AMPG PROTOCOLS [PRESS/MEDIA]

 (Photography and Video; membership receipt included below) 

Thank you for participating with us in our endeavors. Here is what we expect all photographers and videographers capturing/covering ANOM!LE events, and likewise, what to expect from us.

The following information is transferrable (meaning that one may use it, no matter who one works with) that benefits all who reads, whether they continue with us or not. 

VIDEO:

NAIL YOUR CLIPS, SHORT -  Before showtime, you may want to shoot a few test, stock and establishment shots before the main event.

Please, do so, but remember to keep stock clips a maximum of 10 seconds and that they can be looped in post-production.

Grab these clips rather quickly so that you have lots of time to ready yourself at the stage area before the feature presentation.

GET THE “MONEY SHOT” -  Video camera personnel’s main objective is to capture the full performance and document details of the choreography, lighting changes and nuances of the featured act(s) as planned by the sponsor(s) and administrators.

The secondary objective is to capture the vibe or atmosphere of the event, inside and out, but only enough footage, as to leave plenty of space for the capturing of the act(s).

Refrain from over-shooting "stock" and "establishment shots" or dependence on “that other tape/disk in the bag”; shoot the bulk of surplus footage later and preserve film and battery for the main events to be captured.

GET LIFTED! -  It is a regular custom for our announcers to call the audience closer to the stage as the act begins.

This will make your shot very difficult to capture from floor level, especially if the performer should go to the floor of the stage and become completely surrounded and/or hidden by their audience.

Make sure that the camera lens is elevated to a height of 7 to 10 feet above floor level.

This may mean bringing a step ladder or getting imaginative and using whatever is currently available to you (a chair to stand on, a table to set up a tripod on, scaffolding, landings and balconies, dance podiums, boom rig, etc.).

If you do not mange to secure your elevated shot, you will miss precious moments of an unrepeatable performance at ANOM!LE’s and other companies’ expense.

ON-POST? ON-CUE? - Camera personnel should report to their appointed posts to ready themselves up to 5 minutes before an act is to perform.

The presiding foreman/director will confer with the host and the stage director concerning performance times.

Make certain that the disk or tape is cued to a proper place, will capture the entire act and that you know that the camera is actually recording and not just on standby.

Avoid being the one whose tape/battery and luck ran out, in the middle of recording.

Make sure to capture enough footage to give the editor enough space to transition in and out of a shot/segment, about from the time the announcer and act begins, to the time the announcer cuts to break or to another focus point like a DJ or band (just like a studio-shot tv show).

Capture the crowd’s dispersal into dance mode and cut shot after apx. 10 seconds.

BE NOT JUST “ON-POST” AND “ON-CUE” BUT “ON-TASK” - During the recording of stage acts and performances, the operator(s) must take special care to avoid making extra commentary, or “editorializing” performances other than general cheering.

Refrain from conversing with by-standers during filming, as the camera mic will pick it up over the stage sound, which ruins the shot.

Remember, "quiet on the set".

Smoking and drinking may sometimes be allowed in the venue/show, but during shows, refrain from drinking or smoking while operating the equipment.

Your cigarette smoke may obscure the camera’s focus, your drink may spill on a power cord or the alcohol may make you clumsy enough to drop your camera (which the responsibility of equipment damage lies upon that pre-signed individual operating the equipment at the time) or make you become inclined to make sarcastic or inappropriate comments, directly off/behind-camera, which again ruins a shot and makes the company (and yourself) look bad for having done so.

BACK-BACK! - Refrain from extreme close-ups, especially when operating a handheld camera that is not attached to a tripod.

It causes shaky footage and causes the viewer to miss out on other important details of the stage show, which clients and sponsors deem as more important.

Not to mention, shaky footage nauseates viewers when replayed on large screens (remember “Blair Witch Project”?).

EYES FRONT - When filming, the center of the stage must never leave the shot, during performances.

If a performer takes one or the other side of the stage, zoom out to keep center stage in the shot, then, slowly zoom in up to +30% until the performer returns to center stage; this leaves plenty of room in the shot to anticipate where the subject will move next.

The video must capture as much on-stage detail as possible.

DON’T PLAY FAVORITES - When filming, the star performer gets the most “face time”. The viewer must not be able to detect the camera operators’ particular preferences to anyone but the star performer.

If there are two or more cameras filming the same shot, only then can the other operator attempt an alternate angle or shot (5-7 second maximum).

PHOTOS:

TAKE FIVE - Each photographer must take a minimum of five “good” frames of the featured acts. 

When photographing groups (eg. musical bands), unless they customarily have their own solo stage time, it is not mandatory that they be photographed individually.

Don’t take just five, make sure that you have at least five.

HOT DOGS, NOT HAMBURGERS - Unless photographing a large group of people, all photos are to be taken length-wise (“hotdog” or "portrait"), not width-wise (“hamburger” or "landscape").

It is easier for post production editors to rotate the picture than to crop the picture, subsequently misfitting its size, from the other shots. Use wide shots for four or more in a single shot or for panoramics only.

Note: In cases of recording video on digital cameras, always hold the camera in the "hamburger" or "landscape" fashion.

“MAY I", "PLEASE" AND "THANK YOU!” - As far as patrons and event-goers, ask their permission to be photographed. They are most likely to allow it but you never know nor for what reason.

We wish for our media team to remain blameless and safe from conflict while doing their job, thus getting their permission keeps you in the clear. As a plus, it also makes people feel important, when you ask to photo them.

FRAMING BLIND - Because it will be dark or only have warm lighting in most venues, it becomes difficult to use the viewfinder to frame a good shot-in-one.

To remedy, take up to three, using your first shot as a reference. Let the subject know that you’ll be taking up to three frames so that they will not attempt to leave after the first flash.

If you see that shot number two or three works, then thank them and give them a business card, which promotes the company and its corresponding sites telling them where to find their results.

You can delete the faulty pictures later to save space on your disk.

SHOOTING IN THE DARK - Sometimes, we prohibit flash photography because it may ruin the visual aspects of the show or distract performers.

In which case, you may have to allow a longer aperture (letting the camera "stare" for a moment, instead of only "blinking" open then shut) to get a good shot.

In this, you'll find that you'll need to press and hold down the shutter button to alleviate blurriness. While the subject will show clearer if standing still, they may be in motion, to which to take even more frames of them for that clear "money shot".

CAMERA-SHY SUBJECTS - Some may not wish to be photographed. Do not insist, but give them an opportunity to leave the shot. If you have already taken one of them, offer to delete that photo.

They may not truly care, but then again, they may; sometimes, it maybe because they are never satisfied with pictures of themselves anyway.

Alert your fellow paparazzi of who not to photograph, as not to unknowingly antagonize them, by shooting in their direction. They will appreciate your consideration.

MAKE 'EM LOOK GOOD! -  Let's face it, some people indeed just aren't photogenic. Others are just having a bad hair day or isn't the most flattering taking care of business at the time.

If you simply must get a shot of them, then respect their allowance for you to photo them and help to make them look as good as possible.

Perhaps he's got acne; pull back and don't shoot closeups of him. What if she's got a tummy? Well then cut the shot just underneath the curvature of her bustline.

Paparazzi tend to think that they have to exploit the imperfect for notoriety; that's why so many in celebrity-dom dislikes them, so be kind and help to mask your subjects' imperfections.

This simple consideration can also make you the preferred choice to hire/allow exclusive photography privilege for those who don't always feel/show as physically perfect all the time, which is pretty-much EVERYONE.

“FIRE, IN SHORT, CONTROLLED BURSTS!” - When posing for a picture shot by an entire group of photographers, it’s important to get the subject’s attention so that you make eye-lens contact.

When photographers are snapping at random, some camera’s flash offsets another camera’s focus, the subject cannot find which camera to make eye contact with and a good shot cannot be attained.

Form a tight semicircle affront them and shoot from one end of photographers to the other end, allowing the subject(s) to switch attention to the particular camera that is taking the picture in sequence (“Look here, please. Now, here. Now, lastly, here! Excellent, thank you!”).

Try not to shoot along with the other random photographers as you maneuver or their shooting will ruin your “money shot”.

DEBRIEFING, UPLOADING, COPYRIGHTS AND SYNDICATION - Upon wrap-up, all media disks are to be submitted to the presiding team leader, then from them to the department head for immediate upload (sometimes, being the same person), where all disks may be returned as early as within the same few minutes (depending on ability to back up files on-site), the same night or as soon as 24 hours later.

Although you will be allowed to keep the contents of your disk/tape, wait to upload for personal use/promotion until both ANOM!LE and its client(s) have reviewed, cleared and premiered the media on its contracted sites first, and have authorized/licensed their syndicated release for individual upload (usually, this may take from a day to a few weeks, being that many performers have individual audio/visual copyright to clear as well).

This is a protective measure for all, so that precious efforts are not wasted nor spoiled by premature leakage of material by individual participating photographers and that all media may also be properly credited to the exclusive efforts and property of our staff, as a whole, with individuals properly accredited, with all released media presented in its best light.

Note (Protect Your Pre-Existing Data):

To protect from loss of data and sub par efficiency, please backup, then clear or wipe your tapes and disks of all media that does not pertain to the current event being covered, before beginning each event/job shoot.

Avoid having to make space by deleting your precious but unbacked-up data, on-site.

ABANDONING SHIP - If you have to leave early, then please, supply prior notification and if possible, supply a pre- signed replacement for the remainder of the event.

Have them report to the press/media director beforehand so that the replacement can be registered, briefed and appropriated. Replacements therefore become responsible for any equipment or effects left behind by the replaced.

CONCERNING EQUIPMENT (“STOCK”) - As we all know by now, no one person has the equipment and resources to fill out an entire event and many times, it is the concerted efforts of many different stock holders to do their part in making the event/job a success.

In exchange for limited access to members’ resources, ANOM!LE offers the utilization of its own, in kind (equipment, production, graphics, filming, promotional services, labor resource, etc.).

We recognize the impending inconvenience, but assure that the utmost care is taken of others’ “stock” entrusted to any of us, as we all sign to it (no one, not in membership is allowed stock in their possession) nor may any members pass/trade stock in the name of ANOM!LE without expressed written license and brokerage from ANOM!LE’s head.

While ANOM!LE is constantly working to generate revenue to all its extremities, we will do everything that we can to pay proper consideration or assist in any efforts that your plans require in exchange for your willingness to be a partner with us.

“HEY, WE’RE NOT STUPID!” - Lastly and also unfortunately, ANOM!LE and applicable companies, involved in said events claim financial, legal/civic exemption for any lost, damaged, stolen or misplaced equipment/possessions or social/civic penalties, when its (the equipment) owner is present for the event and the operation of their equipment, and has left the area or venue, without notification to the proper administrator so that it may be secured or damages/loses equipment/possessions due to personal irresponsibility (ie., getting drunk, ejected and/or arrested, forgetting where you left your equipment and its parts, traffic tickets, boots/towing, open or outstanding bar tabs, ruined pants, bail, etc.).

ANOM!LE accepts financial responsibility for lost stolen, damaged equipment, utilized without the owner present and/or having left the event with proper notification to ANOM!LE, thereby turning over the equipment to store and secure, to which arrangements may be made for cost of repair, restoration or replacement.

In exception, ANOM!LE is willing to split costs under circumstances beyond either’s control during an event (damage caused by power surges, natural disasters, police raids, siege of war, Armageddon, etc.).

RECIEPT OF MEMBERSHIP -  By your having read up to here alone, whether participation is continued or not (lasting 30 days), is acknowledgement of one's receipt of membership/partnership, in agreement of this AMPG membership and protocol covenant, in good faith, its guidelines and whilst keeping all prior individual integrity (eg., business name and sovereignty, stage name, initial stock, etc.), hereby become a part of something fresh, new and exciting-  

..THE NEW ANOM!L!STS [aka a "STARSH!P crewman"]!

Now, contact your nearest ANOM!LE department head for a listing of company project dates in order to begin-
..and THANK YOU.