1. Advantages of Single Camera
Film-Style Production
One of the additional advantages of single-camera (film or video) dramatic
production is that scenes don't have to be shot in sequence. In fact, seldom
does a script's chronological sequence represent the most efficient shooting
order. The final sequence of scenes is arranged during editing.
In order of importance, the following should be considered when planning the
shooting sequence of a single-camera production:
all shots involving specific talent/actors (starting with the highest paid)
should be shot as close together in time as possible, regardless of
script sequence
all shots at a particular location should be shot at the same time
all shots requiring specific production personnel should be shot at the
same time
all shots requiring specialized production equipment, such as special
cameras, lenses, microphones, and generators should be shot at the
same time
As an example let's consider just one dramatic scenario -- a couple meets,
falls in love, gets married, and after 20 years, starts fiercely fighting.
In an effort to start over, they decide to return to the hotel room where they
spent their first romantic night.
Unfortunately, one of the partners finds out that the other had an affair in that
room. (Only in the movies!) They start arguing again, and in a final rage, one
2. partner kills the other. (Granted, not a very pretty scenario, but it'll have to do
for this example.)
For scheduling efficiency it's desirable to shoot the scenes of their first shy
lovemaking in the same hotel room (and possibly on the same day) as the
scenes of their vicious arguing and fighting.
You can already see the challenge for the actors involved. Plus, while you
have the lights, sound equipment, etc., set up, you can also get the shots of
the affair that took place in the room -- probably to be added in the form of a
flashback.
We'll assume that changes in the motel room will be minimal, except for aging
of the walls, furnishings, etc. The bigger challenge will be to age the actors
appropriately. Not to worry, make-up people are pretty good at this kind of
thing.
In the final version of the film these scenes will be separated by other story
elements. But, as you can see, it would be much more efficient if all of the
motel scenes were shot at the same time. (We'll return to our unhappy couple
in a moment.)
The Master Shot and Coverage
When dramatic video is shot in the single-camera style, many film
conventions apply. (We introduced some of these earlier in our discussion
of general video production, but here we're concentrating on the steps in
single-camera production.)
First, we have the cover shot (normally called the master shot in film), which is
a wide shot showing the full scene or acting area.
3. This shot is useful to show viewers the overall geography of the scene and for
bridging jumps in continuity during editing. More specifically, the master shot
or cover shot is used to:
show major changes in the scene's basic elements
cover major talent moves, including the entrance or exit of actors
periodically remind viewers of a scene's geography (referred to
as reestablishing shots)
and whenever needed during editing to momentarily cover the action
when a good medium shot or close-up is not available
In dramatic video and film production many directors start out by shooting a
scene, beginning to end, from the master shot perspective.
Once this shot is filmed, the director repositions the camera for the medium
shots and close-ups of the various actors. For these the actors once again
repeat all their dialogue.
To accommodate the new camera distances and angles these setups often
require changes in lights, microphone positions, and sometimes even make-
up. Obviously, all this has to involve changes that will (that should) go
unnoticed when all of the takes are cut together.
Some directors shoot the scenes in the opposite sequence: close-ups,
medium shots, and then master shot.
However you do it, the series of setups associated with a scene is commonly
referred to as coverage. (Remember, some terms may have different meanings
in film and video, so don't be surprised if you see some of these terms used in
different ways.)
4. As an example of the scenario we've been discussing, let's consider the
restaurant scene where the man in
the ill-fated marriage originally
proposed to the woman.
In single-camera film-style
shooting the three camera
positions indicated are actually
one camera that is moved to each
position.
Although directing approaches can vary, let's look at one possibility.
First, we run through the entire dialogue for the scene
from camera position #1. We can use this wide shot
as a master or establishingshot, and thereafter
whenever we need to reestablish the scene, cover
bad shots on camera positions #2 or #3, or just to
introduce visual variety.
Next, we run through the entire scene again from
camera position #2 as the man repeats his lines.
From this position we can get over-the-shoulder shots or close-ups. Finally,
we do the same thing all over again from camera position #3.
The actors must be careful to try to make the same moves in the same way on
the same words in their dialogue. Otherwise, the words and actions in different
takes will not match and that will make it very difficult to cut between the
various takes.
When we finish, we'll have at least three complete versions of the scene to
choose from during editing.
5. The obvious editing approach would be to use a close-up of each person as
they speak. But, as we've noted, often a reaction shot is more telling. For
example, it might be better to have a close-up of the woman's reaction as the
man "pops the question."
We would probably also want to get close-ups of the ring, the wine glasses
clinking together in a toast, etc.
Working With Actors and Talent
Part of the art of directing is
bringing out the best on-camera
performance in actors.
A good director finds an optimum
point between forcing the actors
to follow his or her own rigid
interpretation and giving them
absolute freedom to do as they
wish.
The optimum point between the two extremes will depend largely on the
experience of the actors and the approach of the director.
During read-throughs or table readings (the informal group sessions where the
actors initially read through their lines) directors should carefully observe the
character interpretation that actors are developing.
Film directors in the era
of silent films could
shout instructions to
actors while scenes
were being shot. The
director's role,
especially in television,
is quite different today.
6. If the actors know the story and have
developed a feel for their parts -- which they should if they are good actors --
the director should at least initially allow them the latitude to go with their
interpretations.
If the director decides this is clearly at odds with what he has in mind, then he
should skillfully and maybe diplomatically suggest another
interpretation. Often, directors will shoot different versions and then decide
which they want to use during the editing phase.
Although the director is in charge and is responsible for getting the
performance he or she envisions, directors who have limited experience with
actors will want to "tread lightly" until they understand the acting process and
the personality of specific actors.
Directors who have taken acting classes, or who have acting experience have
a definite advantage.
Inventing "Business"
During rehearsals the director along with the actor will decide on the basic
actions and business of actors. (Business refers to the secondary action
associated with scenes. This would include fixing a drink, paging through a
magazine, etc.)
Scripts generally do not describe actor business, but it can influence camera
shots, setups, and editing.
7. In the next section we'll take up news and documentary production. Even if
you don't have an interest in news or documentary work, the principles that
will be outlined are important to other types of production.
