The threat of over-production always lurks when video experts get near an organ console. Cameras zoom, pan, sweep, go after moving (and non-moving) body parts, get shots of stained glass windows, exposed pipes, church exteriors, and so forth. Fine to get all that, but not at the expense of missing the best visual part of the piece!
Let’s boil this down now: When an organist is playing, there are only two views that will be of continuing interest to the live audience: hands and feet. Based on that simple fact, here are some suggestions for the video crew:
1. If you insist on multiple shots, get an organist to call them -- you’ll get better shots at the right times.
2. This isn’t about video composition; it’s about getting an audience some visual access to what they otherwise usually cannot see. When in doubt, put the camera where any normal person would want to stand where they could see everything going on at the console, and then leave it alone. Find a good spot and stay there. Ignore the rule you learned in video school that says that people will lose interest after 7 seconds on the same shot. We're not watching cows graze here.
3. Shooting over the organist’s shoulder to get the score usually also picks up fingerings, piston markings, other scribblings, and unsightly Post-It Notes. Therefore, this shot is not as dramatic as the videographer's playbook says it is. And don’t forget that you’ll probably get a page turner’s arm in there at some point, too. Uninteresting subject matter.
4. There is nothing of interest on the organist’s face. There is nothing of interest on the organist’s face. THERE IS NOTHING OF INTEREST ON THE ORGANIST’S FACE. I can’t tell you the number of videos I've seen that zoom into the organist’s face while the fingers and feet are at their busiest and most impressive. “Oh, you can tell she is concentrating so admirably!” Well, yes, she had better be, and we should be able to tell that from the sound, not from the camera shot. If you insist on going for the face, then just make it a full body shot, and make sure you have an organist calling the shots – you don’t want to miss something truly interesting while you’re chasing B-roll butterflies.
5. When putting titles up on the screen during live performance, recall that the audience has that same information in their printed program. So really, there’s no need. However, if you insist, then have the performer and the shot-calling organist check those title cards well beforehand. And refrain from over-quoting titles. The title is NOT “Adagio from Symphony No. 6,” quote marks and all. It is:
Symphony No. 6
II. Adagio
Charles-Marie Widor
(1844-1937)
Just as we all learned in the seventh grade, we use quote marks to quote quotations, not to refer to titles. And use the composer’s full name; he deserves it.
6. Finally, be willing to tell the organist that in the future they would do well to straighten out their posture, get new socks, or stop muttering under their breath while they play.
7. When in doubt, park the camera where the average person would park themselves in order to get the best view. Then step away from the camera and resist temptation.