An Interview with Loren R. Robertson, with Loren R. Robertson Productions

Q: How long have you been shooting and editing video of performance?

A: I have been documenting performance very part-time since 2006, and then in January of 2009, took my role as a videographer/video editor full-time and created Loren R. Robertson Productions (LRRP), a small local Bay Area video production company specializing in video services for performance!

Q: How did you develop your technical expertise?

A: In 2004, I was formally introduced to dance videography as a video intern at the acclaimed Jacob’s Pillow Dance Festival in a rigorous 3 month internship with 70-80 hours a week of documenting EVERY aspect of the festival, from multiple camera shoots and live mixing of all performances of well-established international dance companies, to classes, lectures and interviews of legendary choreographers, teachers, and Pillow community members.  During this training, I acquired professional video and audio skills in a theater setting, a deep understanding of a wildly successful and historic video archiving system, and a genuine love of shooting and archiving live performance.

I hold a B.A. in Dance from Mount Holyoke College in Massachusetts, graduating Phi Beta Kappa with a minor in film, focusing on video production.  I mastered the professional non-linear editing system of Final Cut Pro both in school and further in a video post-production internship with the philanthropic organization Channel G, where I solely produced and edited a short for the Song Bird Initiative which was featured in the Taos Mountain Film Festival, 2005.

As a trained dancer and performer myself, I carry an intuition behind the camera in terms of capturing movement and energy of live performance.  My personal performance experience also influences my editing aesthetic, one that is clear, open, often musical, and keen on keeping in line with each artist and organization’s individual artistic sensibilities.

Q: Who hires LRRP?

A: LRRP’s clients consist of a wide variety of individual, and often self-producing, performing artists, dance and theater companies, music groups, schools, performance venues, and producing organizations.  LRRP has worked with contemporary modern dance companies, individual queer performance artists, theater groups, bands, music and dance festivals, academic dance and theater departments, organizations producing artist-in-residence programs, and many more.

Q: How is LRRP different from other video production organizations?

A: LRRP is specifically designed to capture performance – dance, theater, music, performance art, and/or hybrids of any or all performance mediums.  My personal video training began in documentation of dance, and though current services are not limited to performance documentation and post-production, my main interest has always remained in the capturing, archiving and visual promotion of live performance.  As a seasoned performer and performance-maker, I bring an intuition behind the camera and in my editing aesthetic, something that does not necessarily come naturally to every videographer/editor, and I carry a very healthy respect for and understanding of the creative process of performance.  I am a full-bodied engaged camera operator, and I energetically connect with the performers I am shooting.  Other videographers that work with LRRP are educated to carry and understand this same intention.

My arts administration professional background as the former Program Manager of CounterPULSE, a cutting-edge performance venue in San Francisco gives me, as owner/operator of LRRP, an understanding of theater protocol, self-production, technical theater, and the general culture of performance production, especially in the Bay Area, allowing LRRP to work systematically with the producing artist in mind.

LRRP is a queer woman-run local business, which by nature is part of a movement in building local economy and micro-business in San Francisco – an important and inspiring factor during a time of recession and economic recovery in the United States.  Every video package purchased is an investment and energy flow in the local economy and arts community.

As an artist myself, I am personally invested in the cycles of the local (and beyond) performing arts networks and the work itself – I believe in performance – and this is reflected in my business.

Q: What kinds of things do you shoot and in what kind of spaces?

A: LRRP shoots virtually any and every “type” of performance and in all kinds of venues diverse in size, technical capabilities, financial support, and audience relationship. Most shoots occur in traditional theater settings, but have also consisted of performances in galleries, lobbies, studios, outdoors, in a tunnel, etc. LRRP works in small, intimate and well-loved performance spaces like San Francisco’s CounterPULSE and Mama Calizo’s Voice Factory, medium-sized theaters like SOMArts Cultural Center, as well as larger technologically fleshed out venues such as the Berkeley’s music venue Freight & Salvage and university theaters.

Q: What if I have a performance or event in a non-traditional space or venue?

A: LRRP is completely flexible around where and how to document performance.  High quality shot-gun microphones are used to capture sound, which holds on its own if a live audio feed from a sound board or original source is not possible (plus, if recorded tracks are used, the original track can be mixed in post-production).  If the event is constantly moving or in a tight space, there is the possibility of a hand-held camera shot.  The goal is to have a healthy working balance of truly capturing what is actually happening and preserving and upholding the standard of the work itself (sometimes, the work looks even better on video!)

In large festival-type situations, multiple cameras are strategically placed to capture the performance(s) while managing audience flow and distraction AND maintaining an intimacy in the documentation.

Q: What’s your production process like?  How do you capture audio?

A:  Upon confirmation via a simple work agreement, LRRP offers to directly contact the front of house manager/box office to work out camera placement in the house and the technical director/theater technician(s) to figure out audio capture.  LRRP’s videographers arrive 1.5 hours prior to show time to set up with plenty of time before the house opens.  Audio is captured with shotgun mics on the cameras, a live feed from the sound board via XLR if possible and/or quarter in. into the camera(s) and/or a wireless lav mic for solo non-dance performances.  Original tracks may also be used to mix into the sound post-production.

In one-camera shoots, the shot will always keep all the action within the frame (unless otherwise directed), staying generally wide and zooming in only, for example, when one or two performers are isolated in one area, keeping lots of breathing room around the bodies, but staying as intimate as possible.

With two or more camera shoots, one camera will stay at a wide angle, while additional cameras catch medium/close and moving/panning shots, which is imperative in optimally capturing facial expression, movement, energetic states and maintaining an intimacy in the documentation.

An optional 5 minute interview with the artist(s)/choreographer(s)/director(s)/collaborator(s) can be captured before or after the show, which is a special supplement to the document of the moment of the particular performance and place in the artistic process or career (often folks don’t like being recorded at the time, but are grateful and touched later on).  This interview can be used not only as a simple record, but also potentially as online future promotion or a special addition to a custom performance DVD.

Q: What is your post-production process like?

A: LRRP uses the non-linear editing system Final Cut Studio Pro to edit video, author DVDs with custom menu(s), optimize video for the web, dub copies, etc., depending on the video package or post-production and format needs.  A client review meeting is always held for the 2 Camera Full Service package or any other extensive editing before any finalization to allow the artist(s) to give input and feel fully satisfied with the professional video representation and framing of their work.  Clients can email text, credits, font preference, logos, several images (for DVD menus and covers), and any other specifications before the editing/authoring process.

Q: How quickly can I expect to see and receive the video after my event?

A: LRRP understands how timely getting the documentation in hand after a show can be, whether it’s need for a grant deadline or just general curiosity and desire to see the work from the outside while it’s still fresh.

LRRP ALWAYS gives its clients a copy of the master media (via DV tape or quicktime file transferred to an external hard drive) and keeps an archive of all original footage in case of loss, damage or later post-production needs.

If no post-production is needed or desired, the master media copy is sent (or transferred to the clients hard drive) the week following the performance date.

DVDs of one-camera shoots (along with the master media copy) are sent within 2 weeks of the performance date.

Other post-production work (edit of multiple angles, web optimization, custom DVD menus, etc.) is finalized and sent within one week after the client review meeting (which is scheduled upon signing the work agreement).

Q: How far in advance do I need to book LRRP to capture my performance or event?

A: LRRP accepts contracts on a first-come-first-serve basis.  The sooner the video/documentation plan is set the more likely your date will be available and the faster the post-production work will be completed.  But, don’t hesitate to inquire about services last minute, as LRRP can be available if the calendar permits.

I encourage artists and organizations to make video documentation a priority in the budgeting and pre-planning of producing performance.  Professional video is IMPERATIVE to a successful grant application, fundraising, future promotion, and submission to producers.  It also is a wonderful and powerful legitimizing tool for yourself, your organization, the performers, and the work itself.

Q: Do you recommend setting up a time and space to perform solely for video without an audience?

A: Clients have hired LRRP for both documentation of events and also performances specifically for video shoots, mostly to eliminate the audience factor.  Sometimes this is necessary, especially if the performance venue or site is very limited in terms of audience space (or maybe the work has yet to be produced). Yet, I personally feel the energy of live performance is an important factor in the work, which is really difficult to re-create without an audience, people to really witness and be in the space with the performers.  Setting up a separate video shoot performance is often more of an investment (renting space, paying theater technicians, re-hanging lights, more time of the performers + video costs) which isn’t necessarily worth it – rather, I would encourage the investment be made in additional cameras or documentation of additional shows.

On the other hand, LRRP is also available to capture performance created specifically FOR camera, a different kind of project beyond documentation that allows for deeper artistic collaboration and intimacy with the work.  The intention of the video would be for its own sake rather than a live performance.

HAVE AN UPCOMING PERFORMANCE OR CURIOUS ABOUT PROFESSIONAL VIDEO PACKAGES? EMAIL LOREN AT LORENRROBERTSON DOT COM