atticus, you can do that with 1 camera. Most movies have been shot
with just one camera so you are in good company.
Here is a typical example of how you can switch from one angle to another:
In my example there are two people stiiting at a table - it's scene number 22
in the script. On the
SLATE you will write "22". After each take the number
will change: 1, 2, 3, 4, 5 and so on. When you move the camera that is called
the next "set up" and you will add letters to the scene number: 22A, 22B, 22C,
22D and so on - omitting letters I and O because they can be misunderstood
as numbers 1 and 0. After Z, you will move into double letters: AA, BB, CC, DD,
and so on.
Scene 22 is Bob and Mary sitting at a table - it’s three pages long. On your slate you
will write “Scene 22 - Take 1”
Scene 22 - This will be the entire scene from one angle - called the "master". Both
people at the table, the camera getting a head to foot shot of both of them. You shoot
the entire three page scene.
Adjust the lights, move the camera and shoot Bob’s side of the table.
Scene 22A - Close up of Bob.
Scene 22B - Over Mary’s shoulder on Bob.
Scene 22C - A slow dolly push in on Bob - from a full shot into a close up.
Scene 22D - an insert shot of Bob lighting a cigarette.
Scene 22E - a close up on Bob’s hand putting the cigarette in the ash tray.
Scene 22F - a close up of Bob taking the contract, looking at it and signing it (from Mary’s point of view)
Now move the lights, move the camera and cover the scene from Bob’s side of the table.
Scene 22G - Close up of Mary.
Scene 22H - Over Bob’s shoulder on Mary.
Scene 22J - A slow dolly push in on Mary - from a full shot into a close up.
Scene 22K - an insert shot of Mary putting the contract on the table.
Scene 22L - a close up on Mary’s hand snuffing out the cigarette in the ash tray.
Scene 22M - a close up shot of Mary putting the contract on the table, putting a pen on the contract and pushing it to the middle of the table.
Scene 22P - a close up of Bob taking the contract, looking at it and signing it (from Bob’s point of view)
Now move the lights and camera for the dramatic overhead shot - the camera
looking down on the table.
Scene 22 R - we start when Mary puts the contract on the table.
Scene 22 S - zoom in to get only the contract - follow all the business with the contract.
Scene 22 T - while the camera is up there might as well get a shot of the two actors sitting down at the table and then leaving the table. Who knows? You might want to use it.
When you get into the editing room you now have choises. You decide when you
want to show which character and for how long.
) The Over the shoulder (OTS) will relate the characters to one another (depending on the height of the camera, you can even manipulate that relationship) and framing the camera side person out of the shot will be more in keeping them distanced.
