Reporting
If you are working on a multi-camera studio production for the first time you will be involved in a number of standard daily routines. After reporting to the camera supervisor you will be delegated to assist someone with rigging. As discussed in the previous section this involves rigging cameras, cables and monitors plus any special mountings or camera positions required for the production. Then make yourself acquainted with the production schedule for the day. For example, check the start of rehearsal time, recording times and meal breaks.
Never leave the studio or location unless you know what time working will recommence especially if you are not on talkback. If you are new to multi-camera working, try to keep in touch with the camera crew during production breaks – in television there are frequently last minute changes to the daily schedule.
Cabling
The first job a trainee will often be given on a studio multi-camera crew will be to look after cables and monitors. The time honoured role of ‘cable bashing’ may appear to be a long way from camerawork but it is a vital job on a fast moving show and if it is done well, will make just as big a contribution as any other production activity. It should also teach you six basic principles of multi-camera camerawork:
preparation;
anticipation;
concentration;
invisible technique;
silent operation;
teamwork.
Preparation
Look at the script to find out how the show is broken down into sections, recording periods, etc. Try to get an overall picture of the working day. Check that all camera cables are eighted with no obstruction (e.g. a ladder has not been parked on top of a cable since it was rigged). Check the floor plan and see where each camera is working and if there are repositions during recording or transmission. If there are rapid moves between shots or on shot you will need to assist with the cable. Make a note at what point in the production this happens.
Anticipation
During rehearsal, watch for cameras that work into other camera cable loops and make certain there is sufficient cable laid out in front of a camera tracking into the set so that it does not push another camera’s cable. Make certain a camera moving on shot is not pulling a length of cable stretching across the studio. Give sufficient slack cable close to the camera on the move so that the camera operator is pulling the minimum length of cable. Be aware at all times of how much cable is available to each camera and that the cable is free of obstruction (e.g. not snagged around a boom wheel, caught on a stage weight, etc.).
A harness for a portable camera and large lens
Cable clearing
Be particularly vigilant when clearing cables behind large cranes. Often the cable will be bound with a power cable and possibly a camera headlamp cable. These additional cables require very careful lashing with gaffer tape to prevent small loops of cable developing which can easily catch under the cable guards. Do not allow the back or front of the crane to push large loops of cable when moving. Keep all cable away from the guards to prevent the speed and weight of the crane overriding the cable.
Concentration
Do not let your attention drift towards the content of the show unless it is linked with cues for camera movement you are involved with. You have probably done a good job if, on leaving the studio at the end of the day, you can only supply details of the production which were linked with camera moves and cables.
Invisible technique
Being invisible when cable clearing is an asset to the production. Your activity will not disturb the front of camera people or audience and it is good preparation for practising ‘invisible’ technique when you progress to camerawork. Be aware at all times which camera is on shot and keep out of shot. Constantly check left, right and behind you to avoid appearing in vision.
Silent operation
One of the reasons that someone is needed on cables, especially in quiet shows such as discussion or orchestral music, is that cables being dragged across the floor can be noisy. Your job in cable clearing is to lift the cable off the floor if it is generating noise. Also remember that you may be ultraefficient dashing here, there and everywhere throwing cables out of the way as you go but if you create noise in the process you will have failed. Wear soft-soled shoes.
Tracking a pedestal
Often a camera operator will want complete control of the move on the pedestal but if this is impossible then he/she will indicate when to move and leave it to you to judge the speed of the move to match the action. One of the most awkward moves to make is to crab parallel with the action. Pedestal tracking requires the same basic technique for all movement on shot. Start with the action and end the move with the action. If it is a precisely rehearsed move, then the start and the end position should be marked on the floor.
The quickest way to lash one cable to another is to lay both cables side by side (a) and to bind loops of the smaller cable to the camera cable with gaffer tape (b). Bind the cables tightly together leaving no stray loop of cable that could be caught under a cable guard. This method is quick to de-rig and presents the smallest area of cable in contact with the floor reducing friction (and therefore weight when dragging the cable) and noise. Do not wind one cable around and around the camera cable as this is difficult to remove and will develop loops which can catch under guards.
Frequently, a monitor may need to be repositioned during a recording or transmission. If it is your job to move it, mark up the positions and make a note when it is to be moved. A basic rule in any simple activity such as repositioning a monitor is applicable all the way through multi-camera production practice – if possible, never do something on recording or transmission that was not done on rehearsal. There are many exceptions to this injunction but until you have sufficient production experience – stick to the rule.
Working as a team
The individual skills of many crafts combine to work together under the guidance of the director to transmit or record a programme. Sometimes the programme format requires a planned and precise camera script which is followed from opening titles to closing credits (e.g. a concert). Other programmes require the ad-lib technique of jazz where each camera is allocated a role but may shift and modify the shots they offer according to circumstances (e.g. sports coverage, public events, pop concerts).
Once a transmission (and sometimes a recording) has started, there is no opportunity to stop and sort out production problems or make substantial alterations to the camera coverage of the programme. The basic requirement of live multi-camera camerawork is to get it right first time – there are no retakes.
Preparation and anticipation
The rehearsal period is the time to discover what the contribution from each craft group will be. Each member of the camera crew has to establish what his/her role in the production is via a two-way exchange of information with the director and by talking to the other camera operators. In many rehearsals, all the information may be supplied on pre-planned camera cards and a floor plan marked with camera positions. The feasibility of the planning is then tested by a rehearsal of every shot.
With other programme formats, the barest information on a running order is supplied and the camera operator has to seek details of the camera coverage that may affect him/her. Experience enables the right questions to be asked as this is the only opportunity to discover what is required before a cameraman is faced with a ‘live’ performance.
Each member of the crew has to work in the real time of the programme and all decisions are governed by the timescale of the event. While the planning may have taken months or weeks and the rehearsal days or hours, transmission is governed by the timescale of the event covered. Shot decisions have to be made in seconds with no time-out to consider the best way of tackling a particular situation. Preparation and anticipation are essential in order to create the time for fast camerawork.
Customary technique
The nature of many programmes (e.g. sport, discussion programmes) does not allow precise information about shots either to be rehearsed or confirmed. What should be clear in the mind of each camera operator is the range of shots he/she will be involved with.
Multi-camera production technique relies on the assumption that every member of the production crew is equipped with a knowledge of the conventions of the specific programme format and has a thorough mastery of the basic skills in his/her particular craft. Information about shots will be supplied during rehearsal and/or during transmission/recording but it will be assumed by the director that the camera crew will respond with customary technique to the specific programme requirements (example – matched shots for interviews, see Interviews/discussion, page 160).
The language of camera movement
There are two main methods for recording a programme using multi-cameras:
Rehearse a section of the programme and record that section.
Rehearse the whole of the programme and then record or transmit the programme ‘live’.
To some extent, the first method of rehearse/record is efficient in that only small sections are rehearsed and remembered but it does require a high level of concentration throughout the shooting day because the production is periodically in ‘transmission’ conditions and sometimes allows insufficient time for all disciplines to get it right.
The second method requires extended rehearsal unless production content is so flexible that coverage is arranged by assigning a role for each camera during the programme (e.g. Camera 1 on a wide shot, Camera 2 on close-ups, etc.). If content is precisely known (e.g. drama serials/soaps, sitcoms, etc.) then the camera rehearsal will involve working through the programme shot by shot so that everyone associated with the production is aware of what is required.
Camera rehearsal
The rehearsal period is structured in a variety of ways depending on the programme.
Blocking or looking at shots allows the whole production team to make the necessary adjustments section by section. The programme is rehearsed shot by shot, stopping each time there is a problem (e.g. unsatisfactory framing, unacceptable sound, unflattering lighting etc.). During this phase of the rehearsal, shots are established, lighting and sound adjusted. A solution is found or will be found before continuing with the rehearsal.
This may be followed by a run-through of a particular sequence adding pre-recorded inserts and this gives an indication of the time needed for camera moves, pace of movement and change of shot.
Finally, depending on the programme, there may be a full dress run-through from opening titles to end credits. This final rehearsal is an attempt to run the programme exactly as it will be transmitted or recorded with no stoppages. The dress run may reveal logistical problems of moving cameras, presenters, scenery, etc., between sequences and all the other craft adjustments that need to be made in continuous camera coverage. Any significant alterations to the production as the result of this rehearsal may be rehearsed again (time permitting) or the production crew will be made aware of any unrehearsed material or shots before the recording or transmission.
The rehearsal period should be used to check the production requirements for the whole programme. There is no point in having a perfectly rehearsed third of a programme if the remaining two thirds could not be rehearsed because of lack of time.
Essential points
Use the rehearsal period to establish what your specific contribution will be. Ask questions if you are unsure.
Make notes on your camera card or running order and mark up camera position (see Camera card notes, page 174).
Make yourself aware of the role of other cameras.
Plan for the unexpected and have contingency plans for any eventuality.
Do not over-commit yourself with numerous camera repositions if you are unsure of the time available to implement them.
Check the cable routing of the camera and any potential object on which it could get snagged (e.g. rostrum corners, stage weights, boom wheels).
Always check the time available to reposition the camera if no rehearsal is available. Do not offer shots from a number of positions during the slow blocking of the show unless you are convinced that when the sequence is run at speed you can make the necessary moves and that you are not preventing other camera movement.
Assisting with pedestal work
As we will see in the section on operational skills, a camera mounted on a pedestal is a very flexible method of repositioning the camera on and off shot. Most camera operators operating on such a mounting usually like to control all camera movement themselves. The pedestal can be controlled in a very precise manner by the camera operator but sometimes a shot requires the assistance of a tracker.
Assisting with a pedestal development shot may be the first involvement a trainee will experience with camera movement on shot. There are a number of reasons why a camera operator operating a pedestal may need assistance but crabbing the camera at speed parallel to the action is one reason for a request for a tracker.
It is easier to push the pedestal at speed than to pull it running backwards. Make certain during rehearsal that the start and end positions of the camera are marked and that the end position mark can be seen during the move to avoid an overshoot. Decide on the best method of dealing with the camera cable keeping it clear of the feet of the camera operator and of the pedestal. Mark up a running order or make a rough camera card for all movements that need your assistance with a description of the action rather than shot number if you are not wearing a radio headset.
Agree with the camera operator how he/she will signal when the movement is to begin. He/she may ask you to take your own cue from the artiste movement or may want to cue you him/herself. Always be ready to adapt and adjust to the artist movement rather than simply going to a prerehearsed mark. In general, camera movement will start with artiste movement and end with artiste movement (see Camera movement, page 126).
Help with pedestal work may also occur because of the precision needed in focusing while moving. The camera operator may need an extra hand to ring-steer the pedestal while he/she reframes and shifts focus. Very fast moves on shot and fast reposition between shots are additional reasons why pedestal work requires assistance.
Tracking a dolly
The technique required to track a dolly is one step up from assisting on a pedestal because of the important additional responsibility that the camera operator, seated on the front of the dolly, places on the tracker to get him/her and the camera to the rehearsed position. If the rehearsed tracking line is missed or the speed of the track is mismatched with the action, there is nothing the camera operator can do to salvage the shot. The same criteria applies for accurate marking up the floor and camera card plus the need to watch the camera operator for signals to adjust the dolly if required.
The tracker will now be wearing a headset and this will be his/her first opportunity of experiencing the flow of shot numbers, director’s instructions synchronized with programme sound which underpins all continuous multicamera camerawork.
Essential points
Before rehearsal, equip yourself with marker/pen and marking up material – tape/timber crayon, etc.
Check cable guard clearance and ensure there are no loops of ancillary cables attached to the camera cable (e.g. lighting cables, prompt, etc.) which could catch under the cable guards.
Mark the floor according to position and movement.
Note all positions and movements by marking the card for quick reference.
Pace the movement to the action.
Watch your cable and get assistance with cable clearing if necessary.
All movement must be silent and safe.
Never endanger yourself, other members of staff, the public or equipment.
Check that all your marks are still legible before transmission/recording.
On transmission/recording watch for camera operator’s hand signals.
Anticipate fast repositions before they occur.
Work to the cue light and the shot number.
If there are a number of positions on the same tracking line, mark a ladder (i.e. a large ‘ruler’ on the floor with equal spaced units) and number them alphabetically so that each shot or movement can have a start and a finish letter assigned. Make certain that all shots have an assigned position marked on the camera card and any additional information such as a fast move, etc., is easily read quickly from the page. There is frequently no time to read long elaborate instructions.
Any movement with a dolly must not endanger yourself or the cameraman, other members of the production crew and cast or any audience or members of the public present. Finally, movement must not endanger the equipment you are using.
Operating a camera for the first time
Basic skills
The basic operational skills learnt by cabling and tracking apply equally to camerawork. When the day arrives for a trainee to operate his/her first camera on transmission or recording, he/she will have already acquired the habits of preparation, anticipation and concentration.
The basic skills required for multi-camera camerawork are as follows:
The skills needed to control smoothly the camera and mounting.
The skills needed to prepare for a recording/transmission and to repeat what was rehearsed or agreed at a specific time in the programme.
The skills needed to match the tempo of the camerawork to the time-scale of the programme. In practice this means that every shot has to be delivered precisely when it is required with no opportunity for the cameraman to hold the action while last-minute preparations are made.
The ability to work as part of a camera crew.
It is obviously not possible to acquire all the techniques associated with multi-camera camerawork on day one. These will be mastered after exposure to a wide range of programme making. What can be practised by the trainee when not involved in rehearsal is the control of camera movement, focusing and pedestal technique.
In rehearsal
At the start of rehearsal remember that you are part of a camera crew and your work must match their shots. Despite the concentration required to master the steep learning curve before transmission/recording, keep in touch with what other members of the production team are doing. You need to display individual initiative plus the ability to be aware of what is happening around you. Do not bury your head in the viewfinder all the time. On many shows a camera operator will often be looking around the camera more than in the viewfinder.
Listen to talkback and mark up any information that concerns your shots and watch the cue lights in the viewfinder to check when you are off and on shot. If you are asked a question on recording or transmission ‘nod’ the camera in the tilt mode to communicate ‘yes’ and move the camera in the pan mode to communicate ‘no’ provided you are not on shot.
Coping with change
If there is a major change during the programme, anticipate how it will affect your shots and be prepared to adjust to a new and unrehearsed situation.
All of these topics will be discussed in turn but the following basic preparations should be followed when operating a camera for the first time.
Check over camera, mount, remove chains if fitted and unlock pan/tilt head.
Check that the cable is ‘eighted’ and free to follow any camera movement.
Look through the camera cards if supplied and check opening position on floor plan.
Check that you can clearly hear production/engineering talkback and programme sound on your headset.
Check the viewfinder controls and mixed viewfinder facilities.
Get the feel of the camera movement and adjust friction.
Adjust pan bar and position of the zoom demand unit according to personal preference. Position of pan bar may need to be altered to accommodate very high or low shots during rehearsal.
Check focus and the varying zone of focus depending on zoom angle.
Reduce the headset cable loop to the minimum operational requirements and tie off to the camera. A long loop can easily get snagged.
Never underestimate the importance of anticipation in making time for yourself. Do not allow the excitement and confusion of a situation to get in the way of thinking clearly in order to act decisively.
Hold rather than grip the pan bar. White knuckles and a sweaty palm will not improve your ability to control the camera. Nerves are natural and often a stimulus to concentration but ignore how many hundreds of thousands of viewers may be watching your work and put your attention on the next shot. If you do make a mistake forget about it until after the show and then consider how you can avoid making the same mistake again. Look for comment about your work after the programme has finished and mentally make a note of any advice after your first day as a camera operator has ended.