Free Trial

Safari Books Online is a digital library providing on-demand subscription access to thousands of learning resources.

Share this Page URL

Preparing for Rehearsals > Preparing for Rehearsals - Pg. 138

PART 3 Visualizing the Story FIGURE 8.9 Multicamera productions may utilize a camera operator for each camera or, as shown in this image, they may be robotically controlled by one remote operator. (Photo by Jon Greenhoe) FIGURE 8.10 Remote multicamera productions include their own set of problems once they move out of the controlled studio. 138 Each camera operator is on his or her own, required to get the best shots possible, despite having to find ways around specific problems. At the same time, the opera- tor is part of a crew, working together to achieve a coor- dinated, excellent program for the viewing audience. In some productions, the camera operator can help the direc- tor by offering potential shots; in others, this would be a distraction from a planned treatment, as you don't really know what shots other cameras have. If the production has been planned in meticulous detail, the camera operator's role may be to reproduce exactly what the director drew in storyboard sketches weeks before. On the other hand, the entire show may be "off- the-cuff," with the director relying on the camera crew to find the best shots of the action. Usually directors will have a camera meeting before the production to explain the types of shows that they want from each camera person. During the breaks, the director may discuss specific shot problems or new shots. Many times directors will use a shot sheet that lists the shots that will be needed throughout the production (Figure 8.11). From then on, the camera crew relies on intercom instruc- tions to guide their camera work. FIGURE 8.11 Shot sheets help the camera operators know how the director needs them to compose specific shots. Some sheets, like the photo sheet shown here, help the camera operator identify specific people. PREPARING FOR REHEARSALS It is possible to simply move your camera into the opening position, focus, and wait for the director's instructions. However, if you did that, you would probably get burned. The camera must be checked before the production, or even the rehearsal, begins. Table 8.3 lists the majority of the issues that need to be considered in advance and tested. Once this checkout becomes routine, it can be quickly accomplished.