The distinct advantage you have as the camera operator in a live-switched production is that you can hear the director and get instant feedback on shots if needed. However, this can also be a curse. Camera operators might think that, since they can communicate with the director, they don't have to do their homework. However, a director has enough to do during a multicam shoot and definitely will not want to have to tell you constantly what to shoot. Make sure you know what the director wants before the shoot, and then do it. If you are shooting closeups and cutaways, be creative, find a shot and settle in until the director either uses it or doesn't. If you are the live camera, do not change the shot until the director has completely switched to another camera, then quickly go and set up your next shot. In this situation, it is a good idea to have a list of possible shots that you and the director have worked out before the shoot.

Often, the director will ask you to do a pan, tilt or zoom before switching to your camera. This technique during a dissolve makes the transition smooth and dynamic. During your camera move, make sure you never stop the movement; if you do, pause for a second or two, so that it doesn't look like a mistake. Stair-step or jerky camera movements are a quick path to the unemployment line.

Talking with the director in advance is important for the moments you get to make those artistic creative shots. In our example, we have CAM A holding on a wide shot of the drummer, and the subject is on the left, with lots of dead space on the right. CAM B has a closeup of the guitarist filling up the right side of the screen, with open space on the left. Now the director can slowly dissolve between the two shots and the empty space on each is filled with a half dissolve of the other shot. It's very effective if composed in advance and looks like a sloppy mistake if the camera operators aren't paying attention to the cues or the opportunity.

Finally, the live shoot has the distinct advantage in that the director and shooter can work closely together to set up spontaneous shots that might not have been preplanned. Know your camera, make sure you can set up your shots quickly and trust the director to give you the information you need to create some interesting transition shots and other special effects during the live program. Your knowledge of your camera, attention to detail and quickness will be greatly appreciated.

Shooting a multicam production to be put together in post can be liberating as well as challenging. The liberating side is that you don't have a big long cable attached to your camera, and you don't have the director's voice in your ear to tell you what to shoot. The challenge is that you don't have the director's voice in your ear to tell you what to shoot.

If you are the camera op assigned to shoot closeups and cutaways, as a good multicam shooter you are always looking for good shots and creative ways to tell the story. When you get a good shot, make sure you keep it for at least ten seconds. There is nothing worse than getting in the editing suite and wishing you had six more frames of a shot. Also, make sure that any camera movements you make are smooth and run at the same speed. Shoot multiple angles and directions, if the shot is something that could be used at any time, such as crowd shots and general cutaways.

Make sure you go into the shoot with a list of shots your director wants. Set the shots up quickly, and make sure that you have plenty of time going into and out of the shot. Keep your list handy, and don't forget any of the key shots you need to grab. If the bride smashes the cake into the groom's face, and you are busy shooting a closeup of the caketop, your director is not going to be very happy in the editing suite!

If you are the CYA camera, it is very important that you shoot all of the action, all of the time. If you move the camera, do so with a slow, deliberate pace. The director should be able to use your tape as the backbone for the whole production and should never be without a smooth, well-composed shot. Make sure you are comfortable and in a position where you can see all of the action. Know your camera, maintain your focus and composition and settle in for a long, yet rewarding production.

Multicam shooting can be a lot of fun and the end result very attractive and well-received. As a shooter, enjoy yourself as you become part of the event you are covering. Make sure you stay out of the way of runaway brides or fast-moving foul balls! Find the interesting shots, and give your audience a chance to see the event from many angles and many perspectives.

Contributing editor Robert G. Nulph, Ph.D., is an independent video/film producer/director and also teaches video production courses at the college level.