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История британских телешоу - The Queen's Messenger

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История британских телешоу
The Queen's Messenger

The Queen's Messenger

The studio system for multicam television goes back to the original live broadcast in 1928 of The Queen's Messenger (see Chapter 22: History of Multicamera Technology). The lighting director would light for all angles simultaneously with stands on the floor. It was 1951 when Desi Arnaz and his team took this sys¬tem to the next level. He won a battle with the network to shoot film with multiple cameras for the / Love Lucy Show but also wanted to shoot live, in front of a studio audience. Arnaz's team was the first to do it, and his innovation was to add the live audi¬ence and modify the set by hanging all of its lights so the cameras could move easily around on the floor during the shooting and between sets. Of course, this is slightly easier in a studio than on a remote shoot, since most of the gear in a studio does not have far to travel.

I Love Lucy's staging and camera plan is still the same setup that we use today on sitcoms and variety shows except now there are more cameras and more sophisticated lighting. As Richard Wirth, technical director of The Rachael Ray Show, says:

We have nine cameras available to us, all of different varieties. They would include three studio pedestal cameras, one Steadicam, one handheld camera, one jib, one rail cam, one robotic camera over the cooking service, and a fridge cam, which is a lipstick camera that's inside the refrigerator.
Wirth's team overshoots the segments and then pulls them up with the live audience cutaways to tighten up the show. So even though it's shot multicam with recorded ISOs, the show is switched live to a line cut and the editing is then done to cut the line cut down to time. The ISOs are used to cover the cuts or make Band-Aid-type fixes to the new master.

For news, talk, and game shows, multicam studios reign supreme. Some reality shows also use studio segments in com-bination with run-and-gun F.NG-style remotes. This is the case. with America's Next Top Model, whose judging scene is shot on a soundstage with 20-plus cameras under controlled conditions on tripods with tethered cameras—which is about as unlike run-and-gun as you can get. The conference table scene where Donald Trump fires someone on The Apprentice is shot with 22 cameras in order to cover each contestant, The Donald, his associates, and groups of two and four people.

 


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