Broadcast Directing and Camerawork

P

Paul F

Veteran
There was a discussion about broadcast camera work. Live camera work is so different than what most camera operators on this forum do. I thought the live broadcast of Grease was a great example of how demanding it can be. In this case, camera operators had to know every shot for three hours. Associate director, Carrie Havel recorded what it is like in the control room for Grease. Carrie Havel:

"A lot of people have asked what it means to be the Associate Director on a show like Grease Live. Here's a peek behind the curtain. Every shot in the show was designed and scripted by our director Alex Rudzinski. My job was to execute that plan. You hear me calling shot numbers and camera moves carefully coordinated with the music. My head stays in the script and Alex, to my right, keeps an eye on cameras to adjust framing and pacing"

https://www.youtube.com/watch?v=DP2QOmN57iU
 
Live work like that is a whole other ball of wax. I have done thousands of live shows, but mainly working as an A1 mixing sound.

Best part of it, the party after wrapping, knowing you kicked butt!
 
I've done many different kinds of videos, and the hardest is the wedding. Ironically it pays the least and has the least prestige. But I have great admiration for a well-made wedding, as well as other live productions like the one originally posted.

I say a good wedding-video camera will be great for all other assignments. To make a good wedding video you need: low-light sensitivity, wide dynamic range, long battery life, long record times, high frame rates, high resolution, and a compact form. Dramatic narrative gets the most prestige, and while it has its own set of skills, the camera could just be a big box. The only requirment is high resolution. Because of the controlled lighting and slow shooting, all the other features are not usually necessary.
 
I've done about 1500 hours of live multicamera directing in my time. The highs and lows can both be pretty intense. It's a good way to bond with your crewmates (or want to throw things at them).

- Greg
 
I really get a kick directing live broadcast television. The real fun begins when something goes wrong and you have to figure out how to cover it. I sit behind the TD. We have a bowl of candy. When things got frustrating, I used to throw candy in the direction of the TD. All in fun, never meant or taken seriously.
 
ive been prompter on live stuff for major networks a few times, for sports, singing competitions, things like that. i find them stressful and anxiety inducing and cant wait til theyre over. if i never do one again i will be just fine.
 
You must log in or register to reply here.
Back
Top