator, a director and producer.
Capturing sound was the most important aspect of filming the sitzprobe for The Color Purple. Not only did we have to get the vocals of all the cast, but also capture the quality of the accompanying band performing live. To achieve this, we used a series of condenser microphones strategically placed around for the cast and the band, all of the feeds running into a mixer. We then had a three-camera-setup to make sure we could get enough coverage of all the cast and band members.
Vox pops, although the simplest set-up, are sometimes some of the more challenging deliveries to capture as they require members of the audience to give us their time and to consent on being on camera as they are leaving the show on the way home. We aim to work with theatre staff to find as many willing participants as we can. Luckily, when a show is as impressive as this, many audience members were eager to share their opinions on the show! To capture these interviews we used a C200 on a tripod. We also used a portable on-camera light to use when necessary as we were not able to predict the location and lighting states of our interviews. We intersperse these interviews with contextual b-roll of the relevant signage, promotional images and footage from the show, to aid in promoting the show.
If you haven’t done so already, check out our latest theatre showreel to see a snapshot of our work!
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