MULTI-CAMERA REALITY AND DOCS
FACTUAL TV
as possible given the sensitivity – and complexity – of the environment that directors are filming in. Each ambulance filmed in the series is rigged
with six cameras, all controlled by a single director in the vehicle who also operates an FX9 camera. As well as managing this highly technical set up, the directors are filming people at a time of crisis – requiring a real human touch – and navigating complex compliance issues. “We always say it is one of the toughest
director roles in the industry,” says Wallis-Tayler, who stresses the support provided for them. “It’s a hard job, but a completely fulfilling one at the same time.”
GAME-CHANGER TECH Wallis-Tayler picks out a number of small, simple but “game changer” tech additions that have helped to improve the job of an Ambulance director. The production has installed tally lights – which show that cameras are recording – into the side window of an ambulance. It means a director can just look at the window of the ambulance from the outside, and know that the cameras inside are recording – putting their mind at rest that the cameras are operating, or letting them know if there is a problem. The rig cameras are all now operated by
remote control. A director can switch them on from the front door of a patient’s house, so that no material is missed when they get into the ambulance. “You’re able to follow stories more fluidly,” says Wallis-Tayler.
PICTURE PERFECT: THE RISE OF CINEMATIC MULTI-CAM
As multi-camera reality shows and documentaries develop, the technology used to capture them has developed too. With audiences so used to watching high quality drama box sets, viewers are less willing to accept often poor quality and ‘flat’ images captured by what were originally not much more that CCTV cameras. At the recent IBC TV tech show, Sony was showing its new FR7, a PTZ (pan, tilt, zoom) camera that combines lens interchangeability and remote shooting functionality with full camera control through a graphic interface. The full frame sensor is very similar to the ‘Exmor’ 35mm sensor within the Sony FX6 camcorder offering a shallower depth of focus for a more ‘cinematic’ look. Like the FX6 and FX9, the new FR7 employs Sony’s auto- focus functionality where the camera can be set to track a face or eye across a set or
environment or bounce between a number of subjects with smooth focus pulls. With 15+ stops of latitude the 4K camera is good for HDR deliverables and has good low light performance. At the same show, high end cinema camera manufacturer Arri, whose cameras are more generally seen on the sets of films, dramas and commercials, was showing off a multicam set up using both the Amira and the Arri Mini. Last year, Arri announced a new version of its Amira camera: the Amira Live, designed specifically for multi-camera live broadcasts that eliminates external cabling between the camera body and the fiber adapter. Amira Live uses Arri’s ALEV III Super 35 sensor—the same sensor design as used in all Alexa cameras. The Japanese version of Bake Off, for instance, is shot with a mixture of Alexa Mini LFs, Alexa Minis, and Amiras.
Autumn 2022
televisual.com
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