In short
- Keep the whole dancer in frame, from head to feet, for most of each routine.
- A wide shot shows formations. Closer shots show expression. Both have a job.
- Costumes, stage lighting and the dancers' spacing affect what the camera can see.
- Ask the teacher to name the moments in each routine that must be visible.
For dance, the camera should show the whole dancer and the whole formation for most of each routine. Close-ups add feeling, but they should not replace the wide view that lets families and teachers follow what is happening.
What must remain visible
Ask your teacher or choreographer to list what a viewer must be able to see. For most routines this includes:
- Feet and floor patterns. Footwork cannot be judged if the frame stops at the knees.
- Formations and spacing. A wide shot shows lines, circles and changes of position.
- Arms and full body lines. Cutting off hands or heads loses the shape of the dance.
- Every dancer, at least once. In a group, each child should be easy to find.
- Entrances and exits. These are often where families look for their child.
The shots, and what each is for
| Shot | What it shows | Best used for |
|---|---|---|
| Wide, whole stage | Formations, spacing, the whole group | The main complete recording |
| Medium, a few dancers | Partner work, small groups, arm lines | Variety, solos |
| Close | Faces and expression | Short moments in a recap, not a full routine |
A wide shot can run unbroken through a complete routine. Closer shots work best as a second camera or as short moments in a recap. Our guide to choosing complete performances or a recap explains why many organisers ask for both.
Costumes, lighting and the venue
- Dark costumes on a dark stage can disappear on camera. Check with the venue whether the stage lighting will be final at the show.
- Spotlights and colour changes may be harder for cameras than for eyes. A rehearsal helps the crew test this.
- Seats and sightlines. A camera position at the back of the hall, with a clear view of the floor, is usually better than one behind a row of heads.
- Sound. Music is usually played through the venue system. The crew can take a feed from it where possible, which is cleaner than recording from the room.
Our venue filming questions checklist lists what to ask the venue about positions, power and access.
Working with young dancers
Many recitals involve children. Before the show, check with parents or guardians if the video will be shared beyond the families. Agree where the crew may stand, and whether backstage is off limits. Our school concert videography page covers school-specific planning.
A worked example
This is an illustration, not a past client. A dance school plans a recital with 12 routines, from a junior class to an advanced contemporary piece.
The teacher marks three moments in each routine: the opening formation, the key sequence and the final pose. The crew uses a wide camera for all routines, and a second camera for close shots of the advanced pieces. Each routine becomes its own file. The teacher approves a short recap for the school’s social media.
What to agree before the day
- The running order, with dancer group names.
- The moments the teacher wants to be clearly visible.
- The camera positions, agreed with the venue.
- Whether to film a dress rehearsal. See rehearsal or public-show recording.
- How files are named and who receives them.
What we confirm for your event
- Where the main camera stands, and what it shows.
- How the dancers’ feet stay in frame.
- How we cope with lighting changes.
- Whether each routine is delivered as its own file.
Our performing arts videography page explains how we plan stage coverage, and multi-camera recording is available on request, confirmed for each event.
Send us the date, the venue and a draft running order, and a note on which routines matter most. We can then suggest camera positions and confirm the crew and travel.
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