Favorite Camera Tricks for Actors

[Michele Seidman]

I have started to see more seasoned actors around here and I think it is a great chance to pass on some of our favorite tricks. So, here is the challenge...

Every actor reading who has a favorite trick they use when doing camera work has something to share. I know I learned some from other actors, some from teachers and some under the gun of shooting.

I thought it would be cool if each of us shared a trick or two we learned on set, especially the ones few people teach!

My Trick:

3 camera shoots and what no one tells you to be prepared for!

I call it, the 'moving 4th wall'. On a single camera shoot it is not a concern but when you do soap operas or sit coms that use 3 cameras on wheels/dollies it can show who is seasoned and who is not.

So, here is the trick{s}.

The red light on top of each camera is on when that one is being used. If you use your peripheral vision and take note there are ways to dart your eyes over, around and under the camera so you don't accidentally look right in it.

If you see the switch and that camera is not in your eye line it is not a real concern and most often the director is in the booth making sure that does not become a problem but now and then you will see the red light flash on with a camera you need to scope your eyes past. The thoughtful gaze up can get you past it...or in angry scene the squint or down cast eyes of anger can help you too. In fast moving moments it is easier but when you have to do a glance, just blinking your eyes won't do the trick.

A roll of the eyes if the moment calls for it can work. A slow blink with a shaking head can slide past it too.

You have to pay more attention than you do on a single camera shoot and in the beginning it is harder.

Anyone want to add to the 'moving 4th wall' or share another trick they learned on set that no one ever mentioned to them? Share what ever camera tricks you think might help some of the new actors or even the filmmakers.

If the actors are not on the board it does not mean a director can't use the info too! New directors can learn from us just like we can learn from them!

What's your trick!

[skycron]

That little red light is called a tally. But the director should be letting you know which camera is hot (live) ahead of time...or at least give you an idea approximately where it will change so you can anticipate it. The floor director should also be giving you an indication that the tally light on the camera is going to change, via the standard hand signal (point at the current camera, do a sweeping gesture downward and twist back up to point at the camera about to go live in one smooth motion)

The idea of a director NOT giving that kind of indication would raise flags to me about how experienced the director is. On that topic there are things that actors can use as a sign to determine how professional their director is to save a lot of "Is it me? Or is it him/her?" aggravation.

The other thing that should happen if there is sufficient time is the director should block the action with the actors, so the DoP can decide where the cameras are going to go. That way, the action can be planned around the placement of the camera. On a soap or live setup this isn't always practical but the director should at least tell you "At this line, the camera's going to be here, that line, here." so you have an idea where the camera's going to line up.

Sometimes the crew can get caught up in all the technical stuff and forget about the directing part. Simply asking the director where the camera is going to be, or at least the overall path, shouldn't be a problem.

[hdimages.ca]

don,t tell every actress that. my favorite line in the bedroom is " relax honey, the blinking light on the video camera in the corner is just the battery recharging" . ...... this could ruin me,,, ( comedy rocks)

[Michele Seidman]

That little red light is called a tally. But the director should be letting you know which camera is hot (live) ahead of time...or at least give you an idea approximately where it will change so you can anticipate it.


Skycron...

You know i believe you but on the soap i did ages back (and that might be why it was different), not one out of 7 directors ever told me which cameras would be on me when. they directed from the booth and not the set except during morning readings and camera blocking. but i have not been on a 3 camera shoot in years...

I am glad you added more information to that! keep people up to date!

Michele

[skycron]

Hi Michele,

They don't have to tell you exactly when the camera is going to be on you...they should give you an approximate idea where the camera is going to move so you can anticipate where it will be. Realistically they won't have time to give exact time, especially on a soap.

I personally haven't done soaps (we've done drama, commercials, etc). other than our Music Director was on NBC's "Generations" before Skycron, but that's about it.) Still, this is studio multi-camera production 101.

My guess is they were probably preoccupied...but they should tell you where the cameras are going to be going. They probably got caught up in the technical details. Pros do brea the rules (but they shouldn't...especially not 7 times!)

It would usually be one of the technical staff that would inform you rather than the director...often the director doesn't care too too much/doesn't have the technical knowledge/concentrating on the performance.

I also forgot to mention that if the cameras aren't moving too much and if the views are similar...sometimes it isn't as crucial. But if the camera is moving a lot, they should tell you.

[Michele Seidman]

Hi Michele,

They don't have to tell you exactly when the camera is going to be on you...they should give you an approximate idea where the camera is going to move so you can anticipate where it will be. Realistically they won't have time to give exact time, especially on a soap.


Unless things changed or it was just the soap I worked on, other than having a general idea when they were doing tight shots...no one ever gave us much in the way of notes on which camera would be used on who for what shot and when. We just learned to keep an eye for the red light and stay on point from start to finish for every single take.

Now and then when they went to punch in a segment they would give a little more info. Maybe it IS just a soap thing because they are knocking out 5 scripts a week every week. I did over 100 episodes and don't remember getting notes on which camera was in use more than maybe 2 times ever.

I honestly think it is the best training ground for any actor because it is so much harder then film or mov shoots. Heck, the first time I did a single camera shoot I was secretly laughing at half the cast and crew for the panic attacks they were having about 'did everyone have their lines down'.

Heck, soap we shot 10 pages start to finish and on films we shoot a page and a half maybe...now and then longer, mostly less.

If an actor can't lock in lines on half a page...they really should not act. At least that is how I feel about it. I don't mind when an older actor wants cue cards because we all have more memory issues as we age but I have seen famous actors in their 30's asking for cue cards on one paragraph.

I won't name the actor but he once was a favorite of mine until the 3rd take and I had his lines down cold and he was still having problems with them. Now I know why this guy never does stage at all. He can't do it...it would show his flaws too much!

[Michele Seidman]

don,t tell every actress that. my favorite line in the bedroom is " relax honey, the blinking light on the video camera in the corner is just the battery recharging" . ...... this could ruin me,,, ( comedy rocks)


keeping your secret unless you pick up one i train..then you are sh*t out of luck...lol

[skycron]

Yeah...my guess is it's a soap thing.

Totally random -- you did V/O for Lupin? That's awesome.

[Michele Seidman]

Yeah...my guess is it's a soap thing.

Totally random -- you did V/O for Lupin? That's awesome.


Yup, I was Mime Fujiko in Lupin 3 (Fuma Conspiracy) the English dub. I think they hired me because I really rode a motorcycle at the time...ha ha!

[skycron]

Nice! You are now my new hero. :)

Ironically one of our current contracts is some 2D animation subcontracting work for a Japanese company...talk about the reverse. The cleanup animation is just a bitch (Super fine perfect linework.). The work came from a mutual contact, which is kind of interesting because generally Japanese companies can be hesitant about handing work over.

[Capt Quirk]

keeping your secret unless you pick up one i train..then you are sh*t out of luck...lolSo, you know about the Tally light eh? But what you don't know, is that I put tape over mine... Doh!

[Michele Seidman]

So, you know about the Tally light eh? But what you don't know, is that I put tape over mine... Doh!


ahhh but do you use music to cover up the sound of the camera operation? lol

[Capt Quirk]

What sounds? My cam is quiet :)

[Michele Seidman]

Nice! You are now my new hero. :)

Ironically one of our current contracts is some 2D animation subcontracting work for a Japanese company...talk about the reverse. The cleanup animation is just a bitch (Super fine perfect linework.). The work came from a mutual contact, which is kind of interesting because generally Japanese companies can be hesitant about handing work over.

Cory

Not sure how I missed this. I heard that a lot when I was doing Mime Fujiko. I also did a Tracker Tina and heard it from that studio too. Even my being hired was a close call because they were that tight on the pitch of the voice and they debated if my voice was too deep. I don't have a manly voice or anything but a lot of the women over there seem to talk in a very high pitch.

talk about anal...lol...but at the same time, these animations were their babies and they did not want to see them butchered, so i got it.

i have to tell you doing voices for animation is very hard but also rewarding as heck and can be a fun challenge too!

Michele

[Michele Seidman]

What sounds? My cam is quiet :)

Then what is that humming noise i keep hearing...hmmmm?

:2vrolijk_08::Drogar-BigGrin(DBG)

[Capt Quirk]

Then what is that humming noise i keep hearing...hmmmm?

:2vrolijk_08::Drogar-BigGrin(DBG)
There isn't any humming noise here, it must be coming from your end... :)

[Michele Seidman]

There isn't any humming noise here, it must be coming from your end... :)

how did i miss this fabulous bait?

lol..ok...the humming was actually me. i had a candy bar and what can i say...i hum when i eat...

lol..noticed i kept that one clean?:banned:

[Tom Marshall]

Oh come on, Michele. You can do better than that. :evil:

[Michele Seidman]

Oh come on, Michele. You can do better than that. :evil:


ha ha ha you sneaky little devil. first ya tease me for making such comments on the other thread and now you tease me for avoiding them...un huh...you are so lucky you are more than 2000 miles away. i would soooo have to toss a pillow at your head or something like that just cause....

Tom=instigator

ha ha ha:nads:<kidding

[Capt Quirk]

Yeah... who's doing the baiting now?

[Michele Seidman]

Yeah... who's doing the baiting now?

lol snicker and guffaw....

I am!!!!!!!!!!!! snicker

and i'll do it again he he he he he:2vrolijk_08::laugh::Drogar-BigGrin(DBG):grin::2vrolijk_08::-Laugh(DBG)-1:-Laugh(DBG)-1

[Michele Seidman]

OK since this thread went cold I wanted to try once more to get other actors to give camera tips and tricks.


So, today mine is on hitting your mark on film. A lot of actors are never taught this and oddly, on new shows I can see the actor looking for their mark. I can tell they are trying to make sure they get to it and on occasion that ruins the performance.

So, here is my tool for that one:

Practice it! Take some strips of paper to make toe marks or tape if it won't hurt your floor. You need to make them like a T shape or two lines for each foot. The idea is that your feet should end up lined up to the mark.

This DOES matter because the focus has been set on the camera to that mark and if you are a few inches behind or in front of it, they might have to do another take.

So, place these strips on the floor. Give yourself more than one mark and then start using your side vision to find them. Do it over and over until you stop having to look down for the mark. Over time you may even possibly start to notice without looking down that you are slightly off your mark.

If you do, learn to relax your body back or forward a tiny bit to compensate. Over time it becomes very natural but it seriously helps to practice it so when you get on a set, you don't have an issue with it.

This is one of the easiest things to do at home over and over until it feels natural. You may need a friend to watch you after a bit to check if your eyes are following the mark or not!

OK, who is adding another tip for actors working on camera stuff?

[lambert]

Helping the sound mixer/boom op. If you are changing the levels of your voice during your scene this will cause difficulty for sound (a whisper to a shout). If the sound department knows what to expect they can react appropriately. If your dropping lines, speeding up pauses, improvising, changing your delivery from the rehearsal give sound a heads up. Sometimes the rehearsal is filmed and sound is forced to muddle through. The director should be communicating with the sound department and you but it doesn't always happen. Might save some adr or expensive post solutions for the production.

[Michele Seidman]

Lambert what great additional information! I often tell actors they need to know what all the departments do, so they know if their work affects that part of things.

I hope a few other departments chime in with things actors can do to make their jobs easier during the shoot and post!

[lambert]

I'm not really a soundie Michele, but I'm trying to understand some of the challenges of recording decent sound for film. Usually on low budget films if any one is paid its the sound mixer (they don't have reels). Good ones are in demand and newbies can use all the extra help you can give them. If you know your going to be wired and your wearing your own clothing you should speak to a mixer/costumer/director ahead of time. Some fabrics add an extra level (silk, man made fabrics) of complexity. Men (or woman) if you have a hairy chest pack an extra t-shirt, it may help tame a noisy lav. If you strike your chest at the same time you are speaking you may have to record that line later (unless its boomed). Be prepared to record some on set adr (additional dialogue replacement-they record you without the cameras rolling ). You should be happy that you get to give them some great sound while the performance is fresh in your mind (instead of months later). Some real pros should chime in instead of me.

[Doc Bernard]

Eye line. Always find a point somewhere that is in the direction the director wants you to look, as your focus point.

Example: a dialog scene, director is doing a close up (half profile) on you for your lines. Many times, looking where your counterpart is may not work. Establish where your eyes need to be looking between you and the director and find something there to "focus on".

Sounds simple, but sometimes it's hard, LOL!

Oh, BTW, the innuendo is getting thick..........

[Michele Seidman]

Lambert...newbie or not...more great advice!

Doc...good one on eye lines. Some actors don't understand the importance of checking on that early on. The seasoned ones always ask the director or DP.

and innuendo? huh? what did i miss?

[paulears]

My experience is that the actors don't need to think about cameras at all unless they have to look at one, or make sure they are NOT looking at one for a certain shot. The floor manager would worry about clearing an actor from a fast crab, or dolly in. The fewer things to worry the actors the better. For dramas, we'd do at least one walk-through or proper rehearsal for each scene, and even when working live, complex things had to be rehearsed first. Camera crib cards would be written/updated at this point. The only time I think the talent needed to pay attention to the tallys was when we were doing live 'Youf' TV with plenty of kids and only a few experienced younger presenters. Direction would be very seat-of-pants, hardly any rehearsal and things would change during the programme. Seeing the tally come on would be very useful for the talent, as sometimes, their in-ears would be far too busy for them to take cues properly, and seeing the light come on would be the one thing that worked.

[Michele Seidman]

paulears

I keep hearing that about the tally light. But soaps don't give ear pieces unless they changed things. I wish they had told us in advance which cameras would be on but we tried to figure it out during camera blocking.

Are we both talking about 3 camera shoots?

michele

[paulears]

No - the earpieces were for presenter style material. Most multi-cam drama doesn't have the talent looking into the lens, they work each other. I suspect that seeing the tally is a good guide to when they're the chosen shot, but my own take is that very often, it's the tally going off that is the help - warning them that at certain points, they've cleared the frame. I can't say that tally for drama is really useful at all, unless there's some particular technical requirement - maybe a gesture that has to come just as the camera is cut to - where perhaps one character says something, the director cuts to the other actor who suddenly has to look surprised, then it cuts back. This is a good example of tally being useful - the actor can see the cut out of the corner of their eye, and do the gesture exactly at the right time. For most of the session, the floor manager's finger is the most useful.

[Michele Seidman]

paulears...back in the day...(i sound so old), when I worked on the soap, we just had to keep our side vision on the ready....

[Nathyn]

Love these little tidbits Michele, you're super awesome. (Super and awesome). And when I was taught how to use the switcher no one told anyone where the camera was then either. But then again I learned that almost twenty years ago.

-Nate

[Michele Seidman]

Nathyn, well I am not the only one giving tricks. I hope more people post them. It can be a great teaching tool and short cut some problems before they get to sets!