6. Filming live dance performance

Filming Dance  – capturing live performance

A how to guide


Before we delve into this I probably should tell you a little bit about who I am. As you already know my name is Wayne (you are looking at this blog on my website after all) I originally began my career as a contemporary dancer before moving into film and digital technologies (coding, projection mapping et cetera) in 2006. Since then I’ve worked loads in the dance sector with companies, independent artists and making my own multimedia dance installations.

When filming dance the first few things to figure out is are you filming somebody else’s work? or are you filming your work?, is it a recording of a live work? Or is it specifically a dance for the camera?

In this blog I will be specifically talk about filming live work for example a performance on stage. Don’t panic though if you’ve come to this blog for advice on filming dance for camera I promise my next blog will be on that subject. In the meantime crack on reading this as there is a lot of similarities.

If you are filming a live work it’s really important that you get a range of coverage. My advice (if your budget will stretch to this) is to do a multi camera set up. That’s one camera at the back facing the stage locked off on a tripod, this will be a long shot (LS). That will give the film context it will tell the audience where we are, and as it’s locked off it will be our stable cut to camera. 

The second and a third film camera want to be along the 180 rule.

If you only have two cameras don’t worry too much about it because the 180 rule is still relevant and let’s be honest its less work you’ve got to do in post.

I would have camera 2 as a mid shot so it still catching all the stage but it’s a little bit closer than the one centre stage at the back. And the third camera I would have close up tracking the movement. This would give an element of excitement to the screen when the audience are watching this bad. It’s almost like your replicating the atmosphere of live. 

It’s worth noting that you should wear possible record of the same cameras. Making sure that your ISO and shutter speed are the same. Don’t forget your shutter speed should be double your frame rate which if you’re in the UK he is 25 frames per second in the USA 24 frames per second, meaning your shutter speed will either be 50 frames per second or 48 frames per second.

Okay so all you can do is match or your settings are the same you’ve done a lighting check so you’re not over exposing or under exposing. NoW you need to catch a sound.

How do you catch a good sound in a live environment i.e. a theatre?

By far the best way to do this is to take the line out of the sound desk and patch that straight into your camera. Usually that will be either XL or or Jack. I would always recommend having a decent microphone on board your camera so you can catch ambient audio. It’s always good to mix a clean feed and ambient sound together to reinforce the sense of a live show. The bonus of this (and this has happened to me more than once) is that if the clean line from the sound desk fails for whatever reason you can always use the audio recorded onto your camera.


I usually record the sound from the desk into a specific sound recorder such as his zoom H6N. Zoom is designed for audio and has good preamps where is a lot of cameras don’t have great preamp so you get a very compressed sound. I then mix them together in post which I’ll discuss in a minute.


Okay let’s assume you filmed your live show everything went well you’ve got your clean feed, you’ve got your ambient feed, you’ve got some great visuals, you just now need to mix them all together to create one film.

There are loads of different editing software as you can use, I personally use Davinci Resolve and Adobe premiere pro (although I am trying to move away from Adobe premiere pro because of the massive subscription fee every year).

I’m not going to tell you how to import all of your media etc instead have a look at this tutorial (it spares you listening to me waffle on).


Note. If you recorded your audio separately you’re going to need to sync it with the video clips. You can do this in premiere pro but it’s a little bit cumbersome and it’s a little bit time-consuming and it will drive you insane. However if you don’t have a budget for additional software make yourself a cuppa grab distressful and I’ll put a link to a tutorial of how to do a multicam edit.

I have a program called pluralise by red giant, all you do is drop all your files into it, click sync and boom as if by magic all of your video and audio is synced. You bust export timeline an import into premiere pro or Davinci resolve.

PluralEyes https://www.redgiant.com/products/shooter-pluraleyes/

Multi cam edit Premiere Pro https://youtu.be/tj75m4WYHm4

Multi cam edit Davinci resolve https://youtu.be/77PjU4baBk8

Sweet, once you’ve edited your live show all you need to do is export it. Depending on where you want to share it there are lots of export preferences you can use such as YouTube or Vimeo and they just put it in the correct codec for you.

Honestly don’t worry too much if you don’t get it right first time. A lot of this stuff is about doing the more live work you film the better you will be and you’ll find a way that works for you.

If this has helped/inspired you please do let me know. I can be found on all the social medias @waynesables or via the email at artistic@waynesablesproject.co.uk

Or at my website (if your not reading this blog on it) www.waynesablesproject.co.uk

2. Capturing great audio in your film – Sound sound sound and sound


Capturing great audio in your film

Sound sound sound and sound

In this blog I’ll show you how to capture great audio fir your next film project.

So how do I capture great audio in my film? Well I shall help you do just that.

Audio is incredibly important when it comes to making film. In fact I’d say it’s more important that anything else, you need great audio. It’s built deep within us. You see way back when in the good old days when our ancestors were hunting big game and big game hunted us and all that. Sound was our biggest defence. You can hear a predator before you at see them. And that innate gift is still with us today. I’ve done it gain, sorry I’ve gone off on one. Ok back to it.

We are much more forgiving if the visuals are not quite up to scratch or if the lighting is a little off but if the audio is schnitzel then your in real trouble, no second film deal, no Hollywood contract and no illustrious film career. We can’t have that can we? So I’ve searched the World Wide Web to find some tips to help you nail your sound.

Tony Errico Is a sound guy. Raindance asked him to compile a do’s and don’ts list. Here it is.

Nowadays it is so easy to make movies, DSLR are getting cheaper and better, every phone can shoot a movie in HD, so everybody can become a director. (even though all the technical magic of the world will never buy you knowledge!)

But by far the biggest problem of many independent filmmaking is the sound.

The dialogue recorded on location, which in most cases is the project’s only source of dialogue in post-production, is not always recorded with the correct technique, which results in poor audio quality.

People have to realise that poor audio can completely ruin an otherwise great video.

Never underestimate the power of audio-acoustic. Bad image quality can be regarded as Arty, bad sound not, and worse it makes the audience feel uneasy!

So here is a Top 10 of things NOT TO DO regarding sound on a movie!

1. “We’ll fix it in post!”

Yeah right! How many times I’ve heard this one. Doing ADR – Automated Dialog Replacement – with the actors listening to the recorded dialogue and replacing it in the comfort of a recording studio with quality microphones, compression, EQ costs a LOOOOOOT of money, and time as well.

And I am not even talking about the background sound here…

2. Underestimate the sound guy recording the sound.

If I had to listen to only one guy on a set, it would be the sound guy. I’ve been on set as Production Assistant noticing that none listened to the sound operator when he said “hum, there was a plane in this take”, and the Director thought the take was great enough not to redo it.

Honestly guys! A sound guy has experience and knows what to listen to, his job is ‘hearing’ – and trust me it is a job per se. He knows what people need in post-prod, so if he says that there is a plane, then it means a big problem for later on…

I would trust a sound guy a lot!

3. One sound guy can do it all!

Of course, and one person in a restaurant can cook, serve and wash the dishes… all at the same time!

Depending on the budget it is true that a sound guy can record, mix and dub the movie, but still the skills are not quite the same, and to mix a movie, better have a pro who owns a studio or at least a perfect acoustic place to do so.

You don’t want muffled dialogues.

4. Using the microphone of the camera will do!

Then why not shoot your movie with a phone cam?

Any microphone will do! Yeah right, then why some microphones are worth thousands of pounds and some £10? Never wondered why in a professional music studio there are hundreds of different microphones?

To record high-quality location sound the right type of microphone must be used: ultra-directional for external locations, directional (shorter) for interiors, and non-directional for cramped interiors. The more directional the microphone, the greater the extent to which it selectively picks up sounds from its front end, and the higher the signal-to-noise ratio will be.

And professional microphones uses XLR connections! So if you have a jack microphone, it won’t sound as good as it should, this is a sign!

5. Underestimate the location!

When you check the location, you should bring the sound guy with you if you want to be pro!

He will then know exactly what needs to be done to get the best sound recording there. A room without windows, posters or furnitures will reverb a lot, hence will be very difficult to deal with, to edit and mix.

An important rule to master is: once there is a reverb or echo on a recording YOU CANNOT TAKE IT OFF!

But it is easy to ADD one on a perfect recording neutral of effects.

6. Record the sound with the music or background noise is fine!

Of course, then when you choose your correct take and mix it, that’ll be fun!

Same as 5) here, once a background sound is on the dialogs, it is impossible to take it off, but if the dialogs are clean, you can easily add a background music, noise etc

The cleaner your dialogues, the better for post-production.

7. We don’t need a “wild track”!

Then I am wondering how your dialogs will sound like… If you edit a dialogue leaving spaces between them or taking a dialogue from one take and the other from another take, there is a big chance that the background noise is slightly different, then, people will hear it, and it will distract the audience. Is that what you want? Really?

Avoid this by always record a “wild track” – or ambient sound = one minute of total silence on a set, before or after the main shooting – to have a neutral background sound. So useful that you cannot live without.

8. Anyone can be a boom operator, I’ll ask a friend

Cool, then I should ask my mum too!

A Boom operator knows what to do and most of all what NOT TO DO!

When you move your hands on the boom, you touch the XLR cable then the sound is recorded on top of the dialogues! Microphones are very very sensitive, any movement or noise will be recorded. And this is why a boom operator should always wear headphones, to hear ONLY the recorded audio and not the sound on the set!

9. Overlapping dialogs is fine!

Then how would you mix them if you need to change one? Or take a dialog from another take?

If you can, it is very good to avoid overlapping dialogues, you can ask your actors to “play it” as to avoid it, not easy but far easy on post-production!

10. Use of a song is fine, no one will notice, or we’ll get the right afterwards!

Mmmmh…. Copyright issues regarding music is a very common problem. If you need a specific song for your movie, be sure that you have the right BEFORE you shoot the scene, or prepare a backup song. Especially if your actor has to sing on it, cos if you don’t get the right, it means you might have to reshoot the scene or let it go!

On how to get the right of a song, there are many Raindance courses about it, as it is a big subject per se, and complicated too.

Honestly if I had to pay ONE guy only on my set, it would be the sound operator!

The Director of Photography and sound guy are the most important people on a set for me! If I can take them with me on a location recce, I definitely would, cos they would know what works and does not.

One last advice on sound recording on set: it all depends on the technique used – there are many – but mainly PROXIMITY IS KING! So get the microphone placed properly and it should do the trick.

Here’s a nifty video on how to get better audio in your films

Does that make sense?

Great of you pop. I’d love to see what you make, if this blog has been helpful do share it and let’s connect. I’m @waynesables on all the social media’s or you can email me at artistic@waynesablesproject.co.uk

7. Creating a dance film

1. Why you don’t need a filmmaker to make great films

filmmaking blogs

Why you don’t need a filmmaker to make great films

OK, first we need to acknowledge the elephant in the room. Why is a filmmaker saying you don’t need a filmmaker? Good question, and I’ll definitely get to that. I’m guessing that you are reading this on my website (and as you’ve probably seen its in part, a filmmaking website) or I’ve posted it on social media, which means you already know me or know someone that does or I’m successfully sharing the hell out of this.

So why is a filmmaker saying you don’t need a filmmaker to make films? I’m nice like that.

Isn’t he doing himself out of work? Probably, but money isn’t everything…

If I can do it myself, then why would I pay him? You wouldn’t and in a few pages, you won’t need to. Boom, mic-drop etc, etc. 

If you have a newish smartphone, you have a powerful device in your pocket capable of making decent quality films. If you have a bit of storage, you’ll be able to download a few apps that will help you with the pre and post editing process (I’ll add some links further down).

Now if you want to make films for your business, obviously I would recommend using a filmmaker but I call this blog ‘Why You Don’t Need A Filmmaker’ so I’ll crack on.

Firstly, think about your audience. Who are they? And how will they find your films? For example; If you will host the films on your website, then the audience already knows of you and your business, so you probably need not pepper it with company information or a marketing-type call to action. However, if you plan to put the films on social media and use your content to drive people to your website, then you must add the relevant information on how people can find your website – links are the way to start with this. I’m assuming you probably know this so I’ll move on.

It doesn’t matter what people say – length matters! The challenge we face when creating content is this simple fact: With social media, the behaviour of content-hungry web consumers (all right, people!) has changed and people are looking at things for less time.

As content-hungry web consumers (ok, ok… PEOPLE) we demand that your content is succinct enough to inform, entertaining enough to keep our woefully short attention span from cutting out and if you really MUST sell to us then please give us that all-important money shot – how is your product/content/post going to change our world or inspire us?? If you’re posting to social media one minute is your maximum – Instagram will automatically cut you at the one minute mark.

Be careful when you cross-post mind as not all hashtags work on all platforms, and if you tag someone with their handle, they may not have the same handles across their social media channels. Fun, eh?

Right we’ve sorted your audience and covered off the length of your film. I’m assuming you already know what you will say? You have, duh … sorry, I shouldn’t have mentioned it. Let’s move on.

OK, you have your smartphone in hand ready to be the next Edgar Wright (Baby Driver, Hot Fuzz). You must script the film.

I have an iPhone so the links will be for that, but I assume Google / Samsung will have the same or similar apps.

I use Celtx Script – it’s free on iPhone /iPad. (https://apps.apple.com/gb/app/celtx-script/id381536091).

Next, you’ll want to shot list the film (this makes it easier when you shoot). I use Shotlister, it costs $13.99* (https://shotlister.com/). You can get a free template online. *note that this is US dollars, NOT sterling currency

Film scripted – check

Film shot listed – check

Onto the fun bit – filming. Have you decided if you will shoot portrait (phone vertical) or landscape (phone horizontal). Most people shoot vertically for Instagram. Personally, I prefer to shoot everything horizontally to keep my social media accounts consistent. I’m funny like that. Social media is a whole other bag, and I will do a blog post on that later. 

The lenses on the iPhone are awesome, especially the new iPhone 11/pro. Portrait mode gives you a good interpretation of depth of field (it’s called bokeh effect).

Honestly, this will be fine if you’re just starting out. Just make sure you have good lighting. If you are interviewing put your subject under light and next to a window. Basically, you’re aiming to get an even coverage of light across the face (unless you’re going for something arty).


Basic lighting       

I explain lighting in another blog, but for now, just get good coverage.

Where the iPhone falls down is audio. They are designed to do so much they can’t be great at everything. One solution is if you are still lucky enough to have a phone jack (iPhone 7 and older) you can buy a lapel mic and put it straight in. Or an external audio recorder like a Zoom h6n and record into that.

Have a file storage system like iCloud or google drive as you will need to sync the visuals and audio if you record on an audio recorder. I will do a blog post about dual audio / visual recording at some point.

If you want to push your phone filmmaking further, you could buy an external lens. I’ve heard great things about Moment www.shopmoment.com).

They also have an app that lets you shoot raw (https://apps.apple.com/gb/app/moment-pro-camera/id927098908) It is nearly £6, mind.


Right, you’ve scripted, shot listed and shot your film, what now? You need to edit it. Again, this can be done on the phone. iPhone has iMovie which is free and will do what you need it to do. Android will have their version. I don’t use iMovie but here is a cool tutorial.


Two other things…:

Filming by hand is tricky phones don’t deal well with camera shake you may want to think about investing in a tripod or stabilisation. There are loads to choose from so have a Google. They all do the same thing, so it’s really about your budget.

The best way is just to go out and film stuff you will see what works for you and your technique will improve. Make mistakes and then learn from them.

You’re all set. Job done. If you have read this blog, and it has inspired you to make your own films, I’d love to see them. All my social media handles are @waynesables – look me up and hook me up.

Are you still here?

Disclaimer: making films on your phone is very empowering but the quality will never be as good as a purpose build film camera. The question is, do you need that quality?

There are loads of fantastic resources out there on the internet – here are a few.



Here’s a great video looking at accessories for your smart phone filmmaking journey .

3. Cinematography- your film needs it