Single Camera Production

Some directors prefer to work with a single camera, for they feel more directly involved in the action, and better able to make on-the-spot decisions, than when directing from the production control room.

Intermittent shooting

This is the way most single camera productions are shot. They are videotaped in a series of brief camera setups, using rehearse-record techniques. Action is repeated wherever necessary, to provide visual continuity between different viewpoints. The takes are later sorted and edited together.

Continuous shooting

But this is not the only method you can adopt. Instead you can shoot continuously; either ‘live’ or‘ live on tape’.

How do you shoot extended action lasting several minutes or more with a single camera?

Of course, you could simply move around from one viewpoint to the next, zooming in and out to adjust the shot size. But although this ‘roving camera’ approach is acceptable in a news item, for most other productions the audience would soon become over-aware of the continually moving camera, particularly if the subject itself does not move.

To disguise camera mechanics, have the performer move around, and mate any changes during their movements. For example, if you want to transfer attention from one area to another, have the camera move with a demonstrator. It pans as he goes to the next item. The camera tilts (or depresses) as he looks down at it. We zoom in as he points out a feature. All the camerawork seems ‘natural’ and unobtrusive.

Shooting static subjects

•A shot where subject and camera are quite still will normally only sustain attention for half a minute or less — depending on how interesting the viewer finds it.

•Wherever possible avoid panning over a series of subjects lined up across the shot. It’s a visual bore ! It’s better if you place subjects at different distances from the camera. Then the shot size and composition will change as the camera concentrates on one after the other, by panning or zooming.

•To create visual variety, you can place a static subject such as a piece of sculpture, a vase or a floral display on a turntable, which rotates to show different features. The result is similar to that of a camera arcing round it.

•Occasionally, you can prolong a static shot by slowly pulling focus from items in the foreground to others in the background.

•You can create an illusion of animation by introducing lighting changes; for example, starting with the subject in silhouette, lighting progressively reveals features.

• If you have a second video source, such as a videotape deck, graphics camera or film channel, you can switch to this while repositioning the camera or altering

Sybject movement and the single camera — equidistant positions

Items can be arranged equidistant from the camera, to provide a series of similar shots as the talent moves around

Subject movement and the single camera—movement in depth

Where subjects of various sizes are involved, the largest can be located furthest away, the smallest closest to the camera.