Different shots with a single-cam setup

[SkepticalMetal]

This is probably going to sound like a stupid question, but I was wondering if anyone could tell me how filmmakers get different shots with a single-cam set-up with in a scene with dialogue, and the dialogue still being able to run smoothly.

I'm not sure there's any other way I can put it.

 

[Lucky Hardwood]

Use professional actors and rehearse before you shoot.

 

[SkepticalMetal]

Use professional actors and rehearse before you shoot.

Yes, but how does the process of shooting with single-cam go? Do you shoot one line of dialogue and then pause the camera, turn it around, and shoot the other actor's dialogue piece? It seems like a realistic flow would get lost here.

 

[Lucky Hardwood]

Ideally you will shoot the entire scene for each different camera angle that you plan to use. For example, you might shoot a master angle, a close up for each actor in the conversation and various cutaways. The trick is to get the actors to deliver the dialog as consistently as possible.

 

[SkepticalMetal]

Ideally you will shoot the entire scene for each different camera angle that you plan to use. For example, you might shoot a master angle, a close up for each actor in the conversation and various cutaways. The trick is to get the actors to deliver the dialog as consistently as possible.

I see. It sounds quite challenging.

 

[Lucky Hardwood]

You can get away with shooting less footage, but you will rarely, if ever, regret getting extra coverage.

 

[Jeff Troiano]

Since the original question somewhat crosses into this, I will once again recommend the video series. I've learned a lot from it, and continue to rewatch all the time.

The masters course in high end blocking.

http://www.hollywoodcamerawork.us/mc_index.html

I have no affiliation with this company, other then I own this collection, and think very highly of it.

 

[knightly]

The "Triangle" of coverage is your friend. You shoot a shot of the two people talking all the way through the scene... then move to one side and shoot an "OTS" (Over The Shoulder) of one of them all the way through the scene, then "Turn Around" and shoot an OTS of the other actor all the way through the scene. Then you line up those 3 takes and cut between them as you like. Having solid dialog from each actor allow you to adjust their timing between lines as well, including overlapping them or spacing them out to add some dramatic pauses as well.

Draw a line through the actors from one to the other and make sure that your cameras always stay on one side of the line (This is the "180 degree rule"). This makes sure that each actor gets their own side of the screen, so when they are cut together they appear to be looking at each other as they're talking.

"J and L Cuts" are used to overlap dialog with a reaction shot either starting the audio before the video, or cutting away from the video before the audio has finished. Not seeing the beginning or ends of lines allow you to linger on a reaction longer or "motivate the cut." This happens when something you've done in the edit makes the audience want the cut to happen when it does... when this happens, the audience doesn't notice the cut.

Generally, if you make a cut just before a piece of dialog starts, it's very obvious that there's a cut... if you wait until the dialog starts before cutting over to the video, the audience is drawn in a natural way. We react by hearing, then turning to look in the real world. If you give them a reason to want the next cut, then give it to them, you create a flow that feels natural to them and they'll be more willing to stay with you for the ride.

 

[SkepticalMetal]

Thanks very much. What I'm mainly confused about though is how you could ever allow improv in this way of shooting.

 

[Zensteve]

I see. It sounds quite challenging.

It's part of the actor's job, to be able to consistently deliver what you want and when you want it.

Obviously, some are better at it than others.

 

[knightly]

You don't intend to shoot this way for improv... or it all comes together in the edit... or you shoot the scene with multiple cameras and audio setups.

 

[SkepticalMetal]

You don't intend to shoot this way for improv... or it all comes together in the edit... or you shoot the scene with multiple cameras and audio setups.

So in every scene in a single-camera movie where some line was delivered in improv, it was just left in because it came together in editing by chance?

 

[MileCreations]

So in every scene in a single-camera movie where some line was delivered in improv, it was just left in because it came together in editing by chance?

Quite likely. Or they liked the improv so much that they then attempted the same improv from a different angle. Could you give an example of an improv scene where just one camera was used?

 

[SkepticalMetal]

Quite likely. Or they liked the improv so much that they then attempted the same improv from a different angle. Could you give an example of an improv scene where just one camera was used?

If I'm not mistaken, several scenes in either The Godfather The Godfather Part II were shot in single set-up, and there were specific main actors that heavily utilized improv (the guy who played the Senator in Part II, for example).

 

[MileCreations]

When people do improv they still follow a basic line of direction. You could simply record the improv from multiple angles with single camera and then just peice the dialogue together to make sense

 

[knightly]

Most times, the lines come together because the editor and the director make it fit in the edit. Editing is cinema. So much of the story telling is created in the edit.

 

[Gonzo_Entertainment]

Thanks very much. What I'm mainly confused about though is how you could ever allow improv in this way of shooting.

As others pointed out, there are certainly ways to make it work, or you could use my approach and not allow the actors to improv, ever.

 

[sarah h]

I don't know about NEVER letting people improv--I've always found that part of the fun of making a movie is the changes it goes through when the words come off the page and are actually expressed by people's bodies and voices, and in that transition you have to allow some room for flexibility.

Of course, if you want to minimize the unsynchronized sound/motion/etc that results from improv, a lot of changes can be worked through and rewritten in rehearsals. I cannot stress enough how much rehearsals have helped me turn out a better story in the end, plus it gets the cast excited about the project early on. Actors are really good about self-promotion, and if it's your project they're talking about in relation to themselves, then all the better.

If you do allow improv when they are in front of the camera, you should definitely be prepared to rein them in on occasion--if you give them an inch and all that.

 

[Gonzo_Entertainment]

No right or wrong really. Great stuff (especially comedy) can result from turning the performers loose and letting them improv. For me, they get a chance to give me input on their character, including dialogue in pre-production. Once we're on set, unless they totally blow my mind with something they do I'm going to ask the scripty to politely remind them of what the correct line is and shoot another take. Just the way I want to work right now.

 

[baoliun]

Well you can considet no cuts as well or split scene it to avoid super long takes.

This way you can do either - keep a camera stable at one position and direct actors to walk in frame so it is engaging. (you can make cuts in between if they move out of the location or smth)

Move the camera and the actors which is prolly to complex to start with.

You can do POV of one actor (for w/e cinematographic reasons)
You can do creative masters - film a teacup reflection of people talking.

Basicly stay creative. Obv classics master OTS/OTS will be a good scene,yet too dull. You or your cinematographer should have visions on how to translate dialog into visual language