The problem with multicamera shoots is that they're impossible to light dramatically. That's why sit-com and soap-opera lighting is so flat -- and why it's derogatory for film lighting!
That's true to a degree when you are talking about the kind of schedules and setups available to a set-bound three-camera sitcom, but the observation falls down when applied to 'one-camera' type shows (tv and feature) where multiple cameras can be exploited under a different set of constraints. For example, shows like Eleventh Hour and features like G-Force do not look particularly like they were shot under sit-com or soap opera style lighting.
