American Cinematographer - August 1987 - 76

problem and try to cut around it in
editing.
Another difference in multiple
film
is

shows is the fact that there

camera

no

accurately just what

way to see

each camera is shooting all the time. A
ten minute segment may have literally
100 cuts (shots) or more in it. With a

single camera, the director and the cin¬
ematographer carefully set up one shot
at a time and when lighting, camera,
actors are all set, shoot that
First the director runs the ac¬

sound and
one cut.

tors

ins
the

through the scene, then the standtake their places for lighting. When
lighting is roughed in, the actors

the set and the scene is
run with the first team. The framing is
set with the operator, the lighting is fine
tuned if necessary and finally the scene
is shot.
When each shot is done to
the director's satisfaction, we move on
to the next one in the same manner.
come

Recognized,
for

Over 65 Years,
as THE

Standard of
Excellence
for

Motion Picture
and

Television
Titles
and

Optical Effects

back

on

Fortunately Dave Steinberg,

a well
fine director
direct the first three

known comedian and
was

chosen

to

a

shows and he

helped to formulate the
direction the shows would take. Since
there had been no pilot show in ad¬
vance of the series, we were actually
breaking new ground every day while
trying to set the tenor of the series.
With multiple cameras most
everything is handled in a different man¬
ner. A whole sequence, up to ten min¬
utes long, is blocked out and then shot
in one piece somewhat like video. Shots
within each sequence are checked
through the lens during the camera
blocking period by the director and the
director of photography. Then with the
help of the camera controller, each indi¬
vidual camera/dolly and actor position
is tape marked on the floor by the
camera assistants. The tape is marked
with

camera

and

scene

number for the

dolly grip to easily see. Camera opera¬
tors, dolly grips and camera assistants
each keep accurate notes during the
blocking which they refer to during the
actual takes. The
has his
constant
era crew

sure

213-464-0121

camera coordinator
of notes and he is in
communication with the cam¬
all through the filming, making

own set

they know where they are to be.
During the shooting with the

live audience,
and

rely on the operators
dolly grips to hit their marks and

August 1987

we

have the
a

properly framed. There is

cast

video assist

on

quality is

not very

who is

his

each

camera

but the

good and is difficult
to see, partly because of the lower
lighting levels we use to enhance the
dramatic effect created by natural light¬
ing sources. In this situation camera
operators and camera assistants must
be dependable. A camera coordinator
on

dolly and

toes

is vital

to

call

out

the

positions over the
head-sets they all wear. Four-camera
camera

shows couldn't be done without the
camera coordinators and a lot of credit
is due them. We have one of the best,

Ray de Vally, who handles his job
quietly and efficiently.
Another enjoyable aspect in
this series is the opportunity to do ''un¬
sitcom'' things like moonlight scenes. In
creating moonlight for TV, one should
be very careful not to under-expose too
much, with 1 to 1 Vi stops under being
sufficient. Normally we use tough blue
50 gel over the lights for the overall
with a nearly up-to-key source light on
the faces with no gel. Faces look better
with a little white light and not all blue.
I also use sketchy bits and pieces of
light here and there for effect, some¬
thing to show that there is something
actually there, not just blackness. When
you are lighting for the theater screen,
great spaces of virtual darkness are
acceptable, but on television black
frames look muddy, milky and grainy. It
takes most directors of photography
who come from theatrical motion pic¬
tures a

while

to

realize the strict

re¬

quirements of television. I was shocked
when I saw my first feature on TV. It
was not designed for TV, either framing
of the scenes or the exposures. If a film
is to be shown on television, it should
be shot with television's technical re¬
strictions in mind. Duet was shot with
video in mind. The first transfer from
film to tape on the Rank Telecine looked

great.
Duet is a creative challenge
of the first magnitude. It is also a con¬

tightrope walk for the director of
photography who is trying something

stant

different. Creative shows call on every
member of the staff to be at their best
as

professionals

every

day.

A

The author is director of photography

for Duet.
American Cinematographer - August 1987

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