
The Royal Shakespeare Company produces its works for streaming with Blackmagic Design Para deleite de los aficionados al teatro de todo el mundo, la compa a con sede en Stratford-upon-Avon, la ciudad natal de Shakespeare, ha comenzado a producir sus obras con c maras Ursa Mini Pro y mezcladores ATEM.
Royal Shakespeare Company (RSC) ha puesto en marcha un estudio para la producci n multic mara de sus obras con unidades Ursa Mini Pro 4.6K G2 y mezcladores ATEM Television Studio Pro HD of Blackmagic Design para deleite de los aficionados al teatro que podr n seguirlas en todo el mundo v a streaming.
Situada en Stratford-upon-Avon, la ciudad natal de Shakespeare, la compa a teatral antes de la pandemia realizaba alrededor de 20 producciones por a o, tanto en dicha ciudad como en Londres, el resto del Reino Unido y otros pa ses.
Mark Kendrick, integrante de la compa a, comenta que cerramos las puertas al p blico en marzo del a o pasado y hasta el momento no hemos reabierto. Dado que esta situaci n permanecer sin cambios durante el resto del invierno, buscamos implementar un enfoque digital con la finalidad de transmitir una serie de obras que representamos sobre el escenario .
El festival se inaugur conmemorando The Boy in The Dress, una adaptaci n de la novela de David Walliams, e incluye obras destinadas al p blico y a organizaciones educativas, entre ellas distintas versiones de los trabajos de Shakespeare escritas por el aclamado autor Michael Morpurgo.
Uno de los desaf os principales fue c mo lograr que dichas producciones transmitieran la misma euforia y sensaci n que en el teatro. Tuvimos que implementar una din mica de trabajo que combinara nuestros conocimientos y pr cticas teatrales con nociones de teledifusi n , explica Kendrick.
Estamos orgullosos del nivel de nuestras producciones, por lo cual, cualquier cosa que hici ramos deb a cumplir con los altos est ndares a los que nuestra audiencia est acostumbrada , a ade.
Teatro en televisi n Por otra parte, se ala que decidimos filmar cada obra desde la perspectiva del p blico, lo que implic trasladarnos a la platea. Cada producci n fue ligeramente distinta, por lo cual adaptamos la posici n de las c maras seg n fuera necesario. No obstante, por lo general cont bamos con dos Ursa Mini Pro manejadas por camar grafos en la secci n central del palco, y una tercera para captar una toma angular desde el costado del escenario. Adem s, recurrimos a una unidad Micro Studio Camera 4K, con el prop sito de filmar planos del mismo y del auditorio .
Los actores deb an mirar a la c mara en lugar de al p blico. Esto fue un desaf o en algunos aspectos. Asimismo, ten amos la obligaci n de guardar una distancia prudente entre nosotros y proteger tanto al elenco como al resto del equipo. Tambi n fue necesario adoptar un enfoque distinto en cuanto a la iluminaci n del escenario, a fin de lograr la misma calidad en la pantalla , indica Kendrick.
Todas las c maras se conectan mediante cables SDI. Por su parte, las se ales se transmiten a una matriz Smart Videohub 12G 40 40 y se combinan mediante un mezclador ATEM Television Studio Pro HD.
Kendrick afirma que la calidad de imagen que se logra con las c maras Ursa es excepcional, y nos impresion la solidez de su dise o y su confiabilidad. Generalmente, las ten amos funcionando durante 12 horas por d a, y nunca nos dieron problemas. La din mica de trabajo y la integraci n con los programas de control y los grabadores HyperDeck Studio Pro nos permitieron crear macros para acompa ar cada l nea y movimiento de los actores .
Hemos aprendido mucho sobre la manera de filmar obras de teatro en directo, y esto ha dado lugar a diversas ideas y conversaciones sobre lo que podemos hacer cuando la pandemia termine. A pesar de que nos enfocaremos en las actuaciones en vivo, esta podr a ser una nueva forma de llegar a un mayor n mero de personas en el futuro, finaliza Kendrick.
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