Video / photos during performance

[loebtmc]

I agree with MatthewShiner, illegal taping of shows happens all the time now, despite how vigilant the FOH staff or clear your signage is.  The tour that I'm working on now suffers from illegal video taping and FLASH photography almost every show (with non-flash photography occurring multiple times every show for sure).  Granted, with a tour, you are more likely to have these issues because the FOH staff does not travel with the production, but this was also the case at the last off-Broadway show I worked for.

Splitting off into a separate topic -

Much as I agree w Matthew and above that it happens, it still frustrates me - do they really think I can't see the lighted camera/ipad/iphone from the booth? They clearly think the actors  (or for that matter the ME/light board op) won't be bothered by a sudden explosion of light from someplace random -

Maybe this would be a place to discuss either ways to educate our audiences, or ways to smack down those who ignore the rules <g>.....

[MatthewShiner]

I think that the "casual" taper or photographer just whipping out the camera is pretty lame, but some of these Broadway / Cirque tapers are going to some PRETTY far extremes, with cords and cables woven through jackets and sleeves into bags/purses. 

A long time ago, the only reason we caught someone creating a boot-leg video was we just happened to have a fire alarm, and they were burden with video equipment.  Now, given the size of the video cameras, anyone could be taping right next to you.

[BLee]

While I am 100% against still photography during performances (too easy for the flash to go off even if you think you turned it off), I personally can't be angry with people who video Broadway performances. Unfortunately a vast majority of people are not able to see Broadway in New York and since most of the original casts do not go on tour then I can understand wanting to see those original productions at home.

As a student I am/have been grateful that some Broadway/Off-Broadway shows are sold on DVD (Into the Woods, Skin of Our Teeth, etc) since I am able to study those productions that were before my time or that I was unable to see in person. Should only the rich and native New Yorkers get to see real Broadway frequently? Even when I splurge I can only see a couple of Broadway shows on a trip to NYC. And as the Tonys last year proved, tour cast performances are not always up to Broadway standards.

I, too, am against bootlegging as a copyright issue. I enforce no photography/video recording with my casts (as SM) and audience (as HM). I think the bootleg issue would be greatly reduced if Broadway producers recorded the original performances during previews and then provided high quality copies to their audiences and eventually sold copies to the general public. It is both a money making opportunity that can be regulated and I believe would convince more people to enjoy Broadway shows in person. I think it has been well established that audiences like to see what they are familiar with (Disney shows, movies-to-Broadway remakes, etc) so why not introduce a show by DVD with a code for a ticket discount to the Broadway production?

[loebtmc]

What you're talking about is a whole other aspect. There are several key concerns along with a slew of smaller ones.

First of all, performers and designers own their work - it's their currency - so if someone makes a bootleg and others watch it, they are cheating the people who make a (limited) living on stage.

Second, the show being taped is not lit or photographed at its best advantage, as it would if the producers paid for a proper shoot with adjusted effects and lighting to meet film/video standards. So you are not seeing the true performance no matter what. And since it then falls under the jurisdiction of SAG/AFTRA, the performers need to be compensated at those rates. which are much, much higher than AEA rates. I can guarantee you that those bootleg/illegal DVDs being sold don't give a dime to the performers, the crew, the designers or any of the artists involved in the production.

And third, theater is a live beast.  The experience of seeing, for example, the Library or taped specials of current shows on TV is different than the experience of the audience seeing the same show. What you see on a given night is similar but not the same as what you see on a different night. And that is vital.

Not counting that a flash picture looks a lot like you blew a lamp or something else important, and can cause major safety concerns for those on stage.

I understand wanting to see a Broadway show and living far away or not being able to afford it despite being local - I live across the country and miss getting to see the Tony-nominated/winning casts too. But I also believe that it's really unconscionable to steal someone's livelihood - and their artistry and creativity and originality.

Which brings us back to that original question about these folks who feel entitled and don't understand what goes into the performance they are watching, or that they can't just take it and do what they want with it. How do we battle this, how do we take back ownership of our art?

(and yes, I know, the cows have left the barn or whatever metaphor you want to use)

[jNehlich]

well, "ownership" is a matter of contractual legalities...sometimes the company owns the art after it's up running.

I think the video taping isn't just a problem with theatre, it's a social issue, a sign of the times.  People love to record things, everything. So much for relying on mental memory.  Many don't even give the thought of recording something a second thought, since it's so easy to do....and what's the worst that could happen?- an usher scolds them. That's not a punishment. 

Personally, I'm completely against recording theatre, even for "archival" purposes, but it's understandable why so many are easily doing it.

[On_Headset]

Honestly, I've never found the ownership argument to be very compelling. On some level I do understand and appreciate the value of it--but I tend to think that a bootleg recording, even a well-made bootleg, will never be in any way comparable to actually being in the theatre to watch the show. I mean, yes, they're free--but they're scratchy and poorly-focused and the sound quality is terrible and it cuts out randomly when the ushers got too close and it picks up the guy coughing two rows back and the actors might as well be cows for all you can see, and that's for the GOOD ones!

I don't mind telling you that I've been inspired to see shows entirely because a friend showed me a bootleg of it. (I realize this might get me lynched in a community like this one, but hey.) Other times, the bootleg is the only watchable version. (If I really enjoy, say, Mack and Mabel, I *could* buy plane tickets and travel across the continent to watch the Bummer, Nebraska Community Theatre And Light Opera Company run their way through the score, or I could watch a bootleg. In neither case am I costing the actors or designers of that performance anything, because there are no current productions of the show.)

I do understand that, if and when bootlegs begin supplanting live theatre outright, that's a major enormous horrible problem. But I don't think we're anywhere near that point yet, and--if anything--because of situations like mine where people are made aware of shows they might not otherwise see, they might even represent a net revenue gain for everyone involved.

[LizzG]

"I think the video taping isn't just a problem with theatre, it's a social issue, a sign of the times.  People love to record things, everything. So much for relying on mental memory.  Many don't even give the thought of recording something a second thought, since it's so easy to do....and what's the worst that could happen?- an usher scolds them. That's not a punishment.  "

jNehlich, that's very true, and sad.  Why people would rather watch the show that's happening in front of them through a camera screen than LIVE in all it's glory (as intended), I'll never understand.  That's how a lot people are today, and sadly, they just don't understand how disrespectful it is.

For me, the issue is less about "ownership" and more about respect.  Flash photography, recordings and the like is disruptive to the actors, to the audio engineer in the house, to the light board operator and to the actors.  It's also disrespectful to the other audience members.  Personally, I would be angry with a fellow audience member distracting me from the show I'm watching by taking pictures...so much so that I would probably say something to them (but obviously, being a person who works in theater, of course it annoys me, does it really annoy the average theater goer?)

As for how to combat it...vigilance is my method.  When I worked at an off-broadway, I would call the HM right away to notify him of flash photography.  Now that I'm on tour, I'm lucky to have a board op and audio guy who care about the issue and will let me know of any picture takers.  As the ASM, I have quite a few FOH cues, so I am able to go reprimand phototakers myself most of the time, but if I am not able to come and deal with the issue, the board op and audio will try and get a nearby usher on the issue.  And sometimes we get lucky with a good FOH staff.  I like to think that when the rest of the audience sees a photo taker get 'talked to', it gives them pause before they do it themselves, and to an extent it does. 

But still, when our show gets to the finale (which is crazy with strobes and 10 6-foot inflatable balls in the audience among other things), people take crazy photos.