These two episodes were recorded on August 22, 2015. This is the first time we used the three camera configuration. We used the regular studio cameras for “head shots” and the third camera, one of the hand-held cameras that DMA checks out for location shots, as the “two shot” or wide angle camera. This configuration netted two unforeseen advantages.
The director still needs to set up the control room and supervise the positioning and focus of the cameras, as well as control all aspects of the shoot from “clacker” to “cut”, but the role is more monitoring and coordination rather than actively participating in the mechanics of the shoot. This gives the director more time and space to assess what’s actually being recorded without being distracted by timing transitions and choosing cameras.
It is conceivable that two people, a Director and a Camera Operator, would be all you would need to record an entire show.
The technique for editing is fairly straightforward. You select the shots you want to use from the three camera outputs, and arrange them on the timeline. Then you take a complete audio track—we record audio separately, but as long as you use one audio track for the entire sequence, I think you can use the output from any one camera—and sync the audio from those shots to the master audio track. Then you adjust the video trim and transitions, render, and you have your edited show.
Editing this “fixed camera” configuration takes more time then editing a “live shot”. On the other hand, the actual session runs smoother because the Director is paying more attention to what’s going on, the camera crew isn’t moving and re-focusing cameras, and the host and guest aren’t distracted by all this activity. There is less opportunity for error, and more opportunity to be thoughtful about the best shots and camera angles to use.