MULTI – CAMERA TECHNIQUES

LIVE EVENTS DEADMOU5 – RAISE YOUR HAX LIGHTING: This concert was performed at night, so there was no natural light. The feel is quite dark anyway as Deadmou5 is a dance genre. Strobe lighting, lasers, fog, ultra-violet lights were all used in the performance which could effect camera settings such as light balance and aperture which can make a clip over-exposed or under-exposed. The stage itself produces massive amounts of light into the crowd and cameras, such as the sculpture the DJ is on and the projections behind him. CAMERA POSITIONS: From the video, I can count at least 10 cameras in action. 1/2 on stage with Deadmou5, 4/5 amongst the crowd, 1 on a tower at the back and 3 cameras on boom poles sweeping from the left, right and front. The editors made sure the camera’s feeds were cutting with the music to create a smooth transition between views, having a mixture between crowd/Deadmou5/set/close up people.

FATBOY SLIM ULTRA FEST LIGHTING: this concert was in the day so there was natural lighting but there was still strobe lighting on the stage. Fatboy is very dance orientated so the feel is very upbeat and light, which means to cameras don’t have to compete with harsh light changes and be constantly adjusting light balance. CAMERA POSITIONING: Ultra fest’s amount of camera’s and positioning of cameras is similar to Meowington Hax because the crowd is a similar size and the stage is a similar layout. The vision mixers/editors made sure the cuts were with the music and caught action from the crowd and Fatboy. To keep interest in the viewer, the cuts are fast and always interesting like swooping the crowd or capturing the expressions of the DJ.

CAMERA POSITIONS FOR LIVE CONCERT

STUDIO PRODUCTIONS CELEBRITY JUICE – THE MASK OF SORROW LIGHTING: this is a studio production so there is no natural lighting so all light in the studio can be controlled. This means no changing light balance and no environmental issues. The lighting is set up so the presenters and guests are constantly lit and the backdrop is lit so there’s no shadow. CAMERA POSITIONING: as it’s a studio, cameras are set up in front of the set and are controlled by the camera crew on the studio floor. The crew and linked with headsets to the vision mixing desk where they are told what to shoot and what shots too use. The vision mixing desk is where the shots are cut in live shows. From the clip, I can count 5 different cameras with different shots and angles, one of which is the initialising shot on a boom jib. To keep viewer interest strong, the cuts are very fast and follow what's going on set making sure all the funny segments are captured.

NEVER MIND THE BUZZCOCKS – PALOMA’S GIFT LIGHTING: in the Buzzcocks set, the backdrop is dark and the panellists are brightly lit similar to Celebrity Juice set. Again, with studio sets, environmental problems aren’t an issue and the lighting is all controlled. CAMERA POSITIONS: like the Juice’s set, there are multiple cameras Juice had around 5 cameras but I can count around 10 for the buzzcocks’ set as there are 7 people and other shots. CAMERA POSITIONS: like the Juice’s set, there are multiple cameras set up on set and are controlled by the camera crew on the studio floor. The crew and linked with headsets to the vision mixing desk where they are told what to shoot and what shots too use. The vision mixing desk is where the shots are cut in live shows. Juice had around 5 cameras but I can count around 10 for the buzzcocks’ set as there are 7 people and other shots.