About the Videoconcert
There was a time when the hearing was the only sense to connect the music lovers to the source of their predilection, being this accessible only by live shows, by radio broadcasting or by the old vinyl records. But from the moment when the “audio” word was attached to the “visual” word, reality changed radically in the field of the super stimulated perceptions, proving that the pleasure of any thing for which two or more senses concur is, always, much more rewarding.
The television was the great catalyst of this change, through musical performances in varieties shows, and later broadcasting entire performances as a real support of TV’s shows per se.
When the technological means had allowed the existence of videograms commercialized to a widened public, specially in the VHS format, the recordings of pure musical shows had opened a new category in the audiovisual market, although its conception still have to obey to the TV logics of a mere live show reproduction, with exception of some objects of rare creativity.
With the advent of the digitalization and consequent popularization of the DVD format, it is, today, possible to watch, in comfort at home, a symphonic concert or even a rock one, without losing the quality level of the reproduced sound.
The qualitative jump of the image level, and the predictable evolutions to come (high definition), has allowed to establish this format as a regular bet in the music industry, sometimes as a bonus in the CD edition or as an individualized commercial product. If we want to foresee the future, where only single songs will have predominance in the music charts, this format can just be the vehicle of abridgement and pledge to the real skills of an artist.
On the other hand, the flexibility of this format allows developing a set of audiovisuals contents almost limitless, being this small segment of market still in a development state. But the profusion and demand of these products are making necessarily the differentiation of some proposals and more creative ways are being explored to change this visual experience.
If the emotion, the sumptuous scenario and the visual spectacularly of a real performance have always fascinated our sensorial perceptions, it’s natural that the form of its perpetuation expects the simulation of a real presence. But this on an amplified level of involvement and in close proximity to the stage show through an audiovisual platform. It is therefore, in this logic that the new techniques and practices of directing have come to change the TV canons and to exceed the conventional practices of recording, for an intense visual dynamic, insufflating an immersive and interactive fascination.
Like the videoclips had initially left of TV and cinematographic models for an aesthetic affirmation of themselves, also videoconcerts find themselves, today, in a transitory state for something different from the usual practices. And this we must follow with special attention!