As a freelance videographer, I have produced, filmed and edited a wide variety of multi-camera filming projects. These have included operas, theatrical plays and (my recent project) a series of 2-hour musicals filmed with 6 UHD cameras.
Having built a broad understanding of the intricacies of multi-camera filming, I share some useful tips and advice to consider if you are embarking on a multi-camera filming project for the first time. These tips are based on my experience working as a solo cameraman on multi-camera productions.
Multi-camera production
When commissioned for a multi-camera production, it is important to understand exactly what you are responsible for delivering. Obviously, there are many elements to manage when filming live performances with multiple cameras on your own.
On previous multi-camera gigs, I have ensured that specific production staff manage and deliver the final quality soundtrack, which has enabled me to concentrate solely on the visuals. When this has not been possible for some gigs, I have also recorded the ‘as live’ sound.
Whatever type of production you are working on, ensure that defined parameters are agreed upon with the director ahead of the booking confirmation, and any support you require will be provided to deliver the final project.
Location recce
Visit the filming location as soon as you can to ascertain what spots could work best to locate your positions for all your cameras, camera tripods and where you could potentially safely and securely mount any camera support brackets.
Each venue and ‘on the night’ environment will present many different challenges. By scoping out the location early and considering your options, you can make the best-informed decisions and subsequent recommendations that align with your production team.
Meeting with venue staff and the production technical crew allows you to share ideas and resolve potential problems early in the production process. For example, you may need to request some adjustments to the audience seating or additional structural supports for your preferred camera positions.
Planning
With an understanding of the production brief, budget, and location, you can plan which camera setup to install and what additional kit you may need to obtain to ensure the most successful outcome.
By planning well ahead, you will have time to consider many possible eventualities and options. It is important to communicate with your production team about your preferred camera positioning to ensure it aligns with their requirements for the production, the cast, and the location, taking into account the environment and any potential audiences.
You may need to provide workflow and technical guidance to your production team and any on-location crew if they are new to filming live productions.
Visual consistency
Ideally, all the camera recordings share a similar aesthetic. You may prefer to use all the same make and model of cameras with visually consistent lenses if possible. I find it very helpful to ensure that each camera I use in a multi-camera production delivers the same visual look. This may mean filming with all the cameras set at the same codec and resolution.
Filming with a ‘LOG’ high dynamic range picture profile will give you much more flexibility in post-production when colour grading the pictures. When filming with a LOG profile, set the same measured Kelvin temperature on each camera and ensure the cameras’ exposure settings match for consistent results.
Multi-camera exposure
In many of the theatrical productions I have filmed, I have needed to set the exposure to accommodate a wide range of lighting conditions (from very dark to very bright). One way to manage this is to identify the hottest, whitest, or brightest point in the production. To do this, you need to factor in the set design, cast clothing, props and lighting.
Once you have identified this moment, you can ask your production to re-create it so that you can then calculate the exposure settings based on that point. The great advantage of filming in LOG or a similar format is that it ensures the maximum colour information is recorded. This will give you a much greater range of adjustment in post-production and also ensure that you don’t end up with burnt-out whites, for example.
When setting your camera’s exposure, you will also need to consider how sensitive it is to low light. I have previously filmed in manual exposure, which keeps my frame rate and aperture fixed, and I then set the Auto ISO range for each camera to best suit the different light levels.
Setting-up time
The more cameras you are filming with, the more time you should allow to set everything up in position ahead of the production. I personally prefer to bring my kit together the night before any gig. I clean all my lenses, check my camera sensors, wipe and format all my camera data cards, and ensure all camera settings are the same.
Also, bringing together all my camera supports and tripods that might be required, as well as any other support equipment. Other things to consider include camera power and possible backup battery requirements. Ensuring everything runs on mains power will give you one less thing to worry about.
Managing media requirements
Calculate how much media you will need for your recording and how you will manage that. If you are recording onto camera data cards, make sure they are large enough to capture the entire performance. If you are also editing the production, you will need to ensure you have enough hard drive space to copy off any filmed media and any subsequent transcodes, and that it is fully protected on a separate backup drive.
Camera data cards
Multi-camera filming gives less time to manage the operation and monitor each camera. It’s sometimes helpful and realistic to keep all the locked-off setup cameras rolling even between short breaks in a performance. To accommodate this constant filming (especially when shooting in 4K), I now use much larger SD cards for each camera.
Also, by using two SD card slots in each camera, I can ensure each camera records for as long as required. In this case, it is advisable to use the most reliable, highest quality and fastest data cards. Personally, I’ve always used SanDisk SD cards during my multi-camera filming, and they have never let me down.
Film a rehearsal
If you have the option of setting up all the cameras and filming a dress rehearsal, take advantage of this benefit as it will help test your workflow and ensure everything is working according to plan before the actual main performance.
Filming the rehearsal also enables you to review your footage, camera settings, and camera angles to determine whether any improvements can be made before filming the designated performance. Once you have watched the filmed rehearsal performance, you might want to change the camera position or use a different lens to capture a better angle of performance, for example.
Lighting and set changes
After watching the filmed rehearsal, you may wish to make recommendations to the production and technical team to improve the filming of the final live production. For example, in previous productions, I have suggested lighting changes to avoid overly dark sets and adjustments to cast positions to avoid camera blocking. Viewing the rehearsal footage has also enabled me to see the range of cast movement and suitably adjust my camera positions and lenses used.
Filming notes
After filming a rehearsal, it may help you to watch the performance through and compile a list of short filming notes. These may help you ensure that any filming with a longer lens capturing closer shots can also follow the action, should you be less familiar with the whole production’s progress. Your shot guidance list can be placed close to any moving camera position as an aide memoir during the main filming session.
Recording sound
It’s essential to ensure that any sound recording is captured at the same frame rate as your video. For example, if you record the video at 25 frames per second (FPS), ensure the sound recording is set to the same or a compatible setting. For very long recordings, some ‘drift’ might occur on different recording devices. Ensuring that any sound recording captures the opening and end clapper boards will help you easily check that the sound matches the video.
Syncing sound
To ensure sound and vision are synced accurately in post-production, I usually use a clapper board as a visual and audio reference for each camera. At the end of the performance, I also do an end clap so you can quickly check for any ‘drift’ and ensure everything is completely in sync in the edit. Depending on the camera angles, you may need to do additional claps if a single clap will not be captured on all cameras. If you can sync the timecode of all your cameras, it will also help you align the different angles in post-production. Remember, if you have a long break in the performance, you may need to have an end clap before you stop the cameras, and another after you restart them all.
Camera codecs
Consider which camera codec and quality setting to use for recording. Ask yourself what is required of the media after filming. Will you be managing the post-production yourself, or will someone else’s workflow and post-production system need to be considered? An overview of the production and post-production processes will help you ensure you deliver the highest-quality, most suitable, and most compatible media for any given project.
Backing up camera media
Filming with multiple cameras also means you will need to manage much more data carefully. It’s always a great idea to back up any recording immediately onto hard drives using a laptop. Organising your camera media into separate camera folders can also help prevent confusion when a lot is happening around you at the same time. Creating one or more clones of that hard drive data is the safest way to secure your data. Always make sure you have a checked copy and clone before you clear down your camera data cards.
Multi-camera post-production
Filming with two or three additional cameras means managing two or three times as much data, so having enough media storage becomes an important issue. If your camera media needs transcoding or any other workflow before editing, this will also add significant extra post-production time. You then have the fun of editing all your amazing footage with multi-camera editing and then delivering a beautiful production you’ve filmed and edited all on your own!
Multi-camera filming
Multi-camera filming is a great way to enhance any high-quality production. Modern, smaller, lighter cameras are an excellent solution for multi-camera filming of theatrical and operatic performances, live gigs, music promos, and one-off events.
I hope the above points help give some insight and help those considering multi-camera productions for the first time.
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