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-camerastudio drama. Creative screen directors aim not simply to
included its effect on the variety of work available. Like multi-camerastudio, 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
fashion accessories – that much discussed bottle of Beaujolais. A
straightforward TV version of Leigh’s original play (also ﬁrst seen in
1977), it is a multi-camerastudio 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
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-camerastudio!
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