Search results

You are looking at 21 - 24 of 24 items for :

  • "multi-camera studios" x
  • Refine by access: All content x
Clear All
Theatre plays as television drama since 1930
John Wyver

real and tangible through a whole range of images and symbols, events and ceremonies, relayed to audiences direct and live’ (Scannell and Cardiff 1991 : 277). Yet the technical and creative processes of mediating a theatre production for the screen were, as they remain, closely related to those involved in producing multi-camera studio drama. Creative screen directors aim not simply to ‘capture’ a

in Screen plays
Richard Hewett

included its effect on the variety of work available. Like multi-​camera studio, the single play had been in decline since the 1980s (Gardner and Wyver 1983). The Singles department was increasingly pressurised under Producer Choice, its budgets being among the highest in television (Born 2005: 117). This increased vulnerability coincided with an expansion in episodic series, leading to a situation in which ‘long-​running series and serials … dominate[d]‌the output of major channels’ (Bignell et al. 2000: 1–​2). In an era where programming decisions were more than ever

in The changing spaces of television acting
The TV films
Tony Whitehead

fashion accessories – that much discussed bottle of Beaujolais. A straightforward TV version of Leigh’s original play (also first seen in Whitehead_01_Chps.indd 39 29/3/07 15:53:08 40 mike leigh 1977), it is a multi-camera studio production rather than a film – even if it does not quite take place on a single, three-walled set (one tiny scene takes place in the bathroom, and there is a brief reverse-angle shot to give a glimpse of the ‘fourth wall’). Regarding it as ‘really quite a mess’ with ‘patchy, inconsistent lighting, and even the odd microphone in shot’,12

in Mike Leigh
Roger Singleton-Turner

discussion! However, if you can operate together to make this work as I have described, you will have learnt a lot about the importance of teamwork in controlling a multi-camera studio! On recording Ensure everyone knows you are going for a take. Switch on TX lights. Begin recording. I would advocate a countdown from 10 seconds: If you are recording on tape, this allows the tape to settle down and guarantees enough of a handle if the programme is to be edited later. If the recording is on some form of disk or server, the 10 seconds is not technically necessary

in Cue and Cut