Multi Camera Blog Post
Task 1 Part A
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22nd January
We started planning out our shows on the 22nd, the initial process was deciding which aspects of the Oscars we should cover, who should cover them, how we should introduce the project and how we would release it. Eventually we came to the conclusion that both Josh Wilson and I should be in charge of the pre and post Oscar's run downs as we had prior knowledge of a number of the films from that year and are fairly opinionated people, which would make for an entertaining and informative show. We also decided that our introduction show should be a re-enactment of some of our favourite movie scenes.
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23rd January
After deciding what films we should re-enact for our pre show we set out producing risk assessments, a vital step in the pre production process, as it will determine what is feasible for filming in terms of safety for the cast and crew. I was in charge of character breakdowns and organising actors and crew members for the pre and post shows, deciding which crew teams would work best for each shoot and actors for which roles.
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26th-28th January
With the risk assessments and location recces created for the pre and post shows, we began producing our Oscars introductory videos. Starting with the inbetweeners, then Jurrassic Park, civil war, Goodfellas and Clue. All of these I acted in due to an actor shortage, however, I also worked to assist in the set design of these shoots and provided props for the movies such as the weapons in Clue and the car for Jurassic Park.
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30th January
Acting in most of the Oscars shows, I needed to then work as a cinematographer on the Harry Potter shoot and a director on the Blade Runner shoot. I helped to decide the location of filming on the Harry Potter shoot, and arranged the camera plans for the scene, as well as working with the actors to determine what they felt would work in terms of costume design for the shoot. And for the Blade Runner shoot I set up the cameras and arranged the lighting and helped with the coloured lighting effects.
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3rd February
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Our show shall focus on viewers aged 14-21 as we feel our particular presentation style, delivering the information with some humour and comedic elements spread throughout the show, will be best suited to the young adult audience. We aim to inform viewers of the past year's media, including information on the actors, films and social debates that have taken place in Hollywood and in the film sector. We hope that we will draw in an audience that wants to stay informed, but does not have the patience for a four and a half hour show, with this in mind, we aim to move swiftly through each category, keeping things light and humorous to keep our audience entertained.
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The show will be filmed on a set with a designed theme to promote our topic of the Oscars, we shall have cutouts, movie posters and memorabilia and we shall use a multi-camera setup which we shall cut between for when either of us has something to say as well as the wide shot. In the edit, we shall also overlay trailers and images of the movies/actors and any controversial news stories that have been released around the actors/films. Each show will be around five minutes long, a time that I feel should allow both Josh and I to voice our opinions and to inform our audience.
Studio setup and multi-camera use in soap operas and how they affect the efficiency of production.-
Due to soap operas airing daily instead of weekly like most television shows, efficiency of shooting is very important. Lighting plays a key part of adding depth to filmed scenes, and most TV shows and movies use three point lighting to add a different definition to the background and characters, but three point lighting takes time to set up, and has to be adjusted between shots and scenes, which of course would add a lot more production time to each episode. Because of this, soap operas will usually have an evenly lit set to save having to set up lighting for each shot. But this leaves the show looking flat and slightly 'off'. Not only is lighting arranged in such a way as to be reusable between scenes to save time on set up/preparation per episode, but soaps also use a static multi camera set up to ensure efficiency. And shooting errors that could occur with pans or using dolleys are avoided completely by using cuts between two cameras on the multi-camera setup to show movement and using zooms in place of tracking shots. Everything on a soap's set has to be designed and operated with complete efficiency for the show to be able to be broadcast every day of the week and to keep costs down per episode.
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Situational Comedy's studio audience/filming and location filming usage.
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Situational comedies will frequently record in front of a live studio audience, as it not only serves to have an immediate reaction to how the jokes and the episode will play, which can allow for some last minute editing if a joke completely fails to land, but it also promotes the home audience to laugh at the broadcasted version. These shows are recorded on a three walled set, the fourth wall is where the audience watches from, its where the studio audience can sit and watch, and is where the crew set up cameras. When filmed on a set, situational comedies will film using a multi-camera setup as it is easier to shoot multiple characters interacting on a set location with multiple cameras to cut between, rather than having a single camera which needs to be set up for every new shot. But, when a situational comedy shoots on location to add a more authentic feel to the show, production will usually use a single camera as it is easier to film on location with a single camera as the location shoot is less tailored for filming and would take more time to arrange a multi-camera set up and it also makes it easier for the characters to move around the new environment if there is only one camera to move around/set up, as when shooting on location, the location will then take an important role in the production.
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News broadcast timings/video inserts
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The introduction to a news story should be designed to draw in the audience's interest, it should be short and to the point. The follow up will be the first interview, this is where the first subject should give their take on a given situation, and explain how it affects them. A second interview will be conducted to provide a slightly different opinion, which can then create a dialogue between the two interviewees and the host. After hearing from two different subjects, video footage should be cut in to the broadcast to show the audience more of the situation being reported on, this also serves to keep the report interesting. A conclusion will be the final take on the report and will be delivered directly to the audience by the host. For a news show, timing is everything, the shows are usually broadcast live, so there is less time for corrections and edits, so the show has to run smoothly and still be able to fit into its given time slot when broadcast, this means that all news articles/interviews have to run smoothly and be kept concise. This is why a news article has a formula of how to interview to keep the show going and how to keep the audience entertained, as if an interview becomes too longwinded/drawn out, people will tune out of the show. In order to ensure that each news broadcast can be recorded comfortably and professionally for each broadcast, especially when live. The show is filmed on a set and uses a multi-camera setup to save the crew having to set up individual cameras for each shot, the set is designed in a way so that the cameras will not have to be rearranged every day, and can instead be left set up where they were the previous day. The host will have a camera targeted primarily for him, as will hosts of different segments of the news, and there will be cameras arranged at the guest seats/projector screens for guests which are being recorded elsewhere rather than being physically on the set. A multi camera setup working with an ever consistent set to record on keeps each day's broadcast looking professional and ensures that it will run smoothly, thus being able to be broadcast each day.
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Task 1 Part B
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Studio floor roles and activities.
Camera operators are responsible for making sure everyone else's work pays off. Their work is what will be seen by the audience, so it is important that they follow procedures that will ensure that their work looks professional. One step which will be taken to ensure that the shoot looks how the director and director of photography want is by having the camera operators following camera scripts and taking direct instructions from the director and cinematographers. The director or director of cinematography will have decided on specific shots for scenes, these decisions will have been written down on a camera script, and by having the camera operator following this it speeds up the process of filming by not having to have the camera operator refer back to the D.O.C or director for every shot as they have a list of what is desired. Not only does a camera operator work with the director and D.O.C, but they also work with cable bashers and grips. A cable basher's job is to carry the cables that trail behind the camera, this keeps tripping hazards down and makes moving equipment a lot easier. The grips job is to aid the movement of equipment which speeds up the shooting process, and they also will help to steady the camera when a shot will require a lot of movement, such as on the back of a truck or on a dolly. Without the grip and cable basher, the camera operator would struggle to move his equipment from shot to shot, slowing the shooting process, and by not having assistants to stay on the move, tracking shots would be a lot more challenging to shoot.
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Floor managers are in charge of all personnel on a s shoot. They ensure that everyone is doing their job and make sure that a shoot will run smoothly/to plan. Floor managers also help with the preparation of shooting plans, organising the runners, prop departments and lighting, they will also help each department check that their equipment is working. They are also the liaison between the studio control room and the studio floor, this means that they will work with the directors to further instruct camera and lighting operators, and sound technicians to speak with boom operators if there are any problems with recording or any equipment malfunctions.
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A boom operator's job is to provide audio coverage for shoots and ensure that the audio is balanced. The boom operator will work with the floor manager who will refer back to the control room to check that the audio is being recorded correctly and they will work with the camera operators to make sure that they are not dropping the boom into shot. Not only will the boom operator work with the floor manager, camera operator and director, but they will also work with the actors if when a personal microphone has to be set up on the actors, they will need to run checks on all of the equipment to make sure that the audio comes through clearly on the recording.
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Presenters work closely with directors, camera operators and scriptwriters. They must work with the director and the camera operators to make sure that the script being used matches up with the director's creative vision, if it isn't then the pair will confer to come up with a script that suits both the presenter and the director. The presenter must work with the camera operator so that the camera operator knows what movements the presenter will make and which parts of the script requires more emphasis on the presenter than any guests or B roll, this enables a more accurate shoot schedule/shot list to be made up and will allow the shoot to run a lot more smoothly and for the final product to look a lot more professional as it will have been shot with consideration for the script.
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The director's job is to oversee the production and ensure that the final product is of a high quality. They work with everyone on set responsible for the final look/quality of the footage, one of the primary teams they work with on set is the cinematographers. The director will aid the camera operators when coming up with camera setups/positioning and camera scripts, by working closely with the camera operators, the director can have more opportunity to ensure that his creative vision is followed, and that the final product is of a high quality. The camera plans and close personal input between the director and camera operator will also help the shoot to run efficiently as it saves the pair having to confer on the day of shooting.
Due to soap operas airing daily instead of weekly like most television shows, efficiency of shooting is very important. Lighting plays a key part of adding depth to filmed scenes, and most TV shows and movies use three point lighting to add a different definition to the background and characters, but three point lighting takes time to set up, and has to be adjusted between shots and scenes, which of course would add a lot more production time to each episode. Because of this, soap operas will usually have an evenly lit set to save having to set up lighting for each shot. But this leaves the show looking flat and slightly 'off'. Not only is lighting arranged in such a way as to be reusable between scenes to save time on set up/preparation per episode, but soaps also use a static multi camera set up to ensure efficiency. And shooting errors that could occur with pans or using dolleys are avoided completely by using cuts between two cameras on the multi-camera setup to show movement and using zooms in place of tracking shots. Everything on a soap's set has to be designed and operated with complete efficiency for the show to be able to be broadcast every day of the week and to keep costs down per episode.
-
Situational Comedy's studio audience/filming and location filming usage.
-
Situational comedies will frequently record in front of a live studio audience, as it not only serves to have an immediate reaction to how the jokes and the episode will play, which can allow for some last minute editing if a joke completely fails to land, but it also promotes the home audience to laugh at the broadcasted version. These shows are recorded on a three walled set, the fourth wall is where the audience watches from, its where the studio audience can sit and watch, and is where the crew set up cameras. When filmed on a set, situational comedies will film using a multi-camera setup as it is easier to shoot multiple characters interacting on a set location with multiple cameras to cut between, rather than having a single camera which needs to be set up for every new shot. But, when a situational comedy shoots on location to add a more authentic feel to the show, production will usually use a single camera as it is easier to film on location with a single camera as the location shoot is less tailored for filming and would take more time to arrange a multi-camera set up and it also makes it easier for the characters to move around the new environment if there is only one camera to move around/set up, as when shooting on location, the location will then take an important role in the production.
-
News broadcast timings/video inserts
-
The introduction to a news story should be designed to draw in the audience's interest, it should be short and to the point. The follow up will be the first interview, this is where the first subject should give their take on a given situation, and explain how it affects them. A second interview will be conducted to provide a slightly different opinion, which can then create a dialogue between the two interviewees and the host. After hearing from two different subjects, video footage should be cut in to the broadcast to show the audience more of the situation being reported on, this also serves to keep the report interesting. A conclusion will be the final take on the report and will be delivered directly to the audience by the host. For a news show, timing is everything, the shows are usually broadcast live, so there is less time for corrections and edits, so the show has to run smoothly and still be able to fit into its given time slot when broadcast, this means that all news articles/interviews have to run smoothly and be kept concise. This is why a news article has a formula of how to interview to keep the show going and how to keep the audience entertained, as if an interview becomes too longwinded/drawn out, people will tune out of the show. In order to ensure that each news broadcast can be recorded comfortably and professionally for each broadcast, especially when live. The show is filmed on a set and uses a multi-camera setup to save the crew having to set up individual cameras for each shot, the set is designed in a way so that the cameras will not have to be rearranged every day, and can instead be left set up where they were the previous day. The host will have a camera targeted primarily for him, as will hosts of different segments of the news, and there will be cameras arranged at the guest seats/projector screens for guests which are being recorded elsewhere rather than being physically on the set. A multi camera setup working with an ever consistent set to record on keeps each day's broadcast looking professional and ensures that it will run smoothly, thus being able to be broadcast each day.
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Task 1 Part B
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Studio floor roles and activities.
Camera operators are responsible for making sure everyone else's work pays off. Their work is what will be seen by the audience, so it is important that they follow procedures that will ensure that their work looks professional. One step which will be taken to ensure that the shoot looks how the director and director of photography want is by having the camera operators following camera scripts and taking direct instructions from the director and cinematographers. The director or director of cinematography will have decided on specific shots for scenes, these decisions will have been written down on a camera script, and by having the camera operator following this it speeds up the process of filming by not having to have the camera operator refer back to the D.O.C or director for every shot as they have a list of what is desired. Not only does a camera operator work with the director and D.O.C, but they also work with cable bashers and grips. A cable basher's job is to carry the cables that trail behind the camera, this keeps tripping hazards down and makes moving equipment a lot easier. The grips job is to aid the movement of equipment which speeds up the shooting process, and they also will help to steady the camera when a shot will require a lot of movement, such as on the back of a truck or on a dolly. Without the grip and cable basher, the camera operator would struggle to move his equipment from shot to shot, slowing the shooting process, and by not having assistants to stay on the move, tracking shots would be a lot more challenging to shoot.
-
Floor managers are in charge of all personnel on a s shoot. They ensure that everyone is doing their job and make sure that a shoot will run smoothly/to plan. Floor managers also help with the preparation of shooting plans, organising the runners, prop departments and lighting, they will also help each department check that their equipment is working. They are also the liaison between the studio control room and the studio floor, this means that they will work with the directors to further instruct camera and lighting operators, and sound technicians to speak with boom operators if there are any problems with recording or any equipment malfunctions.
-
A boom operator's job is to provide audio coverage for shoots and ensure that the audio is balanced. The boom operator will work with the floor manager who will refer back to the control room to check that the audio is being recorded correctly and they will work with the camera operators to make sure that they are not dropping the boom into shot. Not only will the boom operator work with the floor manager, camera operator and director, but they will also work with the actors if when a personal microphone has to be set up on the actors, they will need to run checks on all of the equipment to make sure that the audio comes through clearly on the recording.
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Presenters work closely with directors, camera operators and scriptwriters. They must work with the director and the camera operators to make sure that the script being used matches up with the director's creative vision, if it isn't then the pair will confer to come up with a script that suits both the presenter and the director. The presenter must work with the camera operator so that the camera operator knows what movements the presenter will make and which parts of the script requires more emphasis on the presenter than any guests or B roll, this enables a more accurate shoot schedule/shot list to be made up and will allow the shoot to run a lot more smoothly and for the final product to look a lot more professional as it will have been shot with consideration for the script.
-
The director's job is to oversee the production and ensure that the final product is of a high quality. They work with everyone on set responsible for the final look/quality of the footage, one of the primary teams they work with on set is the cinematographers. The director will aid the camera operators when coming up with camera setups/positioning and camera scripts, by working closely with the camera operators, the director can have more opportunity to ensure that his creative vision is followed, and that the final product is of a high quality. The camera plans and close personal input between the director and camera operator will also help the shoot to run efficiently as it saves the pair having to confer on the day of shooting.
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This is a photo of our production schedule. We arranged set times to film each of the shows, for both Pre and Post Oscars. Despite having each shooting day planned and everyone had agreed to film on those specific dates, the plan was not always strictly adhered to, as certain actors and crew members were not always available. But the plan did help us to maintain some order in our scheduling.
22nd January
We started planning out our shows on the 22nd, the initial process was deciding which aspects of the Oscars we should cover, who should cover them, how we should introduce the project and how we would release it. Eventually we came to the conclusion that both Josh Wilson and I should be in charge of the pre and post Oscar's run downs as we had prior knowledge of a number of the films from that year and are fairly opinionated people, which would make for an entertaining and informative show. We also decided that our introduction show should be a re-enactment of some of our favourite movie scenes.
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23rd January
After deciding what films we should re-enact for our pre show we set out producing risk assessments, a vital step in the pre production process, as it will determine what is feasible for filming in terms of safety for the cast and crew. I was in charge of character breakdowns and organising actors and crew members for the pre and post shows, deciding which crew teams would work best for each shoot and actors for which roles.
-26th-28th January
With the risk assessments and location recces created for the pre and post shows, we began producing our Oscars introductory videos. Starting with the inbetweeners, then Jurrassic Park, civil war, Goodfellas and Clue. All of these I acted in due to an actor shortage, however, I also worked to assist in the set design of these shoots and provided props for the movies such as the weapons in Clue and the car for Jurassic Park.
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30th January
Acting in most of the Oscars shows, I needed to then work as a cinematographer on the Harry Potter shoot and a director on the Blade Runner shoot. I helped to decide the location of filming on the Harry Potter shoot, and arranged the camera plans for the scene, as well as working with the actors to determine what they felt would work in terms of costume design for the shoot. And for the Blade Runner shoot I set up the cameras and arranged the lighting and helped with the coloured lighting effects.
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3rd February
Josh and I agreed to film our Pre-Oscars show on the 3rd, having carried out our research and planning beforehand, as well as our set layout designs, so we made a trip to Josh's apartment to collect the props for the set and the rest of his costume and set everything up once we got back, we ended up filming 40 minutes of footage due to our in depth knowledge, which we later edited down to 10. We felt that our show went well and stuck closely to our plan, we had segmented our shoot into each nomination category, and edited in photos and videos that matched up with what we were saying about the films and controversies we were talking about in our rundown. https://www.youtube.com/watch?v=Vo0VfwGm-zA&t=302s
- This is our set up for our filming. We used 3 cameras and a three point lighting system. We had a camera to focus on me, one to focus on josh and a master shot that was of the pair of us. Our lighting system allowed us to appear appropriately lit without casting shadows across the set. This is a standard studio set up and follows the same style of news broadcasts and talk show/panel shows as its a good way to focus on specific guests when necessary and to feature the two hosts/guests speaking to each other about the same subject when that is desired.
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10th February/27th
I assisted Ben and Adam's music rundown with props and setup as I have knowledge on setting up stage equipment and have a few amps and guitars at my home which helped to set the scene for their review of music of the Oscars. I also helped out on their post show, again with the set design, but also by appearing in their intro and helping to film on the third camera.
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26th February
Josh and I filmed our post Oscars rundown the day following the Oscars awards show, so that we could get our impressions out on the winners as fast as we could so that the video met its audience whilst relevant. We stayed awake to watch the Oscars stream and took notes on the awards ceremony to keep an eye on controversy and to note down which winners we felt were undeserving/what we felt should have won. We presented these opinions on a slightly simpler set than the pre show as we whished to get this show out as fast as we could, but we had memorised what we wished to talk about and scheduled it similarly to our pre show, and I believe that the show was presented well and uploaded in a timely manner.
Task 2
Proposal for two five minute shows on the topic of the 91st Oscars nominations and winners.
I plan to put together two five minute shows based around the nominations and winners of the 91st Oscars awards. The first show shall showcase the nominations, and the second will show the winners of the awards, each show shall have the personal opinions of both myself and my co-host, Josh Wilson. The aim of our show is to discuss the best and the worst of what the Oscars has to offer, we will go into detail about nominations/winners that we feel are out of place, as well as movies from the year that we feel were ignored when they were deserving of the award.
Our show shall focus on viewers aged 14-21 as we feel our particular presentation style, delivering the information with some humour and comedic elements spread throughout the show, will be best suited to the young adult audience. We aim to inform viewers of the past year's media, including information on the actors, films and social debates that have taken place in Hollywood and in the film sector. We hope that we will draw in an audience that wants to stay informed, but does not have the patience for a four and a half hour show, with this in mind, we aim to move swiftly through each category, keeping things light and humorous to keep our audience entertained.
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The show will be filmed on a set with a designed theme to promote our topic of the Oscars, we shall have cutouts, movie posters and memorabilia and we shall use a multi-camera setup which we shall cut between for when either of us has something to say as well as the wide shot. In the edit, we shall also overlay trailers and images of the movies/actors and any controversial news stories that have been released around the actors/films. Each show will be around five minutes long, a time that I feel should allow both Josh and I to voice our opinions and to inform our audience.
Task 3 Part A
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Thank you for taking the time to read my application, I look forward to meeting you.
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Yours sincerely, Thomas Jake Raby
Task 3 Part B
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Application for a camera operator job.
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Address Line-
123 Baldoon Sands
Middlesbrough
TS5 8UF
01/05/19
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A Camera operator's job is to operate a variety of technical equipment, as well as operating camera equipment, they are expected to have the understanding of how to correctly set up equipment, having good time management and an eye for detail. A good camera operator will be able to understand camera scripts and act on directors instructions, as well as maintaining a good working relationship with the cast to allow further input on shots.
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I feel that I would be best suited for the role of camera operator on the set of the multi-camera production. This is because I feel as though I am someone with a good eye for detail, and that I can follow instructions well. This is important as a key role for a cinematographer is to understand a script in its entirety, recognising where certain dramatic flair may be required and having an understanding of what kind of shots would go with certain scenes. By understanding what shots would work well for scenes a good cinematographer will help when designing a set as to be able to create functional camera plans/technical plans such as where power stations should be located for lighting and the cameras so that they can be moved around comfortably and planning for camera movement, be that hand held or plotting out dolly track locations for tracking shots. Understanding all of the pre production work that must be done to ensure that a shoot runs smoothly and professionally, I also understand the importance of running checks and working with the rest of the crew to make sure that there won't be any problems when it comes to shooting. This could be anything from ensuring that there will be a cable basher available for when shooting on the move or a grip to help set up dollys and move equipment whenever tracking shots are needed or the production has to move around a lot on a shoot day, to making sure that the lighting team will have the correct lighting for particular shots/scenes that will work well with the camera script.
Thank you for taking the time to read my application, I look forward to meeting you.
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Yours sincerely, Thomas Jake Raby
Task 3 Part B
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On the set of our multi-camera shoot, I carried out the role of presenting a number of the productions as well as sound operator, completing pre production paperwork and being a camera operator for a number of shoots. By researching and understanding the different roles and responsibilities of each of these jobs, i feel that I was able to carry out my duties professionally as well as offer a hand to others on the set as I had learned of the importance of communication and cooperation when on a shoot.
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Before the productions of our videos could take place, we had to complete a number of pre-production procedures, a large part of this is completing the pre production paperwork. I completed a number of location recces, job lists, shoot schedules, set design briefs, costume and makeup design sheets. These were each integral parts of the production procedure, as without these, shooting would have been delayed, shoots would have taken longer to arrange due to people being unsure as to their jobs/setup locations of cameras/shoot locations and would be missing appropriate costume and makeup for the shoots. To complete these professionally and to have them be used to their full potential, I had to speak to the makeup department to organise appropriate costume and makeup design with our given budget/time, as well as arrange when they would be available to setup for a shoot before the rest of the crew would be needed to begin filming, by organising the makeup department to setup before most of the crew arrived, it not only allowed us to have enough time allocated to finish makeup as to not cause the shoot to run behind schedule, but it also allowed presenters further time to prepare for their own shows and any crew on set to prepare the necessary equipment. As well as the makeup department, I also worked closely with presenters, this was to finalise shoot schedules/set designs as I would need them to be available for a shoot to go ahead as they would be the subject of filming on a given shoot day and their individual set would have to be tailored to their particular show, and as it was their own show they had their own input on what they wanted their set to look like, so this had to be considered when designing a set, and again when speaking to the camera operators for camera scripts/shoot schedules. The directors and camera operators I had to plan with for similar reasons to each other. Both the director and the camera operator needed to be involved with the set designs/shoot schedules and camera schedules, I would confer with each of these to arrange a plan that would work for all cast a crew members in a functional and creative way. My work for pre production extended through the pre production side of things and had me working as a floor manager on a number of shoots due to my understanding of the procedures which needed to be followed during shooting to maintain a professional practice and because I had an intimate knowledge of a sizeable portion of the pre production planning and thus, the eventual shooting days which had been organised around that paperwork.
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As for my duty as a camera operator, it was up to me to arrange camera scripts before a shoot was scheduled as to not waste any time on set deciding where to set up a camera, I also had to confer with the actors to determine their whereabouts when on set and any movements that they wished to make whilst recording I had to consider in the camera plan to be ready to follow their movements. The production that I had the most camera experience on was Bernie's post Oscars makeup rundown, in which she demonstrated how to age up an actor and discussed the winners of best makeup from the Oscars. For this we had a multi camera setup to focus on Bernie, the subject and the pair of them in a wide shot, as well as a camera which I moved to capture footage of various parts of the process which couldn't be done at the set we had arranged, such as drying the bald cap, for this I also had set up a three point lighting system for the primary set. However, processes such as the drying were not mentioned to us during setup, and as we were doing a multi-camera and lighting set up, we had not planned for the drying station, so that was then filmed with a single camera without lighting, which did hinder the overall quality of the shoot as these scenes were only filmed from on perspective and were not shown with optimal lighting. This does show a failure to communicate and thus a failure to properly carry out a duty as a camera operator to a professional degree.
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When presenting my pre-Oscars and post-Oscars rundowns I understood the importance of discussing all movements, our seating arrangements and what space was to be allocated to props/locations we may use for adding extra images/footage in the edit so we needed to keep free during the filming process as to not obscure any important footage with the overlays. Understanding that we had to keep communication as a key part of the set up of our shows, we designed our set to meet our needs as presenters, and to fully allow for the camera operators to capture footage comfortably and to light the whole set. We worked with the camera operators and the sound operator to ensure that we were positioned in a way that made it easy for them to carry out their jobs and for us to have a professional looking show.
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As for sound recording I operated the boom on Bernie's pre Oscars makeup rundown. For this job I had to work with the camera operators to ensure that the boom was not seen in the frame and to know that the audio was being picked up as we record audio directly into the cameras, with two of the three using camera mounted microphones as a back up and the primary one using a boom pole to get the highest quality audio. As well as speaking with the camera operators, I also had to speak with Bernie so that I could position the boom mic in a location that was comfortable for her to interact with and that would pick up her dialogue well.
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For my part in the production process I helped to arrange rehearsals, contingency plans and recording sessions as well as fulfilling various crew roles, acting in a number of the pre Oscars rundown shorts and presenting two shows. And I felt that I was able to carry out my job roles act on the responsibilities associated with them to the best of my ability, which I felt had a very positive impact on the overall quality of the project.
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Though I felt I was able to comfortably present myself and my ideas on both my pre and post Oscars shows, I feel that in hindsight I should have researched the films of the year a little more so that I could have had more of an opinion on more films as I had only seen a handful of the films for the pre show, though I did take the time to watch more of these films for my post Oscars show so that I could have more of an input on the winners. As well as this issue, there was a camera shortage on our post production show, so we sadly couldn't have the three that we had planned to use and had to settle for 2, which meant that we missed out on our master shot.
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