I slept late because I stupidly began watching the fundraiser "A" camera in the bedroom player and ended up watching all two hours of it. And, it was an infuriating experience. I'd only skimmed a couple of things on the "A" camera and they'd looked okay. I watched more of the "B" camera which is mostly profile close shots, and those were what they were. In watching all of the "A" camera, I don't know where this person's head was, but she frequently is showing ALL of the performer from one static position, and that all of the performer makes the performer so far away that you can barely distinguish them. Sometimes she gets in closer, as she should have been always on solo numbers - like knees up, waist up - no closeups, since those would be on the "B" camera. Then the lighting mistakes are really obvious on the "A"camera, and would have to be cut around like crazy. The lighting guy, despite the fact that we'd "written" the cues, was basically awful and, for example, when the center mic was misplaced off its mark for Meadowlark, Kim Huber starts in light, then the lights go down to her special and she's left almost completely in darkness, and this guy doesn't do anything about it for at least forty-five seconds to a minute. That's inept. He's got faders up there, and he can see that she's in the dark - it doesn't take a brain surgeon to understand what's going on and to fix the problem.
You can't hear the audience response much from the "A" camera, which got fed the sound board mix. The "B" camera has lots of audience and not much singer, so I'm thinking we'll feather in some "B" camera sound for the audience reaction stuff, IF I want to even do this now.
