Task 1
The Features and Principles of Single camera Techniques. Roles and responsibilities. Essay 1500 words.
Production.
A producer creates the conditions for filmmaking. A producer would supervise and control all funds and would control such things as distribution. The producer would be involved in all stages of the film production, throughout beginning development to completion. The producer would be responsible of the overall quality of the production but they would hire different producers to do their other work such as executive producer and line producer.
An Executive Producer (EP) is a producer who was not involved in the technical aspects of the filmmaking process. But has played a financial or creative role in ensuring that the project goes into production. Today, however, the title has become ambiguous, particularly in feature films. Since the 1980s, it has become increasingly common for the line producer to be given the title of executive producer, while the initiating producer takes the "produced by" credit. On other projects, the reverse happens, with the line producer taking the "produced by" credit, so the two credits have become effectively interchangeable with no precise definition.
The line producer is the guy between production manager and producer. He or She is the guy that is responsible for the production budget. He or She is responsible for the resources needed.
The production manager would supervise the physical aspects of production including technology, budget and scheduling. It is the Production Manager's responsibility to make sure the filming stays on schedule and within its budget. This means managing the finance department. The production would probable be working under supervision of the Line producer. The unit manages the first line of production but the Unit Manager fulfills the same role as the production manager but for secondary shooting. The purpose of the second unit is to make most efficient use of some of the resources that are expensive or scarce in film production such as actors and producers and so forth.
A screenwriter is the person that writes the script and pitches the script to producers on a search or will right a script under a contract. A script supervisor will keep track of what parts of the script have been filmed to inform the editor to carry out the editing process.
The stunt coordinator works very closely to the director where his responsibilities are to arrange the casting and performance of the stunt that is required in the film.
The Casting Director chooses the Actors for the characters of the film. This usually involves inviting potential Actors to read an excerpt from the script for an audition.
Directing.
The director is responsible of overseeing the creative side of a film, including content flow and the film plot. The director would have to manage all aspects of performance from actors to stunt double to the whole set. Directors hold a great deal of power but they have to answer to the films producer or producers and this is why many director would also take the role of producer to obtain more power.
The director would have an understudy who ensures that the film comes in on schedule whilst maintaining a working environment for the director, actors and crewmember he or she would be addressed as the first assistant director.
The 1st assistant director would also have an assistant whose role is to help the 1st assistant director archive the tasks that he is set to do. This person is known as the second assistant director or the chief director of the first assistant director.
The second unit director is responsible for overseeing the photography assigned to the second unit. Which can range minor to major stunt sequences.
Locations.
The locations manager or their staffs are responsible for finding a relevant location for filming and they are also responsible for final clearings such as legal stuff and getting permission to film.
The location will have an assistant just as the director has and the assistant location manager works with the local manager and the various departments in technical scouts for the essential staff to get options for the locations manager. The Assistant Location Manager will be onset during the filming process to oversee the operation.
In the location department also contains a scout who responsibility is to do most of the research.
Hired by the Location Manager to be on-set before, during, and after the filming process. General responsibilities include arriving first at the location to allow the Set Dressers into the set for preparation.
This position exists generally on larger budget productions. The Locations PA is the assistant who is almost never on-set, but instead is always prepping a location or wrapping a location.
Additional production credits.
Since the 21st century, several additional professionals have been added in the media industry and now are listed in the production credits on most major motion pictures.
Legal counselors are one the new added professions and their jobs are to deal with all the legal requirements for the film such as negotiating contracts, clear licensing rights for property or land used in the film, obtain tax from local governments and take care of immigration papers and visa’s when they cross international borders.
Another profession added in this century is an accountant manage the money that’s from income and outcome meaning the money they pay out or the money they make, this ensures the film is in budget and everyone gets paid.
Another profession added within the 21st century is an Insurance Brokers. They are in charge of making sure that if an incident was to occur then such as director or actors to die at production or natural disasters destroying the set, they are able to keep the film going on having a actors double or back up director or insurance for the set so that the film can go on to put a halt on a massive catastrophe happening.
Art department.
The Art Department in a major feature film can often number hundreds of people. Usually it is considered to include several sub-departments such as the Art director, Set designers and Draughts men. Within the art department they will be the people that design sets and graphics.
The Art director reports to the production designer and watches over artists and craftspeople. The art director would stay close construction coordinator to keep track of what the set looks like.
The art director would have a 1st, 2nd and 3rd assistant art directors carry out instructions of the Art director. Their work often involves measuring locations, collecting information for the Production Designer. Sometimes a Set Designer is also the First Assistant Art Director. In this capacity, they manage the workflow and act as the foreman of the drawing office.
The illustrator is an other part of the Art department, the illustrator will draws or paints visual representation of the designs to communicate the ideas imagined by the production designer.
There is also a graphic artist that will often create several versions of a design, the preferred of which then being chosen by the Production Designer. On certain productions, they may also be employed, under the direction of the Prop Master, in the creation of small, printed items, such as fliers, receipts, bills of sale, etc.
The final member of the art department is the Graphic artist, who is responsible for creating all the things that include the graphic element such as logo’s, billboards, posters and so forth. Whilst creating a graphic element such as the ones above that is relative to the film they will almost always create several for each category to present to the product designer to chose the best one.
Sets.
The set designer is responsible for realizing the structure interior and exterior aspects of the set, he is usually a drafts man or an architect.
The set decorator is responsible for making sure the set is decorated according to the production designer and art director, meaning they will have to furnish and add all the objects that will be seen in the film.
The Lead Man is the foreman of the set dressing crew, often referred to as the swing gang. He or she also assists the Set Decorator.
The Greens man is a specialized Set Dresser dealing with the artistic arrangement or landscape design of plant material, sometimes real and sometimes artificial, and usually a combination of both.
Construction.
The construction coordinator is the leader of the construction department e is in charge of overseeing the construction of all set. The coordinator will also be in charge of ordering the raw materials needed for the set and supervises all the crew in this department.
There is always a head carpenter who is hired with all his personal staff to do the labor work.
Props.
The prop master is in charge of managing all the props on the set that appear on the film, this means all items such as ones handled by actors, camera crew, scenery and costumes and so forth.
In many films now a days there will be some action through out the film that is why there is a weapon master, who is in charge of firearms, he will have to have gone through special training to be able to give it and also he will have to be licensed.
Camera.
The DOP also known as the director of photography is the chief of the camera. The DoP makes decisions on lighting and framing of shots in conjunction with the film's director. Typically, the Director tells the DoP how he or she wants a shot to look, and the DoP chooses the correct aperture, filter, and lighting to achieve the desired effect as per the Director's requirements.
There is a camera operator and as the title of the job says that’s what he does, he operated the camera.
The is also another camera operator who is known as the camera steadicam, he or she is usually skilled at operating the camera and is usually one of the camera operators.
The first assistant camera is responsible for keeping the camera in focus as it is shooting, as well as building the camera at the beginning of the day and taking it apart at the end. They also thread the film when a new magazine is loaded.
The second assistant camera is responsible for using the clapperboard to indicate a new take.
There is also a digital imaging technician who is responsible of coordinating the internal workings of the digital camera basically the system of the camera and wiring.
Grip.
Grips are trained lighting and rigging technicians, their main responsibility is to work closely with the electrical department to set up the lightings for the shot
The Key Grip is the chief Grip on a set, and is the head of the Set Operations Department. The Key Grip works with the Director of Photography to help set up the set and to achieve correct lighting and blocking.
The Best Boy is chief assistant to the Key Grip. They are also responsible for organizing the grip truck throughout the day.
Grips report to the Key Grip and are responsible for lifting heavy things and setting rigging points for lights.
Electrical.
The gaffer is the head of the electrical department almost the manager, this person is responsible for the design and conclusion of electrical distribution and lighting plan for film.
The best boy is the assistant gaffer, the title best boy refers to assistant head of the department. In this department the best boy will usually not be on set.
Editorial.
The film editor is responsible of assembling the various shots into a coherent film.
The timer of the colorist adjusts the colour of the film via printer lights.
Visual affects.
In the visual affects department there is a producer better addressed as the visual affects producer, he breaks down the script into storyboards, and advises the director as of how he should approach the scenes. Whilst breaking down the script into story bards he would work with the visual affects supervisor who is in charge of the VFX crew and to achieve targeted optical affects of the film required.
There is also a visual effects creative director is usually just like a production manager.
The Visual Effects Editor incorporates visual effects into the current cuts of live action sequences, producing multiple versions of each shot. The Visual Effects Supervisor and Creative Director for aesthetic and technical direction, and by the Producers for review and final editing then evaluate altered scenes.
Sound/music.
The sound designer is in charge of the postproduction sound of the movie, sometimes this responsibility requires a great creative license.
There is also a dialogue editor who is responsible for assembling and editing all the sound affects in the sound track, this will not only be done by this person but also by the Sound editor.
The re-recording mixer balances all the sounds prepared by the dialogue this person will usually work with the dialogue editor.
The Composer is responsible for writing the musical score for a film.
The Foley Artist is the person who creates many of the ambient or routine sound effects for a film.
A producer creates the conditions for filmmaking. A producer would supervise and control all funds and would control such things as distribution. The producer would be involved in all stages of the film production, throughout beginning development to completion. The producer would be responsible of the overall quality of the production but they would hire different producers to do their other work such as executive producer and line producer.
An Executive Producer (EP) is a producer who was not involved in the technical aspects of the filmmaking process. But has played a financial or creative role in ensuring that the project goes into production. Today, however, the title has become ambiguous, particularly in feature films. Since the 1980s, it has become increasingly common for the line producer to be given the title of executive producer, while the initiating producer takes the "produced by" credit. On other projects, the reverse happens, with the line producer taking the "produced by" credit, so the two credits have become effectively interchangeable with no precise definition.
The line producer is the guy between production manager and producer. He or She is the guy that is responsible for the production budget. He or She is responsible for the resources needed.
The production manager would supervise the physical aspects of production including technology, budget and scheduling. It is the Production Manager's responsibility to make sure the filming stays on schedule and within its budget. This means managing the finance department. The production would probable be working under supervision of the Line producer. The unit manages the first line of production but the Unit Manager fulfills the same role as the production manager but for secondary shooting. The purpose of the second unit is to make most efficient use of some of the resources that are expensive or scarce in film production such as actors and producers and so forth.
A screenwriter is the person that writes the script and pitches the script to producers on a search or will right a script under a contract. A script supervisor will keep track of what parts of the script have been filmed to inform the editor to carry out the editing process.
The stunt coordinator works very closely to the director where his responsibilities are to arrange the casting and performance of the stunt that is required in the film.
The Casting Director chooses the Actors for the characters of the film. This usually involves inviting potential Actors to read an excerpt from the script for an audition.
Directing.
The director is responsible of overseeing the creative side of a film, including content flow and the film plot. The director would have to manage all aspects of performance from actors to stunt double to the whole set. Directors hold a great deal of power but they have to answer to the films producer or producers and this is why many director would also take the role of producer to obtain more power.
The director would have an understudy who ensures that the film comes in on schedule whilst maintaining a working environment for the director, actors and crewmember he or she would be addressed as the first assistant director.
The 1st assistant director would also have an assistant whose role is to help the 1st assistant director archive the tasks that he is set to do. This person is known as the second assistant director or the chief director of the first assistant director.
The second unit director is responsible for overseeing the photography assigned to the second unit. Which can range minor to major stunt sequences.
Locations.
The locations manager or their staffs are responsible for finding a relevant location for filming and they are also responsible for final clearings such as legal stuff and getting permission to film.
The location will have an assistant just as the director has and the assistant location manager works with the local manager and the various departments in technical scouts for the essential staff to get options for the locations manager. The Assistant Location Manager will be onset during the filming process to oversee the operation.
In the location department also contains a scout who responsibility is to do most of the research.
Hired by the Location Manager to be on-set before, during, and after the filming process. General responsibilities include arriving first at the location to allow the Set Dressers into the set for preparation.
This position exists generally on larger budget productions. The Locations PA is the assistant who is almost never on-set, but instead is always prepping a location or wrapping a location.
Additional production credits.
Since the 21st century, several additional professionals have been added in the media industry and now are listed in the production credits on most major motion pictures.
Legal counselors are one the new added professions and their jobs are to deal with all the legal requirements for the film such as negotiating contracts, clear licensing rights for property or land used in the film, obtain tax from local governments and take care of immigration papers and visa’s when they cross international borders.
Another profession added in this century is an accountant manage the money that’s from income and outcome meaning the money they pay out or the money they make, this ensures the film is in budget and everyone gets paid.
Another profession added within the 21st century is an Insurance Brokers. They are in charge of making sure that if an incident was to occur then such as director or actors to die at production or natural disasters destroying the set, they are able to keep the film going on having a actors double or back up director or insurance for the set so that the film can go on to put a halt on a massive catastrophe happening.
Art department.
The Art Department in a major feature film can often number hundreds of people. Usually it is considered to include several sub-departments such as the Art director, Set designers and Draughts men. Within the art department they will be the people that design sets and graphics.
The Art director reports to the production designer and watches over artists and craftspeople. The art director would stay close construction coordinator to keep track of what the set looks like.
The art director would have a 1st, 2nd and 3rd assistant art directors carry out instructions of the Art director. Their work often involves measuring locations, collecting information for the Production Designer. Sometimes a Set Designer is also the First Assistant Art Director. In this capacity, they manage the workflow and act as the foreman of the drawing office.
The illustrator is an other part of the Art department, the illustrator will draws or paints visual representation of the designs to communicate the ideas imagined by the production designer.
There is also a graphic artist that will often create several versions of a design, the preferred of which then being chosen by the Production Designer. On certain productions, they may also be employed, under the direction of the Prop Master, in the creation of small, printed items, such as fliers, receipts, bills of sale, etc.
The final member of the art department is the Graphic artist, who is responsible for creating all the things that include the graphic element such as logo’s, billboards, posters and so forth. Whilst creating a graphic element such as the ones above that is relative to the film they will almost always create several for each category to present to the product designer to chose the best one.
Sets.
The set designer is responsible for realizing the structure interior and exterior aspects of the set, he is usually a drafts man or an architect.
The set decorator is responsible for making sure the set is decorated according to the production designer and art director, meaning they will have to furnish and add all the objects that will be seen in the film.
The Lead Man is the foreman of the set dressing crew, often referred to as the swing gang. He or she also assists the Set Decorator.
The Greens man is a specialized Set Dresser dealing with the artistic arrangement or landscape design of plant material, sometimes real and sometimes artificial, and usually a combination of both.
Construction.
The construction coordinator is the leader of the construction department e is in charge of overseeing the construction of all set. The coordinator will also be in charge of ordering the raw materials needed for the set and supervises all the crew in this department.
There is always a head carpenter who is hired with all his personal staff to do the labor work.
Props.
The prop master is in charge of managing all the props on the set that appear on the film, this means all items such as ones handled by actors, camera crew, scenery and costumes and so forth.
In many films now a days there will be some action through out the film that is why there is a weapon master, who is in charge of firearms, he will have to have gone through special training to be able to give it and also he will have to be licensed.
Camera.
The DOP also known as the director of photography is the chief of the camera. The DoP makes decisions on lighting and framing of shots in conjunction with the film's director. Typically, the Director tells the DoP how he or she wants a shot to look, and the DoP chooses the correct aperture, filter, and lighting to achieve the desired effect as per the Director's requirements.
There is a camera operator and as the title of the job says that’s what he does, he operated the camera.
The is also another camera operator who is known as the camera steadicam, he or she is usually skilled at operating the camera and is usually one of the camera operators.
The first assistant camera is responsible for keeping the camera in focus as it is shooting, as well as building the camera at the beginning of the day and taking it apart at the end. They also thread the film when a new magazine is loaded.
The second assistant camera is responsible for using the clapperboard to indicate a new take.
There is also a digital imaging technician who is responsible of coordinating the internal workings of the digital camera basically the system of the camera and wiring.
Grip.
Grips are trained lighting and rigging technicians, their main responsibility is to work closely with the electrical department to set up the lightings for the shot
The Key Grip is the chief Grip on a set, and is the head of the Set Operations Department. The Key Grip works with the Director of Photography to help set up the set and to achieve correct lighting and blocking.
The Best Boy is chief assistant to the Key Grip. They are also responsible for organizing the grip truck throughout the day.
Grips report to the Key Grip and are responsible for lifting heavy things and setting rigging points for lights.
Electrical.
The gaffer is the head of the electrical department almost the manager, this person is responsible for the design and conclusion of electrical distribution and lighting plan for film.
The best boy is the assistant gaffer, the title best boy refers to assistant head of the department. In this department the best boy will usually not be on set.
Editorial.
The film editor is responsible of assembling the various shots into a coherent film.
The timer of the colorist adjusts the colour of the film via printer lights.
Visual affects.
In the visual affects department there is a producer better addressed as the visual affects producer, he breaks down the script into storyboards, and advises the director as of how he should approach the scenes. Whilst breaking down the script into story bards he would work with the visual affects supervisor who is in charge of the VFX crew and to achieve targeted optical affects of the film required.
There is also a visual effects creative director is usually just like a production manager.
The Visual Effects Editor incorporates visual effects into the current cuts of live action sequences, producing multiple versions of each shot. The Visual Effects Supervisor and Creative Director for aesthetic and technical direction, and by the Producers for review and final editing then evaluate altered scenes.
Sound/music.
The sound designer is in charge of the postproduction sound of the movie, sometimes this responsibility requires a great creative license.
There is also a dialogue editor who is responsible for assembling and editing all the sound affects in the sound track, this will not only be done by this person but also by the Sound editor.
The re-recording mixer balances all the sounds prepared by the dialogue this person will usually work with the dialogue editor.
The Composer is responsible for writing the musical score for a film.
The Foley Artist is the person who creates many of the ambient or routine sound effects for a film.
TASK 2
The multiple-camera setup, multiple-camera mode of production, multi-camera or simply multicam is a method of filmmaking and video production. Several cameras—either film or professional video cameras—are employed on the set and simultaneously record or broadcast a scene. It is often contrasted with single-camera setup, which uses one camera.
There are many genres within the film industry and all of them are used for
Big Brother first began in the UK and later on went to doing a yearly series in different countries. Big brother is a live show that sets celebrities and other people within a house to live in for several weeks and they are recorded throughout that experience. Big Brother will use multi camera because they will not try to get a perfect shot even though they use HD cameras the have many camera following the house mates lifestyle. Multi Camera is also necessary for this TV show because t it usually broadcasted live therefore you can not miss a funny or crucial moment therefore you need more than just one camera.
Another TV show that would usually use Multi camera is Celebrity Juice, this is because they always record in the studio with an audience and to be able to capture every funny or interesting moment within the TV show. Multi camera is usually used when they need to capture each character within the show or capture different angles this is a preview of the Celebrity Juice set but there is usually 6/7 people staring within the show and also there is an audience within the studio.
A single camera—either motion picture camera or professional video camera—is employed on the set, and each shot to make up a scene is taken independently. An alternative production method, which is more widely used is still called a "single-camera", but in actuality two cameras are employed - one to capture a medium shot of the scene while the other to capture a close-up during the same take, which saves time as there are half as many set-ups for each scene.
Television producers make a distinct decision to shoot in single-camera or multiple-camera modes—unlike film producers who almost always opt for single-camera shooting. In television, single-camera is mostly reserved for prime-time dramas, made-for-TV movies, music videos and commercial advertisements. Soap operas, talk shows, some sitcoms and the like more frequently use the multiple-camera setup. Multiple-camera shooting is the only way that an ensemble of actors presenting a single performance before a live audience may be recorded from multiple perspectives.
Examples of single camera TV
· Happy days
· MASH
· Bewitched
· The Munsters
Camera techniques allow for special effects in some of the above shows and can also be used for comic value themselves.
The Shot – Reverse Shot Convention–is where a single camera is used to shoot action that is performed several times. Each Time the action will be shot from a different angle in order to capture the reaction of one actor to another or to help create a coherent sense of space.
(This technique is often used in TV Documentary where camera man tries to capture what’s happening in real time by panning and walking around with the camera to get different angles on the action)
Television producers make a distinct decision to shoot in single-camera or multiple-camera modes—unlike film producers who almost always opt for single-camera shooting. In television, single-camera is mostly reserved for prime-time dramas, made-for-TV movies, music videos and commercial advertisements. Soap operas, talk shows, some sitcoms and the like more frequently use the multiple-camera setup. Multiple-camera shooting is the only way that an ensemble of actors presenting a single performance before a live audience may be recorded from multiple perspectives. In the case of situation comedies, which may potentially be shot in either multiple- or single-camera modes, it may be deemed preferable to use the single-camera technique especially if specific camera angles and camera movements for a feature film-like visual style are considered crucial to the success of the production, and if visual effects are to be frequently used. For more standard, dialogue-driven domestic situation comedies, the multi-camera technique, which is cheaper and takes less production time, may be deemed more feasible.
Changes in lighting between shots can ruin a production but can also make it! Lighting and colour balance create mood and add flavor to narrative. The Use of filters is also a well tried and tested way of creating mood within productions and many cameras come with some built in filter effects
TV Drama Production - Single Camera Techniques TV Drama Production - Format There are five main types of TV Drama. These are one-off single drama, mini-series, serial, series and soap. There are also many types of genre such as biographical, crime, medical, sci-fi and fantasy, thriller and horror. A serial TV drama uses the same characters and locations regularly. Each episode is not complete in itself and the storyline will continue through to the next episode, encouraging viewers to watch it again. Often serial narratives carry more than one storyline. An example of this is Lost. A single drama is a one-off story for TV, and is usually based on a topical issue. An example of an one-off single drama is Toast and was broadcast by the BBC. A TV series drama is program broadcast regularly, usually once a week. The same characters and basic situation will be used to tell a different story in each episode. An example of this CSI broadcast by CBS. TV Drama Production - Format TV Drama Production - Format TV Drama Production - Format Soap TV dramas have multiple characters who carry many story lines at once. Usually no single story line will dominate and story lines can carry on for weeks before coming to a conclusion, an example[le of course being Easterners. TV Drama Production - Format TV Drama Production - Narrative TV Drama Production - Format A mini-series TV drama is when a story is told through a limited number episodes. An example of this is The Pacific, which told its story in 10 episodes. TV Drama Production - Narrative TV Drama Production - Narrative TV Drama Production - Narrative TV Drama Production - Narrative TV Drama Production - Narrative The Pacific is 10 episode mini-series from the creators of "Band of Brothers" telling an intense story of 3 US Marines during America's battle with the Japanese in the Pacific during World War II. This is an example of a linear narrative.
Bibliography: http://www.slideshare.net/rdtwilson/single-camera-production-19068571
http://en.wikipedia.org/wiki/Single-camera_setup
There are many genres within the film industry and all of them are used for
Big Brother first began in the UK and later on went to doing a yearly series in different countries. Big brother is a live show that sets celebrities and other people within a house to live in for several weeks and they are recorded throughout that experience. Big Brother will use multi camera because they will not try to get a perfect shot even though they use HD cameras the have many camera following the house mates lifestyle. Multi Camera is also necessary for this TV show because t it usually broadcasted live therefore you can not miss a funny or crucial moment therefore you need more than just one camera.
Another TV show that would usually use Multi camera is Celebrity Juice, this is because they always record in the studio with an audience and to be able to capture every funny or interesting moment within the TV show. Multi camera is usually used when they need to capture each character within the show or capture different angles this is a preview of the Celebrity Juice set but there is usually 6/7 people staring within the show and also there is an audience within the studio.
A single camera—either motion picture camera or professional video camera—is employed on the set, and each shot to make up a scene is taken independently. An alternative production method, which is more widely used is still called a "single-camera", but in actuality two cameras are employed - one to capture a medium shot of the scene while the other to capture a close-up during the same take, which saves time as there are half as many set-ups for each scene.
Television producers make a distinct decision to shoot in single-camera or multiple-camera modes—unlike film producers who almost always opt for single-camera shooting. In television, single-camera is mostly reserved for prime-time dramas, made-for-TV movies, music videos and commercial advertisements. Soap operas, talk shows, some sitcoms and the like more frequently use the multiple-camera setup. Multiple-camera shooting is the only way that an ensemble of actors presenting a single performance before a live audience may be recorded from multiple perspectives.
Examples of single camera TV
· Happy days
· MASH
· Bewitched
· The Munsters
Camera techniques allow for special effects in some of the above shows and can also be used for comic value themselves.
The Shot – Reverse Shot Convention–is where a single camera is used to shoot action that is performed several times. Each Time the action will be shot from a different angle in order to capture the reaction of one actor to another or to help create a coherent sense of space.
(This technique is often used in TV Documentary where camera man tries to capture what’s happening in real time by panning and walking around with the camera to get different angles on the action)
Television producers make a distinct decision to shoot in single-camera or multiple-camera modes—unlike film producers who almost always opt for single-camera shooting. In television, single-camera is mostly reserved for prime-time dramas, made-for-TV movies, music videos and commercial advertisements. Soap operas, talk shows, some sitcoms and the like more frequently use the multiple-camera setup. Multiple-camera shooting is the only way that an ensemble of actors presenting a single performance before a live audience may be recorded from multiple perspectives. In the case of situation comedies, which may potentially be shot in either multiple- or single-camera modes, it may be deemed preferable to use the single-camera technique especially if specific camera angles and camera movements for a feature film-like visual style are considered crucial to the success of the production, and if visual effects are to be frequently used. For more standard, dialogue-driven domestic situation comedies, the multi-camera technique, which is cheaper and takes less production time, may be deemed more feasible.
Changes in lighting between shots can ruin a production but can also make it! Lighting and colour balance create mood and add flavor to narrative. The Use of filters is also a well tried and tested way of creating mood within productions and many cameras come with some built in filter effects
TV Drama Production - Single Camera Techniques TV Drama Production - Format There are five main types of TV Drama. These are one-off single drama, mini-series, serial, series and soap. There are also many types of genre such as biographical, crime, medical, sci-fi and fantasy, thriller and horror. A serial TV drama uses the same characters and locations regularly. Each episode is not complete in itself and the storyline will continue through to the next episode, encouraging viewers to watch it again. Often serial narratives carry more than one storyline. An example of this is Lost. A single drama is a one-off story for TV, and is usually based on a topical issue. An example of an one-off single drama is Toast and was broadcast by the BBC. A TV series drama is program broadcast regularly, usually once a week. The same characters and basic situation will be used to tell a different story in each episode. An example of this CSI broadcast by CBS. TV Drama Production - Format TV Drama Production - Format TV Drama Production - Format Soap TV dramas have multiple characters who carry many story lines at once. Usually no single story line will dominate and story lines can carry on for weeks before coming to a conclusion, an example[le of course being Easterners. TV Drama Production - Format TV Drama Production - Narrative TV Drama Production - Format A mini-series TV drama is when a story is told through a limited number episodes. An example of this is The Pacific, which told its story in 10 episodes. TV Drama Production - Narrative TV Drama Production - Narrative TV Drama Production - Narrative TV Drama Production - Narrative TV Drama Production - Narrative The Pacific is 10 episode mini-series from the creators of "Band of Brothers" telling an intense story of 3 US Marines during America's battle with the Japanese in the Pacific during World War II. This is an example of a linear narrative.
Bibliography: http://www.slideshare.net/rdtwilson/single-camera-production-19068571
http://en.wikipedia.org/wiki/Single-camera_setup
tASK 3
The night watcher
By
IAN D KAMAU
FADE IN:
INT.130 CAMBRIDGE STREET, FRONT ROOM, DAY
As my character does his usual inspection through out his house by locking doors and windows and checking all pathways to get within the house. He is in the bathroom and as he brushes his teeth he hears creaks coming from the stair floorboards. He is startled and drops his toothbrush. He walks towards his bathroom door and slowly reveals an empty hallway he begins to walk towards the stairs and sees know one and sighs in relief he ignores the sound and heads to his bed.
INT. 130 CAMBRIDGE STREET, BEDROOM 1, NIGHT
He hears the creaks again and this time it gets louder, again he ignores it and stays in his bed. He is wary of his surrounding and is tightly grabbing onto his bed quilt.
He gets up and goes to inspect if it is a burglar, little does he know that it is nothing like a burglar or human. He slowly opens his bedroom door and look around for sign of anyone but see’s nothing, this time he begins to walk down the stairs.
IAN
“IS ANYONE THERE COME OUT…” “COME OUT IF YOU ARE THERE”
He walked cautiously making sure he doesn’t make a sound. He reached the bottom of the stairs he flicks the switch to turn the lights on but it does not work he attempts it again and again it does not work.
He heads back upstairs to grab his torch when he hears a loud bang coming from downstairs. He turns around and looks down the stair in a smacked face, this time he shows a face of assurance, meaning he knows that someone is there. He turns and rushes up the stair to go to his room. He slams the door behind him and heads to his side desk searching for his phone to call authorities. He couldn’t find it and the he remembers a couple of hours ago when he had left his phone downstairs in the kitchen charging. He tries to switch his light on before he began searching but the lights were not working upstairs either.
He grabbed the torch from underneath the bed and switched it on. He walked around contemplating whether to go down the stairs to get his phone or not but he knew he had to. He approached the bedroom door being cautious not to make a sound whilst he opens it slowly and silently. He walks down the stairs avoiding creaky floorboards.
He gets to the bottom of the stairs and yells out,
IAN “who’s there? Ill call the police!”
He hears a plate smash and pots and pans hitting the kitchen ground.
IAN
“I’m warning you! Get out of my house” he yelps warily.
He shines the torch towards the kitchen door and as he approached the door his breathing gets heavier and heavier. He pauses at the door, and starts yelling he know the only way to get out of the house is to get the key in the kitchen and the only way to get help is by the phone which is also in the kitchen. He bangs the door daringly and cautiously and screams “get out, I am warning you I have a bat” and he bangs the door again.
He enters the kitchen finds that there are no plates, cutlery or anything else on the floor. He is confused but he quickly rushes to grab his keys and phone to get out the kitchen door smashes shut behind him, he inhales and exhales deeper and deeper. He attempts to ring the police but there is no service, he doesn’t know what to do.
By
IAN D KAMAU
FADE IN:
INT.130 CAMBRIDGE STREET, FRONT ROOM, DAY
As my character does his usual inspection through out his house by locking doors and windows and checking all pathways to get within the house. He is in the bathroom and as he brushes his teeth he hears creaks coming from the stair floorboards. He is startled and drops his toothbrush. He walks towards his bathroom door and slowly reveals an empty hallway he begins to walk towards the stairs and sees know one and sighs in relief he ignores the sound and heads to his bed.
INT. 130 CAMBRIDGE STREET, BEDROOM 1, NIGHT
He hears the creaks again and this time it gets louder, again he ignores it and stays in his bed. He is wary of his surrounding and is tightly grabbing onto his bed quilt.
He gets up and goes to inspect if it is a burglar, little does he know that it is nothing like a burglar or human. He slowly opens his bedroom door and look around for sign of anyone but see’s nothing, this time he begins to walk down the stairs.
IAN
“IS ANYONE THERE COME OUT…” “COME OUT IF YOU ARE THERE”
He walked cautiously making sure he doesn’t make a sound. He reached the bottom of the stairs he flicks the switch to turn the lights on but it does not work he attempts it again and again it does not work.
He heads back upstairs to grab his torch when he hears a loud bang coming from downstairs. He turns around and looks down the stair in a smacked face, this time he shows a face of assurance, meaning he knows that someone is there. He turns and rushes up the stair to go to his room. He slams the door behind him and heads to his side desk searching for his phone to call authorities. He couldn’t find it and the he remembers a couple of hours ago when he had left his phone downstairs in the kitchen charging. He tries to switch his light on before he began searching but the lights were not working upstairs either.
He grabbed the torch from underneath the bed and switched it on. He walked around contemplating whether to go down the stairs to get his phone or not but he knew he had to. He approached the bedroom door being cautious not to make a sound whilst he opens it slowly and silently. He walks down the stairs avoiding creaky floorboards.
He gets to the bottom of the stairs and yells out,
IAN “who’s there? Ill call the police!”
He hears a plate smash and pots and pans hitting the kitchen ground.
IAN
“I’m warning you! Get out of my house” he yelps warily.
He shines the torch towards the kitchen door and as he approached the door his breathing gets heavier and heavier. He pauses at the door, and starts yelling he know the only way to get out of the house is to get the key in the kitchen and the only way to get help is by the phone which is also in the kitchen. He bangs the door daringly and cautiously and screams “get out, I am warning you I have a bat” and he bangs the door again.
He enters the kitchen finds that there are no plates, cutlery or anything else on the floor. He is confused but he quickly rushes to grab his keys and phone to get out the kitchen door smashes shut behind him, he inhales and exhales deeper and deeper. He attempts to ring the police but there is no service, he doesn’t know what to do.