The Producer Report: Multi-camera
GETTING IN EACH OTHER’S WAY Most of the cameras on the studio floor at The Manchester Studios are on pedestals, which, despite the name, are mobile devices. Content for programmes like The Frank Skinner Show or The Jeremy Kyle Show are ideally shot in one take (what is called ‘As for Live’) says O’Shaughnessy. “What they’ve got to be very aware of is if the camera operators are moving around too much they could get in each other’s way. There has to be some scripting of position, even if there’s the chance of some non-scripted reaction shots.” “They record it as if it’s a live show as much as
possible,” he continues. “There will be stops and starts, but it will be jammed together afterwards in post production. It’s done in a very linear fashion, with a start and middle and an end, whereas something like Coronation Street is done very much out of sequence.”
FILE BASED MUTI-CAMERA SHOOTS Like other areas of broadcast, multi-camera studio shoots are increasingly moving to a file-based workflow, particularly when a long-standing show
moves up to HD production. Such was the case for Coronation Street. “Where possible, we’d like to ingest shows straight into post production,” explains O’Shaughnessy. “It speeds up the whole workflow process and saves on buying tape machines. It adds new types of disk storage costs instead but it does away with the situation where people demand to have the show on a range of different tape formats.”
“
With an LE show, there may be up to 10 cameras so there will be an awful lot of content coming in at the same time
John O’Shaughnessy, ITV head of production technology North
Coronation Street is self-contained within ITV and 3sixtymedia, so there’s no need for intermediate transfer to tape for off-site post production. In the studios, Avid AirStream multi-stream devices sit in the gallery, each of which takes two streams from the cameras (or one camera feed and a cut feed). Those devices are connected to an Avid ISIS server,
” Autumn 2010 theproducer 31
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