How do you call shots?

This is probably a fairly silly question, but what the heck . . .

Tomorrow, I'm producing and directing a 4-camera live-switched shoot (one
camera fixed and unmanned). None of the cameras have tally lights, but I
have headsets for myself and each camera position.

The most cameras I've ever switched before was 3 (2-manned, 1-fixed).
Because of the lack of tally lights, I have to verbally advise each camera
person when their camera is live.

How do you do this? I've been reverting to the way I used to do it when I
called lighting cues for live theater, i.e. "Go, Bill," "Go, Jane," etc.
This doesn't work well, though, when I'm doing a cross-fade, especially a
slow one, or I'm pulling an image from multiple cameras, e.g. PIP or
superimposition.

Is there a well-accepted, efficient convention for doing this?

Thanks.




PTRAVEL

On 03 Jul 2003, "PTRAVEL" <(E-Mail Removed)> tapped on a
keyboard and the electrons formed this:

> Is there a well-accepted, efficient convention for doing this?

When I've found myself in such a situation, I'd pretty much do it
as you've described, with some differences.

Always keep the operators advised as to who is "hot," and when
making transitions, just do the same. For example, "ONE - you're
still hot - TWO, ready for a slow dissolve to you. ONE and TWO,
you're both hot - coming through to TWO. TWO - you're hot, ONE
you're clear."

Always "ready" them. Don't take a camera which isn't expecting to
go hot at the moment. Avoid long "ready" conditions. A take should
occur a beat or so after the "ready." I use "standby" to get an
operator ready for something which I know is coming a little later.

I prefer to use numbers to void confusion. Names, when spoken
rapidly in a loud environment can be mistaken.

Your "cadence" is important. Have a meeting with the operators
before the shoot begins and tell them exactly how you are going to
call the show. Tell them to keep their PL talk switches OFF,
unless they need to answer you. When you need to work this way,
avoid using the PL for idle chatter.

Always have a quick compliment ready for an operator who gives you
an especially good or imaginative shot. That will encourage the
others to do likewise.

Good luck..!

--
Larry Jandro - Remove spamtrap in ALLCAPS to e-mail

Are you a Sound/Video/Lighting/Staging Freelancer..?
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"Alan Lloyd" <(E-Mail Removed)> wrote in message
news:(E-Mail Removed).. .
> On Thu, 3 Jul 2003 10:26:39 -0700, "PTRAVEL" <(E-Mail Removed)>
> wrote:
>
> >This is probably a fairly silly question, but what the heck . . .
> >
> >Tomorrow, I'm producing and directing a 4-camera live-switched shoot (one
> >camera fixed and unmanned). None of the cameras have tally lights, but I
> >have headsets for myself and each camera position.
>
> Pardon my "pro" bias, but no tally lights = bummer.
>
> >The most cameras I've ever switched before was 3 (2-manned, 1-fixed).
> >Because of the lack of tally lights, I have to verbally advise each
camera
> >person when their camera is live.
> >
> >How do you do this? I've been reverting to the way I used to do it when
I
> >called lighting cues for live theater, i.e. "Go, Bill," "Go, Jane," etc.
> >This doesn't work well, though, when I'm doing a cross-fade, especially a
> >slow one, or I'm pulling an image from multiple cameras, e.g. PIP or
> >superimposition.
>
> Board tape on the back of each cam with the camera's number plainly
> written in big bold strokes. If you're on a shot for a while, "still
> on three" or whatever would work. And tell 'em it's an "always on"
> situation, and let them know what that means.
>
> >Is there a well-accepted, efficient convention for doing this?
>
> See above.
>

You don't mention what kind of shoot this will be (4th of July concert,
fireworks??) so I'll try to stay generic here as much as possible.

To add to Alan's excellent advice, I've worked camera on a number of
different kinds of shoots where we had no tally lights for the cameras.
It's even more important for the director to always warn his shooters when
he wants to switch to their camera(s). Phrases like 'ready one', 'watch
one', 'coming to you one', ready to dissolve to two, 'ready to dissolve to
the split between two and three' and, finally, 'take one', 'take two',
'dissolve two' and 'dissolve to split of two and three' are examples of cues
that I've experienced in the past.

it's also incumbent on the shooters to assume, as Alan said, that they're
always "ON" and to never change their shot unless you, as the director,
specifically ask them to.

As far as splits, fades, etc. are concerned, try, if at all possible, to
rehearse them ahead of time. This gives the shooters a chance to get the
feel for where their camera should be positioned for a particular shot.

One more suggestion, if you can do it, is to mark the viewfinders with a
grease pencil (or some other easily removable marker). In the case of a
PIP, this helps the shooter know exactly where their shot needs to be
positioned.

Good luck with your shoot and let us know how well it turns out (as we all
know it will).

Mike Kujbida

"Alan Lloyd" <(E-Mail Removed)> wrote in message
news:(E-Mail Removed).. .
> On Thu, 3 Jul 2003 10:26:39 -0700, "PTRAVEL" <(E-Mail Removed)>
> wrote:
>
> >This is probably a fairly silly question, but what the heck . . .
> >
> >Tomorrow, I'm producing and directing a 4-camera live-switched shoot (one
> >camera fixed and unmanned). None of the cameras have tally lights, but I
> >have headsets for myself and each camera position.
>
> Pardon my "pro" bias, but no tally lights = bummer.
>
> >The most cameras I've ever switched before was 3 (2-manned, 1-fixed).
> >Because of the lack of tally lights, I have to verbally advise each
camera
> >person when their camera is live.
> >
> >How do you do this? I've been reverting to the way I used to do it when
I
> >called lighting cues for live theater, i.e. "Go, Bill," "Go, Jane," etc.
> >This doesn't work well, though, when I'm doing a cross-fade, especially a
> >slow one, or I'm pulling an image from multiple cameras, e.g. PIP or
> >superimposition.
>
> Board tape on the back of each cam with the camera's number plainly
> written in big bold strokes. If you're on a shot for a while, "still
> on three" or whatever would work. And tell 'em it's an "always on"
> situation, and let them know what that means.
>
> >Is there a well-accepted, efficient convention for doing this?
>
> See above.
>

You don't mention what kind of shoot this will be (4th of July concert,
fireworks??) so I'll try to stay generic here as much as possible.

To add to Alan's excellent advice, I've worked camera on a number of
different kinds of shoots where we had no tally lights for the cameras.
It's even more important for the director to always warn his shooters when
he wants to switch to their camera(s). Phrases like 'ready one', 'watch
one', 'coming to you one', ready to dissolve to two, 'ready to dissolve to
the split between two and three' and, finally, 'take one', 'take two',
'dissolve two' and 'dissolve to split of two and three' are examples of cues
that I've experienced in the past.

It's also incumbent on the shooters to assume, as Alan said, that they're
always "ON" and to never change their shot unless you, as the director,
specifically ask them to.

As far as splits, fades, etc. are concerned, try, if at all possible, to
rehearse them ahead of time. This gives the shooters a chance to get the
feel for where their camera should be positioned for a particular shot.

One more suggestion, if you can do it, is to mark the viewfinders with a
grease pencil (or some other easily removable marker). In the case of a
PIP, this helps the shooter know exactly where their shot needs to be
positioned.

Good luck with your shoot and let us know how well it turns out (as we all
know it will).

Mike Kujbida

On 03 Jul 2003, "PTRAVEL" <(E-Mail Removed)> tapped on a
keyboard and the electrons formed this:

> Is there a well-accepted, efficient convention for doing this?

I forgot another basic concept. Tallys or not, always try to keep
the operators advised as to what is coming up.

For instance, "THREE - in about two minutes, Joe Blow will be
entering from stage right. I'll use you on a wide shot to walk him
on."

That kind of thing. YOU are the director. Direct.

--
Larry Jandro - Remove spamtrap in ALLCAPS to e-mail

Are you a Sound/Video/Lighting/Staging Freelancer..?
If so, think about joining our mail list.
Send an e-mail to: avfreelancers-(E-Mail Removed)
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Oops!! Sticky fingers - again :-(
Sorry.

Mike

"Alan Lloyd" <(E-Mail Removed)> wrote in message
news:(E-Mail Removed).. .
> On Thu, 3 Jul 2003 10:26:39 -0700, "PTRAVEL" <(E-Mail Removed)>
> wrote:
>
> >This is probably a fairly silly question, but what the heck . . .
> >
> >Tomorrow, I'm producing and directing a 4-camera live-switched shoot (one
> >camera fixed and unmanned). None of the cameras have tally lights, but I
> >have headsets for myself and each camera position.
>
> Pardon my "pro" bias, but no tally lights = bummer.

I've done plenty of shoots without tally lights, you get used to it, but
with tally lights is definitly preferable.

Some direct by name, some direct by number, number is usually easier.

Give them a heads up before you take them, "Stand by one", then tell them
they're up "One is up", and if you're keeping them up for a long period, as
somone else said, say "one is still up" occasionally.

Good luck with it.

On Thu, 03 Jul 2003 18:11:36 GMT, Larry Jandro
<(E-Mail Removed)> wrote:

>On 03 Jul 2003, "PTRAVEL" <(E-Mail Removed)> tapped on a
>keyboard and the electrons formed this:
>
>> Is there a well-accepted, efficient convention for doing this?
>
>I forgot another basic concept. Tallys or not, always try to keep
>the operators advised as to what is coming up.
>
>For instance, "THREE - in about two minutes, Joe Blow will be
>entering from stage right. I'll use you on a wide shot to walk him
>on."
>
>That kind of thing. YOU are the director. Direct.

Also good advice, as was Mike K's.

I suspect that if there are no tallies, there is also no return video,
so the pix-in-pix thing, if it happens, is going to be rather
demanding.

Thanks to you and Alan for the suggestions.

This is basically how I've been doing it, with a couple of exceptions. This
biggest exception is chatter on the intercom. Cameraperson is a volunteer
position at this shoot (my friends' annual 4th of July show), and the
incentive for the camera operators is we get to talk about (well, actually,
"make fun of") the talent behind their backs. We also need open lines to
call in drink orders to our production assistant/cocktail waitress (another
incentive to be a camera operator -- priority on the drinks). Neither of
these traditions have resulted in too-sloppy a show, we're not pros nor
anything remotely close, and it's all among friends, anyway.

"Larry Jandro" <(E-Mail Removed)> wrote in message
news:Xns93AD71DAD3C11larryathome@68.6.19.6...
> On 03 Jul 2003, "PTRAVEL" <(E-Mail Removed)> tapped on a
> keyboard and the electrons formed this:
>
> > Is there a well-accepted, efficient convention for doing this?
>
> I forgot another basic concept. Tallys or not, always try to keep
> the operators advised as to what is coming up.
>
> For instance, "THREE - in about two minutes, Joe Blow will be
> entering from stage right. I'll use you on a wide shot to walk him
> on."
>
> That kind of thing. YOU are the director. Direct.
>
> --
> Larry Jandro - Remove spamtrap in ALLCAPS to e-mail
>
> Are you a Sound/Video/Lighting/Staging Freelancer..?
> If so, think about joining our mail list.
> Send an e-mail to: avfreelancers-(E-Mail Removed)
> (Requests from Yahoo & Hotmail will be rejected.)

And I should add . . thanks to everyone else. I didn't expect to get this
much feedback.

This is an outdoor 4th of July variety show -- stage lighting, fixed camera
positions, except for one camera which will be tripod-based, but I also want
it to "roam," i.e. use the quick-release to get off the tripod and get shots
from the stage behind the performers, audience reactions, etc. The headsets
are noise-cancelling. I've used them before for this show (this will be the
5th time I've done this show live-switched, though the first three years
were only 2-camera), and they work quite well. The stage is a slightly
strange setup, so I've got tripod-mounted cameras house left and center, and
the "roaming" camera on a tripod house right (which is really
house-center-right). I've got an unmanned camera at the back of the house
(well, it's actually a very large yard), mounted on a light bar which gives
me a nice, wide shot of the audience and the stage -- it's great to cut to
when I don't know what's happening next, which is often. The show is
essentially open-mike, and completely unrehearsed. I've been doing
production on it for nearly 20 years now, first doing sound only, then
taking over video when the videographer in our group went bankrupt and lost
his equipment. I actually still run sound while directing the video, but
it's not as bad as it sound. There are 5 stage mikes (2 for the band, 1
wireless for performers who like to go into the audience), a sound feed from
the keyboard player, and a CD and tape player for those who use prerecorded
accompaniments. All sound levels are pre-set well before the show, and it's
only a question of switching in the comp/limiter and FX chain (for reverb)
depending on which mike(s) are chosen by the performers. However, to
complicate things, this year (the 30th and final production), I'm going to
perform, so midway through the show I've got to through my headset to the
AD. Should be a night to remember.

BTW, since this is the last show, I'm going to be putting most of the video
and audio equipment up on eBay this weekend. None of it is pro-level gear,
but if anyone wants an AG-456 or AG-455, or a consumer video mixer, it'll be
there.

"PTRAVEL" <(E-Mail Removed)> wrote in message
news:be1sr1$d838$(E-Mail Removed)...
> Thanks to you and Alan for the suggestions.
>
> This is basically how I've been doing it, with a couple of exceptions.
This
> biggest exception is chatter on the intercom. Cameraperson is a volunteer
> position at this shoot (my friends' annual 4th of July show), and the
> incentive for the camera operators is we get to talk about (well,
actually,
> "make fun of") the talent behind their backs. We also need open lines to
> call in drink orders to our production assistant/cocktail waitress
(another
> incentive to be a camera operator -- priority on the drinks). Neither of
> these traditions have resulted in too-sloppy a show, we're not pros nor
> anything remotely close, and it's all among friends, anyway.
>
> "Larry Jandro" <(E-Mail Removed)> wrote in message
> news:Xns93AD71DAD3C11larryathome@68.6.19.6...
> > On 03 Jul 2003, "PTRAVEL" <(E-Mail Removed)> tapped on a
> > keyboard and the electrons formed this:
> >
> > > Is there a well-accepted, efficient convention for doing this?
> >
> > I forgot another basic concept. Tallys or not, always try to keep
> > the operators advised as to what is coming up.
> >
> > For instance, "THREE - in about two minutes, Joe Blow will be
> > entering from stage right. I'll use you on a wide shot to walk him
> > on."
> >
> > That kind of thing. YOU are the director. Direct.
> >
> > --
> > Larry Jandro - Remove spamtrap in ALLCAPS to e-mail
> >
> > Are you a Sound/Video/Lighting/Staging Freelancer..?
> > If so, think about joining our mail list.
> > Send an e-mail to: avfreelancers-(E-Mail Removed)
> > (Requests from Yahoo & Hotmail will be rejected.)
>
>