Working with multiple cameras and audio recorders

While a single camera is often all you need, shooting with multiple cameras brings many benefits and can be especially useful during live events when you simply can’t ask your subjects to give you another take. A second camera also works as a backup should your main camera have an issue, such as a failed battery, being out of focus, or if someone’s standing in front of it:

Figure 2.24: Two angles with a similar focal length, but from different perspectives

The second angle isn’t just a backup; you want the two (or more) angles to provide different perspectives because there’s not a lot of benefit in two cameras capturing similar content. Angles that are too similar don’t work well in the edit either. Two sequential shots that show almost the same thing are called a jump cut, and while their use has become more common, it’s something that is best avoided if you have the option. While your angles need to be different, they also need to avoid capturing other camera operators in the same shot, and that often makes using three cameras a tricky proposition.

Another factor to consider is “crossing the line.” Imagine that you’re filming an interview between two people (A and B) that are facing each other in front of you — A on the left and B on the right:

Figure 2.25: Keep your cameras on the same side as your subjects to avoid crossing the line

Any cameras you use should be placed on the same side of the two subjects to maintain that “A, B” order from left to right. If you cross the line, putting a camera behind them, they’d be shown in a “B, A” order, which is visually jarring to the viewer.

Though it’s sometimes possible to sync cameras at time of recording, most editors do this in post-production. FCP can sync your footage based on the audio recorded by all cameras and audio recorders, or (if your gear is compatible) by timecode. As we will discuss in the next chapter, similar audio waveforms can be matched up, so it’s a good idea to make sure that all devices are recording roughly the same audio. If cameras and mics are placed a long way from one another, the different audio tracks won’t have much in common and syncing can fail. If possible, ask your subjects to clap loudly on camera (or use a traditional clapperboard, yell, or use an air horn) to make your life much easier in the editing bay.

Let’s consider a few examples of when using multiple cameras is useful.

Conference presentations

Conferences can be recorded and then shared. Be careful to use cameras that can safely record for long periods of time, and bring enough storage media and batteries!

Video devices should record:

• A wide angle to capture the presentation alongside the presenter
• A tighter angle to capture the presenter alone

Ideally, you should also use a device to record the presenter’s screen. Audio devices should include:

• A lapel mic for the current presenter
• A recorder capturing a feed from the sound desk
• A backup recorder on the lectern

Each camera can be exposed appropriately and then both cameras can be combined into a picture-in-picture composite output. If it’s possible to record the presentations directly, that’s ideal; if you can only get hold of the presentation files, you can export them to video and then (tediously) retime them. Note that some presenters will highlight parts of a screen with a laser pointer, so you really do have to film that as well.

Interviews

Shooting an interview with multiple cameras gives you extra perspectives of the subject, or can allow the interviewer to become part of the story. Any of the following angles could be useful.

Video devices should record:

• A normal “head and shoulders” primary angle of the interviewee
• A wider angle of the interviewee positioned 30° from the primary angle
• A normal angle of the interviewer, if you need to show them alone
• A wider angle of both the interviewer and interviewee (again, if the interviewer should be shown)

Audio devices should include:

• Lapel mics on each participant
• A backup recording

These guidelines apply to a single interviewee, but you may want to use additional devices for more than one interviewee. Don’t forget your B-roll!

Physical movement

When recording educational videos of people performing physical actions — such as lifting, moving their bodies, sitting down, or dancing — it can be very helpful to see them from multiple angles at once. Resetting cameras takes time, so ask your subject to turn to show the two most important angles in any movement.

Video devices should record:

• A front-on angle
• A side-on angle at 90° from the first angle

Audio devices should include:

• A lapel mic on an on-screen or off-screen narrator, although you might replace this during editing

When framing, remember to capture the entire person if that’s important, and always ask a subject matter expert to verify that the important actions are being captured.

Weddings and live events

Many live events have predictable key moments that need to be captured, and for a wedding, they would include exchanging rings, vows, walking down the aisle, speeches, dances, presentations, and impromptu interviews. Prepare to capture all the key moments and be ready for anything else.

Video devices should record:

• A focused angle of all the key shots
• A backup angle from a different position
• A wider-angle shot to give context and crowd reactions

Audio devices should include:

• A recorder capturing a desk feed
• Lapel mics for anyone important
• Camera-mounted mics for ambiance and a backup

Reliable equipment and quick responses are critical, because you’re not in charge here. As ever, you’ll still need B-roll.

Review — working with multiple cameras and audio recorders

Multiple cameras are vital for a lot of jobs, but they do require more attention and care. If you’re just getting started and these lists of equipment sound daunting, that’s OK — just don’t take on a wedding as your first paying job! There are many simpler jobs for which a single camera is plenty, and you should start there, as complexity brings risk. Be sure to practice with multi-camera setups alone before you try to use them in front of a client, and build a network of other camera and sound professionals to work with; don’t try to do everything yourself.

As a shooter, you want to make sure you get all the shots the editor needs, and as an editor, you don’t want to be left to rescue a shoot gone wrong. Multi-camera shoots are a great way to increase flexibility and protect against problems, but even in a single-camera shoot, there are a few small details to pay attention to, and you’ll learn about them next.