Favorite Camera Tricks for Actors

Michele Seidman

Michele Seidman

Well-known member
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!
 
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.
 
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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)
 
skycron said:
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.
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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
 
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.
 
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skycron said:
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.
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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!
 
jetaddiction@mac.com said:
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)
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keeping your secret unless you pick up one i train..then you are sh*t out of luck...lol
 
Yeah...my guess is it's a soap thing.

Totally random -- you did V/O for Lupin? That's awesome.
 
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 ***** (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.
 
skycron said:
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 ***** (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.
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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
 
Tom Marshall said:
Oh come on, Michele. You can do better than that. :evil:
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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
 
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