Every monitor has a video-game-like control system in front of it. They use a joystick to zoom in for shots.<span class='em small'><br/>Credit: Russel Daniels</span> Calvin Roberts helps man the eleven cameras that will shoot tonight's show. Each camera is focused on a specific part of the stage, the pit, etc.<span class='em small'><br/>Credit: Russel Daniels</span> Chris Dulmage is the group's technical director and engineer. "He's touched every monitor more than once," quips a camera man.<span class='em small'><br/>Credit: Russel Daniels</span> Roberts leads us into a cramped room with yellow, green and red wires flowing out of every corner. "This is the control room," Roberts announces proudly. "This is where it all happens."<span class='em small'><br/>Credit: Russel Daniels</span> "All the camera control units are in here," says Roberts. Also, did you know that the entire War Memorial Opera House was fitted with fiber-optics?<span class='em small'><br/>Credit: Russel Daniels</span> We ask Francis Crossman, "At the end of the night, how many gigs does recording the opera take?"<span class='em small'><br/>Credit: Russel Daniels</span> The answer? About one and half terabytes. <span class='em small'><br/>Credit: Russel Daniels</span>