ABSTRACT
Each of these techniques has its particular advantages and limitations. Some types of program cannot be shot so effectively on a single camera (e.g. sports and games); while for others, a multi-camera approach can seem ‘over the top’, overpoweringly inappropriate (e.g. an interview in someone’s home). From the director’s point of view, the production techniques are markedly different. For a live production, a single camera would be unnecessarily inhibiting. But for a taped production, the director can adopt techniques that are similar to those of the film maker as far as time and facilities allow. Single-camera production A single lightweight camera is independent, compact, and free to go anywhere. The director can be right there on the spot beside the camera, seeing opportunities, and explaining exactly what he or she wants to the camera operator. (In the case of documentary
productions, the person devising and organizing the project may be operating the camera too!) This method offers the director considerable flexibility; both when shooting and later when editing. You can select and rearrange the material you have shot, trying out several versions to improve the show’s impact. There is none of the feeling of ‘instant commitment’ which can typify a multicamera show. But it is slow. Shooting with a single camera will often involve interruping or repeating the action in order to reposition the camera. The problems of maintaining continuity between set-ups, even the way in which shooting conditions can change between takes (i.e. light or weather vary) and similar considerations, are not to be underestimated. It has been said that ‘unlike multi-camera production, which is a “juggling act”, shooting with a single camera allows you to concentrate on doing one thing at a time; on optimizing each individual shot’. You are free to readjust each camera position, rearrange the subject, change the lighting, alter sound pick-up arrangements, modify the decor, etc., to suit each take. That’s great! But shooting can degenerate into a self-indulgent experimental session. It is all too easy to put off problems till tomorrow, with ‘We’ll sort it out during the edit’ or ‘Let’s leave it till post-production’! When shooting with a single camera you do not have to worry about coordinating several different cameras, each with its different viewpoint. You are relieved of the tensions of continually cueing, guiding, intercutting between cameras. All refinements and supplementary features from background music to video effects are added at a later stage, during the post-production session. The other side of the coin is that when shooting with a single camera, you finish up with a collection of tapes containing a mixture of takes (good, bad, and indifferent; mistakes and all) shot in any order; all needing to be sorted out some time later. So compiling the final tape, including titles, music, effects, etc. can be a lengthy process. Multi-camera production If you are shooting continuous action with a single camera, and want to change your camera’s viewpoint, you have two choices. You can move to a new position while still shooting (i.e. move ‘on shot’), or miss some of the action as you reposition the camera at the next set-up. A multi-camera group simply switches from one camera to another; a clear advantage when you are shooting a series of events going on at the same time or spread over a wide area. Unlike the director on a single-camera shoot who is close to the camera, the director of a multi-camera production is located away from the action; watching a series of picture monitors in a production control room; issuing instructions to the crew over their intercom headsets; and to the floor manager who guides the talent on the director’s behalf. In a live multi-camera production most of the inter-shot transitions (cuts, mixes, wipes, etc.) are made on a production switcher (vision mixer) during the action. Editing techniques are rudimentary. There are no opportunities to correct or improve. However, you do have the great advantage that you can continuously monitor and compare shots. And you do not have continuity problems of the kind that can develop when shooting with a single camera. An experienced multi-camera crew can, after a single rehearsal, produce a polished show that is ‘ready to air’ or for ‘straight through’ videotaping in just a few hours. At the end of the taping period, the show is finished. Videotaped multi-camera productions may be shot as:
‘Live-on-tape’ – From beginning to end without a break (e.g. in a talks show).
