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Multicam Shooting

While the director has a lot to contend with, the shooter also has to keep some very important techniques in mind when taking part in a multicam shoot. In this feature, we will look at the role of the camera operator in a multicam shoot, with some do's and don'ts and some techniques that will make you a valuable member of the multicam crew.

There are two ways to do a multicam production: live switching or taping now to edit later. Each of these methods has its advantages and disadvantages, but that is a column for another day. We want to focus on the techniques unique to each of the multicam setups. However, before we get to the particulars of each, let's start with some basics to use with both.

When shooting a multicam production, it is important that you and the director speak the same language. Before the production, the director will give you your setup and shooting assignment, perhaps shooting cover shots of the action or closeups of the people involved. Whatever your assignment, make sure you understand what the director means by "cover shot." Does that mean getting everyone involved in the production in the shot or just the major players? At a wedding, does a cover shot include just the bride, groom and officiator, or does it also include all of the attendees and parents? In baseball, does a cover shot include the complete field and the dugouts or just the batter and players on the field? How close is the director's idea of a closeup? These are questions you have to ask the director. Make sure you know exactly what is expected. In the live multicam shoot, the director will be able to tell you if the shot you have is what's wanted, but if the production will be posted, you are on your own. If you are not clear what the director wants, the director may be a little upset in the editing suite to find that your ideas of a cover shot are totally different.

Good composition and fluid camera movements are key to good multicam shooting. The director should never have to fix your composition - that is your responsibility. Give your subjects look space and walk space. Make your camera movements fluid and the speeds constant. The more natural your shots, the easier it will be to either switch or post your shots into the mix.

Imagine following a subject, say a bridesmaid walking down the aisle. At some point, you'll have to pan off her to get the next bridesmaid as she enters your field of vision. By preplanning how far you'll follow her, then fluidly stopping your movement and letting her continue out of the scene, you've created a natural moment for the next shot. However, if you don't preplan the moment that you pause your movement as the bridesmaid walks out of the scene, what's left in the shot? A trash can? Or a bouquet of flowers on a table?

Another very important concept to remember when shooting a multicam production is the 180-degree rule. Always make sure you and the other camera operators are on the same side of the action. If, in your search for great shots, you inadvertently cross the 180, your audience will become a little confused when everyone in your shot looks the opposite direction from where they should. This can be problematic if you and the director fail to set up some ground rules about where you can and cannot go to get a shot. For example, in a wedding, as long as the cameras stay either on the audience side of the wedding party or the officiator's side, the 180 rule is preserved. However, if all the cameras are on the audience side, the instant you walk to the other side of the bridesmaids to get the shot of the flower girl hiding in front of her mom, you have crossed the 180. What looked like a very cute shot will suddenly be confusing, because the little girl will be looking the wrong direction. Worse yet, step behind the groomsmen to get a shot of the bride, and you will find the bride with her back to the groom! Take a walk behind third base and your star pitcher will suddenly be pitching to the outfield!

Finally, concentration is the name of the game in a multicam shoot. Camera operators have the toughest job, because you always have to be paying attention. You must always have a good shot ready to go and be searching for other shots, if that is your assignment. For every multicam shoot, there is always one camera designated as the CYA or cover your attendees (yeh - that's it!) camera. This camera must always have a shot that covers the action and is always there, so that the director can depend on it if the other cameras are between shots or have technical problems. If you are the CYA shooter, make sure you have your head in the game at all times, so that, if the bride suddenly slips and falls and every other camera misses it, the director knows you will have it in living color.