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Why is Performance Documentation Difficult?<\/h2>\n \n The sharp figure in the background and blurred foreground dancer show exactly what happens when fast movement meets low-light theatrical conditions. <\/p>\n \n <\/div>\n <\/div>\n\n \n \n \n
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\n\n\n\n<\/g>\n\n\n\n<\/clipPath>\n<\/defs>\n<\/svg> Photo Credit: Cynthia Oliver<\/span>\n <\/div>\n <\/div>\n <\/div>\n \n \n \n <\/div>\n\n <\/div>\n<\/section>\n\n\n\n
Why Documentation Matters<\/h2>\n\n\n\n Good documentation of your performance work is essential. Whether you’re applying for grants, building your portfolio, or sharing work on social media, video and photo documentation represent your body of work. Sometimes you are also documenting for your collaborators\u2014designers or dancers who need footage to submit for fellowship applications or their own portfolio websites.<\/p>\n\n\n\n
Unlike a painting or sculpture, which likely continues to exist after the exhibition closes, the performance object vanishes once the show closes. Documentation is the only way your work exists after it has been performed.<\/p>\n\n\n\n
Video attempts to capture the full arc of your work\u2014movement, pacing, spatial relationships, and energy. Grant panelists and reviewers rely on it to understand your practice. Clear, well-composed video conveys your vision to decision-makers. Documentation preserves performance for your own processing, teaching, and legacy.<\/p>\n\n\n\n
Grainy, blurry, poorly composed, or badly exposed images affect how your work is perceived and reflect unfavorably on you as the artist. You need to be the first one to value your work and how it is communicated. If you don’t, who will?<\/p>\n\n\n\n
Professional documentation is expensive for most of us, and many smaller performances, workshops, or development showings lack the budget for it. While obtaining professional help is ideal (and something I would encourage you to prioritize), with some basic knowledge and strategic planning, you can also create documentation yourself or in collaboration with others. This article will cover both DIY and professional documentation tips. <\/p>\n\n\n\n
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Your Work Deserves to Be Seen<\/h2>\n \n During our week working on Turnt,<\/i> Cynthia and I shot phone footage throughout rehearsals. What read beautifully to the eye didn’t always translate to the screen, and knowing that early can shift how one plans the documentation approach for the final run.<\/p>\n \n <\/div>\n <\/div>\n\n \n \n \n
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DIY Phone Documentation<\/h2>\n\n\n\n Smartphone cameras produce surprisingly high-quality images when used in the right conditions! But, it’s important to know where and when to use one. <\/p>\n\n\n
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\n \n \n <\/span>\n \n \n \n Environments Where Phone Recording Works Well\n <\/h3>\n \n
Well-lit rehearsal spaces; evenly washed performance scenes with minimal contrast; and process documentation like warm-ups, rehearsals, post-show moments, and behind-the-scenes content for social media.<\/p>\n
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High-contrast theatrical lighting; low-light scenes with movement (this creates motion blur); distance shots requiring zoom (phone zoom is typically digital and produces pixelated images); long performances (storage fills, batteries die, phones overheat); and transitions from light to dark scenes.<\/p>\n
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Other Phone Documentation Tips:<\/h3>\n\n\n\n\nAlways use a tripod or stabilizer<\/li>\n\n\n\n Use the REAR camera\u2014usually this captures higher-quality images!<\/li>\n\n\n\n Use “Pro” or “Manual” mode if available to control ISO, shutter speed, and white balance<\/li>\n\n\n\n Shoot in the highest resolution and test settings during tech rehearsal<\/li>\n\n\n\n Record horizontally for archival documentation and grant applications<\/li>\n\n\n\n Remember to level the image to \u201csquare\u201d(vertical and horizontal lines in the image) to the space as much as possible (crooked\/haphazard footage is pretty worthless unless intentional)<\/li>\n<\/ul>\n\n\n\n \n\n \n
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What the Phone Sees<\/h2>\n \n A phone on a tripod captures a scene from Turnt.<\/i> Putting your phone on a tripod allows you to see what the camera is actually recording, allowing you to check in real time that your exposure is balanced and nothing is blowing out.<\/p>\n \n <\/div>\n <\/div>\n\n \n \n \n
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Using a Camera Yourself<\/h2>\n\n\n\n If you’re using your own camera (video camera, mirrorless, or DSLR), shooting in manual mode gives you control over exposure. You’re looking for settings\u2014aperture, ISO, and shutter speed\u2014that strike a good middle ground for the whole performance. Also, focus manually, especially when the work is high-contrast. Oftentimes, you can get a general focus distance that will work for most of the performance.<\/p>\n\n\n\n
Record the brightest and the darkest scenes in rehearsal, then find a middle setting that captures both reasonably well. You want bright scenes to retain detail without blowing out, and dark scenes to be visible without too much noise.<\/p>\n\n\n\n
Mirrorless cameras typically have a maximum continuous recording time of about 20 minutes. Be vigilant\u2014when the video automatically stops, press record again immediately.<\/p>\n\n\n\n
Renting lenses or cameras (mirrorless and DSLR): The cost of purchasing elite lenses is high, but renting is much more affordable. A faster lens (a lower f-stop number like f\/1.8 or f\/2.8) lets in more light, which is crucial for performance documentation.<\/p>\n\n\n\n
Consider owning or borrowing a tripod with a fluid head specifically designed for video. Fluid heads allow you to pan the camera smoothly across the scene without the herky-jerky movement that often comes with tripods designed for still photography.<\/p>\n\n\n\n
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Common Documentation Challenges<\/h2>\n \n High contrast between a vivid background and darker-clothed performers makes it difficult to retain detail in both\u2014the camera has to choose. If shots like these are important to your work, consider arranging a separate documentation session where you can adjust the onstage lighting to bring the performers forward. This is also an example of when the image is not \u201csquare\u201d to the frame. The crooked curtain in the background is distracting. \r\n<\/p>\n \n <\/div>\n <\/div>\n\n \n \n \n
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Working With Others<\/h2>\n\n\n\n It’s great to get help, whether it’s from a paid professionals or in-kind favors from friends. There may already be folx in your group with complementary skills. Invite everyone into the documentation process! <\/p>\n\n\n\n
When working with others, make clear agreements about how the documentation will be used and establish a shared folder for people to upload their offerings. You can collaborate on the types of shots you all need (like a shot list or a clip list), and you can navigate the process together. <\/p>\n\n\n\n
No matter how you’re working collaboratively, keep these tips in mind:<\/p>\n\n\n
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\n \n \n <\/span>\n \n \n \n Communicate with the Venue First\n <\/h3>\n \n
Always inform theater producers or venue management that you’re bringing a documentation person or team. Some venues have house documentation policies, union rules about outside contractors, or insurance requirements. Having this conversation early avoids sticky situations (I have personally witnessed a few!).<\/p>\n
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\n \n <\/span>\n \n \n \n Be Specific About What You Need \n <\/h3>\n \n
Camera operators experienced in corporate events may have instincts that differ from those that serve performance work. I’ve had experiences with documentarians unfamiliar with dance who focused too much on close-ups of body parts in ways that fragmented the choreography.<\/p>\n
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\n \n <\/span>\n \n \n \n Multi-Camera, Multi-Night Setup\n <\/h3>\n \n
Ask for a two-camera shoot over multiple nights if your budget allows. One camera captures a wide shot, while the other, with an operator, follows the performance more closely with medium shots. I recommend documenting at least two performances\u2014you’ll have backup footage and can compare performances to choose the best moments (and avoid potential live performance mistakes!).<\/p>\n
Challenging scenes include high-contrast lighting, low-light movement sections, or moments that unfold quickly. If certain sections are especially challenging, consider paying extra for a separate documentation session where lighting can be adjusted specifically for the camera.<\/p>\n
If the venue has a soundboard, ask whether your documentarian can capture audio directly from it\u2014this gives you clean sound of music, microphones, and amplified elements. Additionally, request a mic positioned closer to the stage to capture live acoustics. Having both audio sources gives you options when editing.<\/p>\n
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What to Do with Venue-Provided Documentation<\/h3>\n\n\n\n Many venues offer basic documentation (they also have funders to report to).<\/p>\n\n\n\n
Venues typically provide wide shots from a fixed house position, recording of the full run or selected excerpts, and sometimes a house photographer for publicity shots. They don’t offer multiple camera angles or close-ups, or fast turnaround times (sometimes it can take weeks).<\/p>\n\n\n\n
Learn early what they’ll capture, from what position, and when you’ll receive files. If the venue and presenter allow it, kill a seat in an ideal location in the house and bring your own equipment to complement their footage. Try to shoot in the same resolution and match the host camera’s white balance so you can edit between cameras smoothly.<\/p>\n\n\n\n
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Free Up Your Hands<\/h2>\n \n The phone is clamped directly to the table to provide a stable, hands-free foundation for wide-shot footage. Having a fixed camera running while you’re also taking notes or operating means you never miss a full run.<\/p>\n \n <\/div>\n <\/div>\n\n \n \n \n
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Final Tips<\/h2>\n\n\n\n
\n \n \n <\/span>\n \n \n \n Capture Multiple Angles\n <\/h3>\n \n
If possible, set up two cameras: one wide for archival documentation and one for closer details or a different angle.<\/p>\n
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\n \n <\/span>\n \n \n \n Capture Multiple Performances\n <\/h3>\n \n
Document multiple performances when possible\u2014each run captures different moments and energy. Since the performance object disappears once the show closes, multiple documentation opportunities give you options and backups.<\/p>\n\n <\/div>\n <\/li>\n
\n \n <\/span>\n \n \n \n Coordinate on Lighting\n <\/h3>\n \n
Coordinate with your lighting designer. Consider scheduling a separate documentation run where you add general lighting and dim high-intensity spotlights slightly. Sometimes this also includes a prearranged shot list. The same approach works for low-light scenes: bring up the lighting just enough for the camera to capture the performance without completely losing atmospheric quality. I’ve done this many times, and it’s far more effective than trying to salvage underexposed or blown-out footage in editing.<\/p>\n\n <\/div>\n <\/li>\n
\n \n <\/span>\n \n \n \n Make Specific Plans Site-Specific Work\n <\/h3>\n \n
Site-specific performances present unique challenges\u2014finding good angles when you can’t control the space, audiences traveling from room to room, and often unpredictable natural light. Many site-specific works occur during transitions of light (sunset), which create beautiful atmospheric moments but difficult contrast for cameras. Document over multiple days if your run allows it. If you have a three-day run, create a documentation plan: Day one captures wider establishing shots showing the relationship between performance and site. Day two focuses on close-ups and details of the performer. Day three is for combination shots and specific scenes you need after reviewing what you captured.<\/p>\n\n <\/div>\n <\/li>\n
\n \n <\/span>\n \n \n \n Time It Out\n <\/h3>\n \n
Build documentation time into your process. I usually schedule photo and video documentation on different nights because I don’t want to hear the camera clicking or see my own silhouette moving around the room in the archival video footage.<\/p>\n\n <\/div>\n <\/li>\n
\n \n <\/span>\n \n \n \n Communicate, Communicate, Communicate\n <\/h3>\n \n
Communicate with performers about documentation plans. If your work includes nudity or other sensitive material, consider scheduling a separate documentation session where performers can adjust their positioning and facing for the camera in a more controlled, private environment.<\/p>\n\n <\/div>\n <\/li>\n <\/ul>\n <\/div>\n\n\n\n
Don’t be afraid to start simple. A phone on a tripod is infinitely better than no documentation. And you\u2019ll get smoother with panning, zooming, and other camera operations as you go. I know choreographers who started with phone manual mode and now confidently operate cameras! Invest incrementally as your documentation needs grow. <\/p>\n","protected":false},"excerpt":{"rendered":"
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