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Task One & Two: Definition of Multi-Camera Techniques and Multi-Camera Techniques in Action
A multi-camera production is a production that involves multiple cameras capturing the same event simultaneously. It is best known for its use on Sitcoms, Live Music Coverage and Chatshows. The examples below all show the multi-camera setup in different formats. The first is from the live broadcasts of the X Factor finals. The second and third are both coverage of live music shows, one indoor and one outdoor on a much larger scale. The fourth is from a pre-recorded comedy panel show. The difference between live and pre-recorded can be noted how far more of the shots in the Never Mind The Buzzcocks show are steadier. This is because when shows such as sitcoms and comedy panel shows are recorded, they allow the actors and presenters to run through lines a few times, or redo jokes and such. This allows them to select shots carefully, and cut out anything that wasn't properly captured.
The first video, the live coverage of the X-Factor Performers was a live broadcast from a television studio. The opening shot is an establishing shot from a back corner of the audience showing the stage, the audience and the judges table. It anchors the location, the size to emphasize the scale of the show. It then cuts to a shot from directly in front of the stage that zooms in, to show the performers coming out of the doors. The camera zooms in slowly to close the gap between performer and audience faster. This sequence sets the mood of the performance, builds the tension that television shows like X Factor require. Then, a series of close-ups of all the individual performers are shown, to anchor who is singing and allow the audience at home to identify who their favorite is. This is one of the conventions of performance videos, the juxtaposition of close-ups and long shots. There are a lot of panning shots, to emphasize the movement. In the case of shows like X Factor this is a conventional feature and adds dynamic and excitement to the show. It also gives the audience more a feel of being there, despite the fact they wouldn't be as close in person. It is designed to add an element of being a part of a more intimate performance, it allows the audience at home to see and feel everything. The transitions are all cuts to keep with the pace of the music. The movement of the cameras makes the performance seem more fluid, the panning occurs at a faster speed to keep with the theme of the song. When individuals move away from the groups, there's usually a tracking shot, as the focus is wanted on them and to allocate them 'their moment'. There are a lot of sweeping high-angle shots which add to the idea of being an omnipresent entity. The audience gets 'all access'.
In the live coverage of Paramore 'My Heart', from the Riot! tour DVD, multi-camera techniques are used to capture the environment and emotion of the show. The song in particular is a very slow emotional song, so the movements and pace reflect this. Cuts are still used as transitions, which is most likely due to the fact that the picture would be broadcast on the screens at the sides of the stage, and so for live editing, cuts are more fitting. The first shot is a low-angle shot of the bands singer Hayley, connoting her power in the situation, for example being on stage and in control. The second shot reinforces the image of the bands influence on the crowd as it cuts from the low-angle shot to a long-shot from the back of the crowd, demonstrating the spotlight on the band and the sheer size of the event. Contrast is also used her from the bright colors on-stage to the blacked-out crowd. This adds to the emotion of the product. Extreme Close-ups are used on the guitar-playing shots, in which the framing includes only the bridge and the lower end of the neck, with the guitarists forearm in shot. This adds a very intimate feel to the framing. It also adds a more technical feel to those trying to learn the song, as they see more of how the song is played. The next shot comes across on a crane across the top of the crowd slowly and smoothly towards the stage, giving the feel of moving closer to the artist. Another shot used is a close-up at the side of the vocalist that frames her in focus, with the guitarist and back-up vocalist further away from the camera out of focus. The variety in shots adds perspective, and gives the fans the full experience of how it looks on stage. The omnipresent entity idea is in place here too, as it allows the audience to be transported across and around the venue and the stage. At the end of the song, the crowd is involved in singing, so we see more wide shots with more inclusion of the audience. At one stage the screen is split to show the view from the 'pit' (directly in front of the stage) looking to the crowd, and the view of the stage from a distance. This adds emotion, connecting the audience at home, the artist and the crowd in the venue together. One shot is taken from behind the vocalist showing what she sees as she looks out on the crowd. There is another juxtaposition here as the vocalist is lit up, bright in color, while the crowd is still a sea of shadow. This again informs the emotion of the piece and adds more depth.
The third and final video is from a comedic celebrity quiz show that is pre-recorded but broadcast as-live. It features two 'panels' each led by a team captain and then a host, the host being Simon Amstell. After the credits are run, the show opens with a crane-based panning shot that swings across the set and shows the panels and the host. The transition from the titles into the shot is a blurring fade. It creates a smooth transition that anchors the link between the titles and the show. The camera then cuts to a long-shot of the host Simon, that then zooms in quickly to a close-up. The long-shot is to anchor location, but it's likely that a presenter talking at a long-shot would be distracting, so the zoom in instantly reduces any bridge between the audience at home and the host. It cuts the desk out of shot, to make it more personal.
Task Three: Mindmap of Ideas for my own show
Task Four: Production Table
Task Five: Shooting Script & Floor Plan
Task Six: Risk Assessment
Task Seven: Product
Task Eight: Evaluation of Product
The weekly in-school television show 'Friday World' is a valuable part of Grangefield school and is known for being to a professional quality. Due to the young mixed-gender audience, it has to be entertaining, non-biased and carefully monitored to ensure it's not offensive. As a part of a team, I worked to ensure that the show put together was entertaining, varied and representational to the school. I believe the live show that we broadcast met the qualities we needed it to. We'd selected very carefully the different segments which included music videos, work produced by students and movie trailers. One of the most important segments would particularly be the work produced by students of the school, as Friday World is important for showcasing such projects. On many occasions it also allows members of the audience to see themselves on the 'big screen'.
When selecting presenters, we chose diversity and comfort. They connected well with each other and the audience, something that was commented on in audience feedback. This allowed the links they presented between segments to feel and appear more natural. Gender and ethnicity weren't particularly important elements in selecting presenters, but it is tradition on the show to use both genders in presenting, to give both genders within the audience someone they can relate to. The selections weren't based on ethnicity or religion, but instead how natural they felt in front of the camera. On this particular occasion the female presenter was a guest in school, the male a sixth-form student. Were we to select differently, we might consider selecting someone from a younger year to represent the lower ends of school.
The set-up of Friday World has always been generally the same, with two cameras operating at the same time and the use of a switchboard to cut between shots. On this particular occasion we sat both presenters in front of a back-drop with a fill light to ensure there were no shadows. Directly in front of them we placed the camera set to mid-long shot that included both presenters. Off-side a little to the left, the second camera was set up on close-up, switching between presenters. The switching between camera shots creates a dynamic and stops the links feeling too long and plain. Each presenter was fitted with their own clip-on microphone, as they are effective for picking up the sound and create a more professional appearance. The sound manager ensured that the levels across the presenting and clips were equal, so that it was loud enough, but not blaring through the speakers in the hall.
In terms of my own role within producing the show, I acted as floor manager, a role that required organisational skills and the ability to work well under pressure, I had to provide cues, decide if and when we were coming out of any of the VT's early. I had to ensure that everyone knew what was happening in the next link, that the camera-operators had the correct framings, that the presenters knew what they were linking to and how long they had to do it. This was across two rooms, the mixing suite and the studio. This meant communication skills were highly important, and I feel I improved upon them.
Another aspect of my own skills I improved were my preparation skills there was a lot of research and leg-work to be done, finding and selecting VT's, researching to find relevant information and ensuring it was all interesting to the target audience. There was a lot of paperwork, scriptwriting and mind-mapping to make sure we all knew what product was aimed for and to ensure it was produced as such. As a team-player, I felt I played my part well, and that we came together as best we could to produce a high-quality broadcast that went as planned, despite a few last minute changes.
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