Unit 23: Multi-Camera Techniques

Multiple camera production, or multi-cam for short, is a key production setup used in many forms of moving image media, from Hollywood movies to TV talk shows. As the name implies, multi-cam setup involves the use of multiple cameras (usually 3 or more), to simultaneously record and/or broadcast a scene from multiple angles.

There are a number of key elements to the ‘standard’ multi-cam setup, starting with the Vision Mixer:

Vision Mixers are skilled members of the production crew, who supervise the creation of the line cut (which we’ll talk about in a moment). They use a variety of equipment; particularly a vision mixing desk, to edit footage live, as it is being recorded or broadcast.

Vision mixers take their instructions from the director and assistant director, but are often expected to rely on their own judgement, and react quickly to changes in the scene by switching between cameras. Vision mixers use a wide array of editing techniques, such as wipes, cuts and frame manipulation to perform this live edit of the production. They need to be constantly aware and capable of multi-tasking, taking instructions and making edits as they prepare effects and transitions for upcoming action.

Vision mixers are an absolutely crucial part of live-broadcast shows like The Tonight Show with Jimmy Fallon, or major sporting events. However, they are still an important part of pre-recorded multi-cam productions which have a short window of time available for editing, where a well-constructed line cut will come in very handy.

The Line Cut is effectively a live edit of a multi-cam production, constructed as the shoot is happening.

While all cameras record simultaneously in a multi-cam setup, usually only one will be feeding into the line cut itself at any given moment.  A Technical Director or Vision Mixer will supervise the assembly of a line cut, receiving instructions from the director and assistant director, who will decide when specific cameras will be ‘live’ during a broadcast or recording.

A Camera Control Unit, or CCU will be used to switch between cameras, indicating which is live with light above the corresponding camera. This is primarily done for the benefit of actors and camera crews, so they are aware of where they need to be facing, and so on. In the production of shows with live studio audiences, like the original run of Red Dwarf, the audience will usually be able to watch the line cut on large studio monitors.

Today, most live broadcasts are also recorded, so they can be used again at a later date. Cameras will record simultaneously, and the footage from them will feed into a combined reference display, allowing the production team to see visual feeds from all cameras, rather than just the currently live one. This helps during shooting, as it allows the team to act decisively when switching between live cameras. This also allows for the line cut to be modified and refined later on, which is common for many pre-recorded shows, as well as broadcasts which are later distributed on DVD/Blu-ray or re-broadcast, like stand-up comedy shows.

Now, we’ve talked about the way camera feeds are used during multi-cam shooting, but we haven’t discussed the key elements of the camera setup. Generally, cameras will be arranged in a 180 degree arc, facing their subject. Camera positions and exact setups may vary, but for efficiency, cameras are assigned numbers by which they are referred to on-set.

(Display graphic of basic multi-cam setup)

Now, this setup may look very simple, but there’s a lot more to multi-cam setup than you might think. Each camera is positioned and adjusted for a specific function, such as creating crosses.

When the view of two or more cameras intersect, this is known as a cross. It’s most common for the two outermost cameras to be used for this purpose - so in the case of our diagram - cameras 1 and 4. Often, these are framed as close-ups on particular actors, for recording shot-reverse-shot scenes.  most useful for conversations and other two-way action.

Unlike a single camera shoot, crosses allow multi-cam setups to record both sides of a shot-reverse-shot scene simultaneously, saving time on re-setting, and helping to avoid continuity errors which would be more prevalent in a single camera production.

Another standard aspect of most multi-cam setups is the master shot. Usually one of the central cameras will be used to capture this shot - so cameras 2 or 3 on our diagram. The master shot is used to help establish the size and layout of the location, but it also has another more practical use. Occasionally during a multi-cam shoot, performers will miss their marks, compromising the view from other angles. In these situations, the vision mixer can cut back to the master shot, ensuring the action is being captured, even if the shot is not optimal. This may frequently be seen in sports broadcasting, and live performance recordings like pro wrestling.

Multi-cam shooting has many advantages over the single camera format. 

Because you can capture multiple angles in a single take it reduces the need for re-takes and re-setting the scene which are a normal part of single camera productions - where a scene shot from multiple angles will be far more time-consuming. Multi-camera shooting also reduces the complexity of maintaining tracking continuity between takes. Continuity refers to maintenance of continuous action and consistent detail throughout the various scenes of a film or broadcast. Multi-cam makes continuity more simple because you have a much larger variety of angles to choose from during editing. 

Multi-cam shoots also generally proceed more quickly than their single cam counterparts. This is because there’s no need for re-setting, adjusting lighting and makeup between shots for different camera angles - Multi Cam setups capture all angles simultaneously.

Multi-camera setups decrease the time spent editing footage, which is greatly advantageous to films or broadcasts scheduled to be shown shortly after they are shot. As such, it is an absolute necessity for regular, high-output shows such as X-Factor or Britain’s Got Talent.

Despite all of these advantages, multi-cam is not innately superior to a single camera setup, multiple camera shoots have their own unique drawbacks. 

Lighting in multi-camera productions tends to be less optimal/specialised, as the setup needs to work for all angles at once, rather than being arranged for each individual angle specifically. This compromise means some lighting effects like chiaroscuro lighting for, say, an interrogation scene cannot be as effective.

There is also less flexibility with regards to setup of equipment, such as microphones and lighting, because the visuals are being captured from a wider range of angles and distances from the subject. This means it is much harder to conceal equipment outside of the frame when contrasted with the single camera setup. This can lead to difficulties capturing certain sounds in-scene, like characters whispering, This is a particular problem on multi-cam dramas and sitcoms, like Seinfeld.

These issues result in a more challenging planning phase for a multi-camera setup than there would be for a single camera production, which can be far more flexible in terms of shooting setup. Multi-camera productions will often struggle to achieve the same artistic quality as their single camera counterparts due to difficulties we’ve already covered regarding optimal sound and lighting.

So we’ve seen the good and the bad of multi-cam productions. Ultimately, which one works best depends on the kind of film or broadcast being created. Neither approach is totally superior to the other, and some shows have even bridged the two, using single camera for location shooting and single camera for studio shooting.

SETUP

Cameras: C1 - Tight framing on subject. C2 - More distant with wider framing, head-on view of subject. Used for MASTER SHOT

Slides: Superimposed on-screen via editing, preferably during C2 shots (Master Shot), or full-frame if slides are more visually-relevant than the subject (e.g during a film clip). May also be used to cover continuity issues, if necessary. Lighting: Key light - Focused on subject providing primary illumination. Fill light - Opposite Key light, diffusing shadows on subject.

WHAT IS MULTI-CAMERA PRODUCTION?

A multi-camera setup refers to the use of multiple (usually more than three) cameras, to simultaneously record and/or broadcast a scene. Multiple angles are captured in a single take, which removes the need to worry about re-setting or continuity. It is an ideal approach for live broadcasts or shows with little editing time.

There are a number of key terms associated with multi-camera production:

VISION MIXER:

A vision mixer works on a multi-camera production, supervising the creation of the line cut through use of vision mixing desks and other assorted equipment. The vision mixer takes instruction from the director and assistant director, but may sometimes use their own judgement for selecting angles for the line cut. They use various editing techniques such as wipes, cuts and frame manipulation to edit the production live. Vision mixers are absolutely crucial to live broadcasts, and still an important aspect of any multi-camera setup. They need to multitask as they work, making sure effects and transitions are prepared for the upcoming action.

LINE CUT:

A line cut is created during recording of multi-camera productions. While all cameras will be recording simultaneously, usually only one will be feeding into the line cut. A Technical Director/Vision Mixer will be instructed on the creation of the line cut by the Director and/or Assistant Director, selecting which camera will be feeding into the line cut at which time. Using a CCU (Camera Control Unit), the live camera will be indicated by a light, showing the actors and crew members (particularly the camera operators) which camera is live.  Often, all cameras record simultaneously and also as a combined reference display. In live studio audience situations, this line cut is usually displayed to the audience on the studio’s monitors. The line cut may be refined and edited after the initial recording.

CROSSES:

Crosses refers to the view of one camera crossing another. Generally, the two outermost cameras (1 and 4 usually) in a setup are used for this purpose, shooting close-ups of the two most active characters in the scene at any one moment. This is often useful for shooting characters in a shot-reverse-shot setup.

MASTER SHOT:

Master shots are a wide-angle shot used to establish the size and layout  of the location. Normally one of the central cameras will be used to capture this shot (2 or 3). This is also useful for cutting back to if performers miss their marks and compromise the view from the other angles.

MULTI CAM ADVANTAGES

Multi cam allows multiple shots to be captured in a single take, reducing the need for re-takes, re-setting the scene, and helps to avoid continuity problems. Multi-camera setups reduce the complexity of maintaining tracking continuity between takes, due to their range of simultaneously-captured angles.

Continuity - maintenance of continuous action and self-consistent detail in the various scenes of a film or broadcast.

Multi-camera setups decrease the time spent editing footage, which is greatly advantageous to films or broadcasts scheduled to be shown shortly after they are shot. As such, it is an absolute necessity for regular, high-output shows such as X-Factor or Britain’s Got Talent.

Multi-cam shoots also generally proceed more quickly than their single cam counterparts. This is because there’s no need for re-setting, adjusting lighting and makeup between shots for different camera angles - because Multi Cam setups capture all angles simultaneously.

DRAWBACKS

Lighting in multi-camera productions tends to be less optimal/specialised, as the setup needs to work for all angles at once, rather than being arranged for each individual angle specifically. 

There is also less flexibility with regards to setup of equipment, such as microphones and lighting, because the visuals are being captured from a wider range of angles and distances from the subject. This means it is much harder to conceal equipment outside of the frame when contrasted with the single camera setup.