Proposal for Arena Stage Video Assets
2025-2026 Season
Bio
I’m Jacob McCoy, a creative producer and videographer focused on filming musical and theatrical performances for both promotional and archival purposes. I specialize in multicamera shoots and editing that put the performance first, aiming to capture an authentic energy from each production.
National Sawdust, Sydney Opera House, Bard College, and many independent artists have trusted me to tell their stories with care and honesty. I strive to create video that resonates with both artists and audiences.
Approach
Pre-Production:
Every production has its own voice and unique strengths, and my first priority is to get to know the piece—what it’s trying to say and how it wants to be seen. I make it a point to attend rehearsals and techs, not just to observe but to start capturing behind-the-scenes moments that reveal the heart of the work (whether these make it into the trailer/doc or not. I often create storyboards as a guide to ensure there is always a plan, but I’ve found that the most compelling moments often happen unexpectedly. My approach is to stay present and prepared, ready to catch those moments of real beauty as they unfold.
Filming & Direction:
When it comes to filming and production, I approach each project with a focus on capturing both the breadth and depth of the performance. I like to establish a strong visual foundation by securing several solid angles—typically a center-wide and a close-wide—cutting these against one or two zoom angles, depending on what the budget allows. This layered approach gives me the flexibility to tell the story dynamically in the edit. If possible, during previews, it can be highly advantageous to capture audience reactions as well.
If the schedule permits, I always prefer to film multiple performances. Each night on stage brings its own subtle variations, and having more than one take not only helps me catch those unique, powerful moments but also lets me immerse myself more deeply in the piece. I find that this familiarity leads to a more honest and resonant final product.
Filming a no-audience run is something I value highly. Without the constraints of a live audience, I can move in close and experiment with handheld or gimbal shots—techniques I’m known for and that often yield the most evocative footage. There’s a freedom in being able to follow the action up close, capturing the energy and emotion almost as a dialogue with the talent.
See gear list here.
Editing & Deliverables:
Editing for today’s audiences and platforms means recognizing that each has its own quirks and preferences, and deliverables should be tailored accordingly. I’m eager to collaborate with the Arena Stage marketing team to review what’s worked well in the past—using analytics to pinpoint successes we can build on, as well as areas where we might experiment with new approaches. With the tight turnaround required for deliverables, I see an opportunity to release content in phases, monitor its performance in real time, and make further iterations during the same run to maximize engagement.
Beyond the immediate promotional needs, I place a high value on archival integrity. I want to ensure Arena Stage has access to all workable materials—fully packaged project files, raw footage, and assets—so you’re empowered to revisit, revise, or repurpose content long after our collaboration ends. For me, it’s about creating both immediate impact and lasting value for the institution.
Estimated Per Production Range:
$3,000–$10,000 (final cost depends on project scope, number of shoot days, and deliverable complexity)
Production Rate (with gear):
$1,500/day
This rate includes all necessary camera, sound, and lighting equipment.
For consecutive shoot days where gear can remain onsite, the rate can be prorated to reflect reduced load-in/load-out time and logistics.
Editing Rate:
$85/hour
Editing hours are estimated in advance based on the required deliverables (trailers, promos, social cuts, etc.), so costs remain predictable.
Pre-Production/Discovery Fee:
Covers site visits, rehearsals, and tech attendance to understand the production and plan the shoot.
This can be a flat fee, adjusted for the level of involvement required.
Behind-the-Scenes (BTS) Coverage:
When capturing BTS or rehearsal content, a smaller camera package can be used to minimize production costs, ensuring efficiency without sacrificing quality.
Portfolio
Video Production Reel
directed and/or captured & edited.
Trailers and Promos
directed • Captured • Edited
directed • Captured • Edited
directed • Captured • Edited
Mass for the
Endangered
Phoenix Chorale invited me to capture their immersive performance of Mass for the Endangered by composer, Sarah Kirkland Snider, featuring the visual accompaniment of Deborah Johnson. This piece explores the production and presentation of these contemporary works at the Phoenix Art Museum.
Directed • Captured • Edited
The Gauntlet:
Sydney Opera House
The Gauntlet is a one-of-a-kind nonlinear choral experience that I’ve been documenting since it began in June 2016.
Directed • Captured • Edited
Goshu Ondo
In the fall of 2018 I Captured Choral Chameleon’s collaboration with jazz pianist and composer Eri Yamamoto. In this piece, Eri and choir director, Vince Peterson, shed light on the creative process behind the collaboration.
Directed • Captured • Edited
Au Movement
Visual accompaniment for Choral Chameleon’s Au Movement Series.
in late 2021 when in-person concerts were still touch and go, Choral Chameleon opted to create a visual accompaniment for their fall programming that could be enjoyed by remote audiences. I directed, captured, and edited this 5 song series.
Directed • Captured • Edited
ARchival Performance Capture
Not for Me to Say
For Alexandra Alden
Directed • Captured • edited
Amelia Found
For Sxip Shirey & Coco Karol
Directed • Captured • edited
When god Lets My Body Be
For Choral Chameleon
Directed • Captured • edited