The space then needs to be lit. “As our cameras act as the audience’s eyes, effectively replacing the audience,” says Aubs, “the first thing our team does is determine what the camera will see.”
The Opera House’s Lighting team choose the appropriate fixtures, mindful that the stage needs to be versatile. The programming of the Digital Stage is incredibly diverse in nature – often the stage will be host to a serious talk and is then revamped for a high-energy music act within the space of an hour. The lighting rig has to provide different looks to choose from.
Audio is very important as artists deserve to be heard at their best. Like the Lighting team, the Sound team choose a range of microphones and mixing equipment that will capture the best voices and instruments playing, but gear that can also be quickly deployed or adapted to the needs of each act.
Cameras, lights and sound equipment capture the performance and send everything they see and hear back to the Recording and Broadcast Studio. A good signal transports system is essential. To ensure that quality is not lost the Technology team have set up optical fibre cable that runs between the stage in the Joan Sutherland Theatre and the Recording and Broadcast Studio.
Like with sound, Aubs is conscious of not sacrificing the experience. A sense of intimacy is difficult to achieve, while also giving the artist space to perform.
“Our Recording and Broadcast team makes it as intimate an experience as possible, but without intruding into the artist’s space,” he says.