#multi Camera

[joshrunit35]

Multi Camera Productions: Narrative Formats

Multi Camera Productions:

These types of productions use more than one camera to record the action. This would have the advantage of convenience for the people during the production stages and for the consumers.

It is faster to produce a multi camera media product as it takes less takes to record the footage, the editors have the convenience of choosing which camera angle to use to conjure the director’s ideas. This is why shows which were designed to release an episode at least once a week choose to use more than one camera. 

In my opinion, the most significant disadvantage of using a multi camera setup is that there is less creativity in camera angles to convey a narrative, which supports my idea that multi camera productions only exist for pure consumption and have no deeper meaning.

The Big Bang Theory:

An American situational comedy created by Chuck Lorre and Bill Prady. The show was originally filmed in front of a live studio audience this clearly expresses that this show was filmed using a multi camera setup as there would be no time to set up a single camera especially if there is a live audience watching the production. The television show received mixed reviews from critics but still favourable for another couple seasons to be commissioned. Later seasons of the show had a below average reception, most of the reviews criticized the show for its decline in comedic quality. After receiving this type of response, I would assume that they would stop recording in front of a live studio audience, however would keep filming using a multi camera setup to meet the codes and conventions of an average American situational comedy.

The Big Bang Theory managed to get a few awards, most of them were due to the actor Jim Parsons, who portrays Sheldon Cooper. In 2010 Parsons won a Prime time Emmy Award of Outstanding Lead Acton in a Comedy Series, in 2011 he won a Golden Globe for Best Performance by and Actor in a Television Series, he was also awarded another Emmy for Best Actor in a Comedy Series and then again in 2014.  

The IT Crowd:

To contrast the awful aspects of american situational comedies, I have chosen to talk about a television show that I’ve actually enjoyed, but it might be culturally biased.

The IT Crowd is a British situational comedy created and written by Graham Linehan. Against public opinion, Linehan deliberately chose to video-record the production in front of a live studio audience, doing this at the time was considered risky. He wanted to challenge the common trend of people thinking that sitcoms are a dying medium. 

I would consider The IT Crowd to be a multi camera television show as the main location is a set in a studio, which had a live studio audience, however, there are multiple instances where the show would cut to outside of the set resulting in the production switching to a single camera setup. 

The IT Crowd has won awards from the British Academy of Film and Television Arts (BAFTAs), the International Academy of Television Arts and Sciences and the Rose d’OR television entertainment awards.

The similarities that I can think of between The Big Bang Theory and The IT Crowd is that they are both situational comedies, they use multi camera techniques, they used canned laughter and they have a similar set of characters (a couple of nerds and a character which gives contrast to the nerdy characters to set them straight). 

If they’re so similar, then why do I think that The IT Crowd is better than The Big Bang Theory?

The IT Crowd hasn’t been dragged on by the studio, like the saying goes ‘All Good Things Must Come to An End’. Having a smaller amount of episodes allows jokes to be fresh and original, it would also reduce the likelihood of using the same joke again, unlike The Big Bang Theory where you hear jokes which sound similar, this would probably explain why The Big Bang Theory had a decline in viewer interest as it seemed like the show would never end. 

Techniques of Narrative Multi Camera:

Each narrative multi camera production should have at least one camera for each character and two cameras to capture the whole set. When a character is talking, the vision mixer or editor would switch to a shot of that character, following this, would be another close up of the other characters for their reactions.

The wide shots of the set would usually be used to establish the location the scene is set in, in the case of The Big Bang Theory, there would be a shot of the living room, and in the case of The IT Crowd, it would be a shot of their office in the basement. 

[coinedandminted]

Holy Guacamole!!

Okay I need to repost this since I still see people who took that interview seriously. One question for you: Why do you think Alison Brie would drop something like that randomly in a random interview?! And nobody else, only Alison. See? It doesn't make any sense. Now me repost:

"Are people really that gullible? The interview with Alison Brie where she says season 4 of Community will have a laugh track is OBVIOUSLY a joke! If it was true, you can be sure that it’d be THE headline EVERYWHERE and that everyone in the whole internet would go crazy town banana pants over it.

So to be clear: Alison Bre made a sarcastic joke about season 4. Nobody of the cast knows anything about season 4. Period. [/rant]"

[danikastokeees-blog]

PRODUCTION ROLES.

Danika Stokes - Director & Producer

George Ryder - Sound

Zac Riviello - Vision Mixer

Lucy Singleton - Floor Operator and Camera Operator

Aidan Young -  Camera Operator

Ollie Laurie - Guest

Paris Ward - Presenter

Robert Young - Presenter

Jake Bonnell - Guest

Ben Millis - Camera Operator

Harry Boobyer - Lighting 

Emily Grace - Lighting and Camera Operator

[king-doughnut]

This is a student made project by myself, Arron Saile, George Short, Ellie Boyd, Lloyd Harrison, Tom Layland and Tom Pollington. This was our first ever multi camera shoot in a studio for Runshaw's TV show 'Run VT'.

[manxita]

Perfection.

[ijustrealised]

Would I Lie To You?

[kingnerd63]

Ruben Whitter Guest Starring on multi-camera TV show “On it Till We Vomit” Comedy role.

[rideonboard]

New Post has been published on RideonBoard.net - Onboard videos only

New Post has been published on http://rideonboard.net/onboard-porsche-959/

Onboard the Porsche 959

The Porsche 959 is considered by many, to be the ultimate Porsche. First built for homologation purposes (in the form of a Group B Rally car)  in 1986, this car still has that “special” aura today.

    Porsche 959

  When it was introduced the twin-turbocharged Porsche 959 was the world’s fastest street-legal production car, boasting a top speed of 195 mph, with the sport model capable of reaching 197 mph. During its production run it was hailed as the most technologically advanced road-going sports car ever built, and forerunner of all future super cars. It was one of the first high-performance vehicles with all-wheel drive, providing the basis for Porsche’s first all-wheel drive Carrera 4 model. Its performance convinced Porsche executives to make all-wheel drive standard on all 911 Turbos starting with the993. In 2004, Sports Car International named the 959 number one on its list of Top Sports Cars of the 1980s.

  Porsche 959

  Development of the 959 (originally called the Gruppe B) started in 1981, shortly after the company’s then-new Managing Director, Peter Schutz, took his office. Porsche’s head engineer at the time, Helmuth Bott, approached Schutz with some ideas about the Porsche 911, or more aptly, a new one. Bott knew that the company needed a sports car that they could continue to rely on for years to come and that could be developed as time went on. Curious as to how much they could do with the rear-engined 911, Bott convinced Schutz that development tests should take place, and even proposed researching a new all wheel drive system. Schutz agreed, and gave the project the green light. Bott also knew through experience that a racing program usually helped to accelerate the development of new models. Seeing Group B rally racing as the perfect arena to test the new mule and its all wheel drive system, Bott again went to Schutz and got the go ahead to develop a car, based on his development mule, for competition in Group B.

Porsche 959

  Porsche developed an already existing engine instead of creating a new one from scratch. The powerplant, a twin-turbocharged six-cylinder boxerengine with air-cooled cylinders and water-cooled heads, displaced 2.85 liters, about half a liter less than a contemporary 911 engine. It was coupled to a unique manual gearbox offering 5 forward speeds plus a “G” off-road gear, as well as reverse. The motor had originally been developed for the “Moby Dick” race car and then been redeveloped slightly for the short-lived Porsche Indy Car and several other projects before being “tweaked” a last time for use in the 961, the 959′s racing counterpart. The water-cooled 4 valve cylinder heads combined with the air-cooled cylinders and sequential turbochargers allowed Porsche to extract 331 kW (444 hp) from the compact, efficient and rugged power unit. The use of sequential twin turbochargers rather than the more usual identical turbochargers for each of the two cylinder banks allowed for smooth seamless delivery of power across the engine RPM band, in contrast to the abrupt on-off power characteristic that distinguished Porsche’s other turbocharged engines of the period. The engine was used, virtually unchanged, in the 959 road car as well.

  Porsche 959 – Promotion photo from Porsche

  In an attempt to create a rugged, lightweight shell, Porsche adopted an aluminium and Aramid (Kevlar) composite for body use along with a Nomex floor, instead of the steel normally used on their production cars. The vehicle’s weight of 3,190 pounds (1,450 kg) helped to achieve its high performance level.

  Porsche 959 – Engine bay

Porsche also developed the car’s aerodynamics, which were designed to increase stability, as was the automatic ride-height adjustment that became available on the street car (961 race cars had fixed suspensions). Its “zero lift” aerodynamics were a big part of keeping it drivable. The 959 also featured Porsche-Steuer Kupplung (PSK) which was at the time the most advanced all-wheel-drive system in a production car. Capable of dynamically changing the torque distribution between the rear and front wheels in both normal and slip conditions, the PSK system gave the 959 the adaptability it needed both as a race car and as a “super” street car. Under hard acceleration, PSK could send as much as 80% of available power to the rear wheels, helping make the most of the rear-traction bias that occurs at such times. It could also vary the power bias depending on road surface and grip changes, helping maintain traction at all times. The dashboard featured gauges displaying the amount of rear differential slip as well as transmitted power to the front axle. The magnesium alloy wheels were unique, being hollow inside to form a sealed chamber contiguous with the tire and equipped with a built-in tire pressure monitoring system.[6]

Porsche 959 – Interior

  All Porsche 959s were actually produced at Baur, not at Porsche, on an assembly line with Porsche inspectors overseeing the finished bodies. Most of Porsche’s special order interior leather work was also done by the workers at Baur.

  The 1983 Frankfurt Motor Show was chosen for the unveiling of the Porsche Group B prototype. Even in the closing hours of October 9, finishing touches were being applied to the car to go on display the next morning. After the first two prototypes, the bodywork was modified to include air vents in the front and rear wheel housings, as well as intake holes behind the doors. The first prototype modified like this was code named “F3″, and was destroyed in the first crash test.

The street version of the 959 debuted at the 1985 Frankfurt Motor Show as a 1986 model, but numerous issues delayed production by more than a year. The car was manufactured in two levels of trim, “Sport” and “Komfort”, corresponding to the race version and the street version. First customer deliveries of the 959 street variant began in 1987, and the car debuted at a cost of $225,000 USD per unit, still less than half what it cost Porsche to build each one. Production ended in 1988. In total, 337 cars were built, including 37 prototypes and preproduction models.  At least one 959 and one 961 remain in the Porsche historic hall in Stuttgart, Germany.

  Porsche 959 – Not much space for your bags

  In 1992/1993, Porsche built eight 959s assembled from spare parts from the inventory at the manufacturing site in Zuffenhausen. All eight were “Komfort”-versions: four in red and four in silver. These cars were much more expensive (DM 747,500) than the earlier ones (DM 420,000). The later cars also featured a newly developed speed-sensitive damper system. The cars were sold to selected collectors after being driven by works personnel for some time and are today by far the most sought-after 959s.

  Porsche 959 – Rally action

  The 959 was not street legal in the United States prior to 1999 when the ”Show and Display” law was passed, although an unknown number were imported via the “grey market” during the late 1980s as show pieces. During the model’s development Porsche refused to provide the United States Department of Transportation with the four 959s they required for crash testing, and the car was never certified by the National Highway Traffic Safety Administration for street use in the U.S. With the passage of “Show and Display” the crash test requirements were removed and importation of the 959 was allowed, assuming the car could meet the emissions standards applicable in 1987. The 959 can be fitted with a catalytic converter and a rechipped computer which allows it to meet those emissions requirements.  As they are pre 1996 they would not be required to pass any emissions testing anymore.

  Porsche 959

  Most owners refuse to modify their 959s, however, and the cars remain collection pieces. Most 959s are in the hands of collectors, but a few do occasionally come to market, with prices in the region of €180,000–€250,000 (cars produced in 1987/1988). It is impossible to estimate the price of cars from the highly limited batch of 1992/1993.

The lessons learned from the 959 project about engine management, aerodynamics, suspension tuning, and 4-wheel drive were what enabled the production life of the 911 to be extended to the present day.

  Porsche 959 – engine bay

    When Porsche began development of the 959, it looked toward Group B racing as a road-racing laboratory with which to develop technology for production cars. When Group B became focused on rallying events, however, Porsche felt the relevance to production cars was greatly reduced, and the goal of the 959 project shifted to frank state-of-the-art, cost-no-object technological innovation.

In 1984, however, three 911s modified to 959 specifications (due to the requirement that Group B cars be based on production cars with at least 200 built) were used in the Paris-Dakar Rally, with Jacky Ickxthe prime motivator. By 1985 the 959 rally variant was ready, but it experienced a disappointing start: all three cars failed to finish. However, in 1986 the 959 finished 1-2. The 959 was never seriously considered for a Group B Rally season; the cost of completing a full season far outweighed any technical information that would have been gained.

    Porsche 959 – Suspension detail

  1986 was also the year that the racing variant, the Porsche 961, made its debut at the 24 Hours of Le Mans. Driven by René Metge partnering Claude Ballot-Léna, it finished first in its class and 7th overall. It returned in 1987 but failed to finish after a spin (missed gear change) while in 11th place by Canadian/Dutch driver Kees Nierop of Vancouver. Upon rejoining the track the car was observed on TV monitors in the Porsche pits to be on fire and the driver was told to stop and get out of the car. Sadly Nierop pulled over between marshal stations and this extra time taken to get to the car by the marshals allowed the fire to consume most of the rearend and writing the car off for further racing. Thus ended the career of the 961.

  Porsche 959 – Rally Dakar

  In 2003, Canepa Design initiated a 959 program. By making their own modifications to the 959′s turbo, exhaust and computer-control systems, Canepa could enable the 959 to pass emissions requirements(thereby making it street-legal in the United States) and extract more power from the 959′s engine. Total power output from the Canepa-modified 959 is 640 hp (477 kW) and 570 lb·ft (773 N·m) of torque, making the car capable of 3 second 0-60 times and top speeds in excess of 220 miles per hour (350 km/h). Canepa also modifies the 959′s lightweight magnesium wheels to allow the fitting of tires without the unique Dunlop Denloc bead, and fits a modern Michelin high-performance tire capable of handling the increased performance.

  Porsche 959 – Cutaway

  The “Gates 959″ is an infamous car, one of the Porsche 959s built in the mid-eighties, imported by Bill Gates to the United States in 1987. Gates’ fellow Microsoft co-founder Paul Allen imported another one, as did Porsche collector Jerry Seinfeld. These cars had not been approved by regulators and had no Department of Transportation and Environmental Protection Agency approval. The “Gates 959″ was stored for 13 years by the Customs Service at the Port of Seattle, until regulations were changed to allow “Autos of Interest” to be imported with severe limitations on their use. Gates and Allen both helped pass the “Show and Display” law.

[dapperrambles]

the fashion show had pretty lights and girls. it was pretty cool

[crushedpixel]

Multi-Camera Production Evaluation

For my multi camera swede my group chose the jonathan ross show: interview with Plan-B (http://www.youtube.com/watch?v=ULDcOL2vcU0).  the show itself is a talk show which is when a host talks to a number of guests in front of a live studio audience. its targeted at adults aged 20 and up who like to watch late night talk show's. what makes the jonathan ross show different is that there is a live music performance by a different celebrity artist each week, by doing this the fans of the artist may tune in to watch the show bringing in new viewers each week.

my production role was to play the host of the the show jonathan ross and edit the show. in hosting i learnt how to take direction from a crew and from editing i learnt how to chroma key in final cut. in hosting i applied my previous experience in acting and in editing i applied my prior final cut experiance to cut the show together. both can be seen with the final cut of the show. if i could do it again i would of cut between the cameras while editing instead of using the studio cut which was glitchy at times. i would have also used a program like after effects to key the footage as final cut does not key that well.

the production went very smoothly. the director was late but as soon as they showed up the crew got set up in around 50 minutes. i arranged the desk and sets seats. for a shoot that we didn't fully plan for it went really well. we had scripts and a few diagrams of the set but there wasn't any call sheets or any schedule, all we knew that we were going to film on the friday and what are jobs were. the editing was a bit last minute because i went of to lunch without doing any final checks or exporting so i had to rush back to finish it off. the thing that really made this project work was the communication in the group. everyone knew what they were doing and if there was a problem it was quickly sorted.

the set in the final piece with the chroma key just about sets it up as a talk show set. you can see the host is clearly a host and the guest is definitely the guest keeping to their sides. the beginning worked great with the introduction and walk on but the end felt like it was at mid sentence and wasn't a proper end to an talk show. the script ended because of time issues in the middle of the interview so it was going to happen. i could've added some sound effects like an applause or some light music to give the piece more diversity but i was in a bit of a rush so i didn't have time to do so. the camera on ash had a little too head room which could have been adjusted but the camera operator didn't notice. the lighting lit everything very well but at some point didn't catch a part of ashes face due to him having his hood up. this could've been an easy fix but was not thought about at the time. the sound was recorded way too high because of the position of the mics. we used two boom mics positioned to the side of me and ash behind the desk. the gain had to be turn very high to hear us which resulted in messy audio. this could've been solved by using a clip on lavalier microphone. the editing could of been improved if i cut it from the different cameras instead of using the studio cut. then i could key each camera and then cut it instead of having to chop up the piece to each camera cut and key individually which could of saved time. over all the technical side works but could've been better but seeing as it was our first attempt in a studio production it went very well.

overall i've learnt that multi camera production takes a lot of planning but is faster to shoot and gives you more choice in the final product. working with a team need communication and a chain of command to make it work. if someone breaks the chain and doesn't listen it can coast valuable time.

[101media-blog]

My experience on Multi camera product.

I found multi camera production was a lot easier than single camera production manaly because of the fact when you shoot a scene when it comes to editing most of it is put together, the only thing needed to do is pick the best bits and add a sound track if needed. Unlike single camera production which takes a lot more time and effort to edit because of all the different camera angles to choice from plus trying to make it all look smooth as a final piece can be very difficult. In the media industry it would cost a lot more money to shoot a single camera production because of the amount of time needed.  

I also found once we got all set up and instructed clearly, filming the multi camera show was quite easy because everyone know there place and all the equipment stayed in it's place for most of the time. which means as long as you plan and set up the multi camera production well, when it comes to filming things are normally reasonably easy. 

[danikastokeees-blog]

[msmithbedfilm-blog]

Russel Howards Good news Season 4 episode 5 - This is an example of a multi camera tv show, the use of clear multi-camera comes in from 16:26 when Russel Howard introduces his mystery guest, the use of a Crane shot as the trolley rolls through the door and then cutting to a close up from a stationary camera to reveal the guests face, another camera on the left hand side (facing the stage) of the studio is used as a reaction camera to show The hosts face and then possibly another camera to show a mid wide of the host meeting the guest then back to the Closer of the 4 cameras to get a close up of the host and the guest.

[dapperrambles]

the storm is over and this lovely thing has popped out. ok so the sound is pretty bad and my acting is abdominal, but for a student production that barely made it for the deadline its pretty fine.

i hope you enjoy

[crushedpixel]

Jonathan Ross interview with Plan-B rehearsal

on monday we went into the studio and set up the set for the jonathan ross swede. we work very well as a team and got the studio ready for the first take in 20 minuets. for our first time working in the studio i say that was pretty good. the communication was very strong and everyone listened to each other. what didn't go so well was the sound, we had some problems with concealing the mics and positioning them so that me and ash was being picked up on the mics. also some of the cables were not taped down which could be seen as a trip hazard. another strength was that if we did come onto a problem we acted quickly giving us more time to get a few more takes i was playing jonathan ross and it took me a few takes to get into character and to get the lines in my head. i think it went really well and that when it comes to thursday we will be able to get a few great takes.