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 l…
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