DPs Talk About Their Camera Kits in Reality TV
Shooting good reality TV is all about thinking on your feet. The state
of the art is sharp SD imagery, handheld shooting and guerilla-style
production. Catch your breath whenever you can, because if equipment
goes down or a cast member acts up, your careful plans will all
unravel. If you can cover a scene with fewer cameras and less lighting,
it gives you some room to maneuver. And anything you can do to give
your editors a leg up will put you ahead of the game. Here's how two
veteran DPs tackle the challenge.
of the art is sharp SD imagery, handheld shooting and guerilla-style
production. Catch your breath whenever you can, because if equipment
goes down or a cast member acts up, your careful plans will all
unravel. If you can cover a scene with fewer cameras and less lighting,
it gives you some room to maneuver. And anything you can do to give
your editors a leg up will put you ahead of the game. Here's how two
veteran DPs tackle the challenge.
Rock Star: INXS
What’s Up: Rockers hold extended auditions for a new lead singer
The Look: Think American Idol meets The Last Waltz
DP: Tony Croll
Camera: Sony PDW-530 XDCAM
Tony Croll has served as a freelance director, supervising producer and
DP on a long list of reality shows. He’s been in chest-high water with
a camera balanced over his head for a Survivor shoot
and hidden in bushes for a Surreal Life sequence.
Croll is currently in production for Rock Star,
where he works as DP as well as supervising producer.
DP on a long list of reality shows. He’s been in chest-high water with
a camera balanced over his head for a Survivor shoot
and hidden in bushes for a Surreal Life sequence.
Croll is currently in production for Rock Star,
where he works as DP as well as supervising producer.
Croll’s directorial style is often dictated by the shows themselves. He
says some reality TV "wants" to be presented as a series of short,
fast-cut sequences to move the story along, while shows like
Rock Star "want to breathe more" and let the
performers auditions and actions speak for themselves.
says some reality TV "wants" to be presented as a series of short,
fast-cut sequences to move the story along, while shows like
Rock Star "want to breathe more" and let the
performers auditions and actions speak for themselves.
"Every show, whether it’s a narrative or reality TV production, has its
own set of parameters and sensibilities," Croll says. "As the director
of photography, I try to set the tone, although I do work with a team
of producers and executive producers who also have a say in how a show
will look on screen."
own set of parameters and sensibilities," Croll says. "As the director
of photography, I try to set the tone, although I do work with a team
of producers and executive producers who also have a say in how a show
will look on screen."
Proving he’s a man for the medium, Croll at one point had four shows on
the air nearly simultaneously. Besides Rock Star, he
also served as supervising producer and DP on Fox’s Hell’s
Kitchen and as director and DP on NBC’s Average Joe and
Three Wishes. That’s in addition to shooting four
seasons of CBS’s Survivor and serving as senior
producer on The Surreal Life 3 and
4 for VH1.
the air nearly simultaneously. Besides Rock Star, he
also served as supervising producer and DP on Fox’s Hell’s
Kitchen and as director and DP on NBC’s Average Joe and
Three Wishes. That’s in addition to shooting four
seasons of CBS’s Survivor and serving as senior
producer on The Surreal Life 3 and
4 for VH1.
"These shows are all different because some start with a script and go
off from there and others do not," Croll says. "I wouldn’t say that one
was harder than the others, but they all bring unique challenges that
you have to be ready for. Compensating and being very flexible are of
the utmost importance."
off from there and others do not," Croll says. "I wouldn’t say that one
was harder than the others, but they all bring unique challenges that
you have to be ready for. Compensating and being very flexible are of
the utmost importance."
Seven Cameras, Six Crews, Four Days to Shoot
On the set of Rock Star, the crew uses six Sony XDCAM camcorders
handheld, as well as another on a jib. With such a short turnaround
time between shows, Croll has devised a frenetic schedule of four days
for each episode. He said it’s the fastest production scheduled he’s
ever been involved with. Each of six separate crews includes an audio
mixer, a camera assistant and an operator. "Because we have such fast
turnaround times, we’re careful not to shoot too much footage," Croll
says. "It costs us too much time in the edit suite."
handheld, as well as another on a jib. With such a short turnaround
time between shows, Croll has devised a frenetic schedule of four days
for each episode. He said it’s the fastest production scheduled he’s
ever been involved with. Each of six separate crews includes an audio
mixer, a camera assistant and an operator. "Because we have such fast
turnaround times, we’re careful not to shoot too much footage," Croll
says. "It costs us too much time in the edit suite."
For a typical scene inside the mansion where the aspiring rockers live,
the crew shoots Wednesday to Friday, while editing begins an hour after
the taping on an Avid Media Composer Adrenaline system. All of this
footage is recorded in the camcorders which link via highspeed wireless
to CBS where it's viewed live on VPN. Every hour XDCAM discs are
physically driven by car messenger back to the post facility, about 10
miles away. The Tuesday and Wednesday night shows are shot at CBS
Television City.
the crew shoots Wednesday to Friday, while editing begins an hour after
the taping on an Avid Media Composer Adrenaline system. All of this
footage is recorded in the camcorders which link via highspeed wireless
to CBS where it's viewed live on VPN. Every hour XDCAM discs are
physically driven by car messenger back to the post facility, about 10
miles away. The Tuesday and Wednesday night shows are shot at CBS
Television City.
Croll says he likes using XDCAMs because they help streamline the
production process. For one thing, they have four channels of audio,
allowing two or more participants to be on mic per camera when
necessary. Most of the time only one or two of the cameras’ audio
sources are used, to keep it manageable, he says.
production process. For one thing, they have four channels of audio,
allowing two or more participants to be on mic per camera when
necessary. Most of the time only one or two of the cameras’ audio
sources are used, to keep it manageable, he says.
Show editors make heavy use of the XDCAM’s proxy file-index
capabilities, which saves time. They can load the optical media disc
into the Avid system and, without having to wait for that day’s footage
to be digitized, begin editing immediately. The low-resolution proxy
file enables the editors to quickly search and retrieve specific
moments or frames and create a rough EDL. Once this has been approved,
they use the high-res versions for completing an online edit. An
assistant for each camera operator on set keeps a daily log of what’s
being shot, with notes from Croll, which helps expedite locating key
scenes in the edit suite.
capabilities, which saves time. They can load the optical media disc
into the Avid system and, without having to wait for that day’s footage
to be digitized, begin editing immediately. The low-resolution proxy
file enables the editors to quickly search and retrieve specific
moments or frames and create a rough EDL. Once this has been approved,
they use the high-res versions for completing an online edit. An
assistant for each camera operator on set keeps a daily log of what’s
being shot, with notes from Croll, which helps expedite locating key
scenes in the edit suite.
Drama on a Deadline
Croll says he pays a lot of attention to lighting and sound for his
reality TV shows. He and his crew usually have some time to prelight
locations, but not always as much time as he would like. On Rock Star,
Croll and crew spent a lot of time prelighting the mansion, for
example, employing an enormous amount of tungsten and HMI lighting, in
addition to using a large grip crew to build the infrastructure to hold
all those lights and flags.
reality TV shows. He and his crew usually have some time to prelight
locations, but not always as much time as he would like. On Rock Star,
Croll and crew spent a lot of time prelighting the mansion, for
example, employing an enormous amount of tungsten and HMI lighting, in
addition to using a large grip crew to build the infrastructure to hold
all those lights and flags.
"I’m not afraid of shadows on the show and try to incorporate a
dramatic look when appropriate, which is difficult to do when you have
a 360-degree set," Croll says. "Another difficult task that my crew and
I are usually up against is that we’re rarely able to light from the
ground. I’m very proud of the look we’ve brought to Rock Star."
Croll tries to create an edgy look with a lot of contrast by using
negative fill and harder sources than he normally uses on comedy shows.
"I refrained from using the standard Kino Flo look on this show because
it just didn’t flow with the vibe I was trying to create," he says. "I
use the flat Kino look for a comedy."
dramatic look when appropriate, which is difficult to do when you have
a 360-degree set," Croll says. "Another difficult task that my crew and
I are usually up against is that we’re rarely able to light from the
ground. I’m very proud of the look we’ve brought to Rock Star."
Croll tries to create an edgy look with a lot of contrast by using
negative fill and harder sources than he normally uses on comedy shows.
"I refrained from using the standard Kino Flo look on this show because
it just didn’t flow with the vibe I was trying to create," he says. "I
use the flat Kino look for a comedy."
Croll has shot everything from film to DV to DigiBeta and even HD. Most
of his shows use handheld moves extensively, he says, to bring the
viewers closer to the action and mitigate some of the staged aspects of
these "real" scenes.
of his shows use handheld moves extensively, he says, to bring the
viewers closer to the action and mitigate some of the staged aspects of
these "real" scenes.
A Renter, Not a Buyer
But Croll does not own any of the cameras he uses, preferring to rent
when necessary. [For Rockstar he relies on Wexler
Video.] "The [reality TV] medium has changed considerably, and
that’s one of the reasons I don’t own any cameras," Croll says. "I
don’t want to be tied down to a format or specific camera model that
might not be right for the next show I’ll be involved in. There are so
many formats out there being used right now and I imagine that they
will all change over the next 10 years."
when necessary. [For Rockstar he relies on Wexler
Video.] "The [reality TV] medium has changed considerably, and
that’s one of the reasons I don’t own any cameras," Croll says. "I
don’t want to be tied down to a format or specific camera model that
might not be right for the next show I’ll be involved in. There are so
many formats out there being used right now and I imagine that they
will all change over the next 10 years."
On the set, Croll has configured a rolling cart, his "video village,"
that allows him to monitor audio and video sources coming from the
different cameras. The cart, which is set up and broken down often,
features a series of nine-inch Sony field monitors and an SLS audio
monitor to help him keep track of the different camera views and
on-screen conversations. He uses large Christie Digital cubes to
monitor signals in his control room.
that allows him to monitor audio and video sources coming from the
different cameras. The cart, which is set up and broken down often,
features a series of nine-inch Sony field monitors and an SLS audio
monitor to help him keep track of the different camera views and
on-screen conversations. He uses large Christie Digital cubes to
monitor signals in his control room.
"Because of my background shooting with, and lighting for, film, I
always shoot my television shows with the camera’s preset," Croll says.
"Rarely do I white balance. That way I can match all of the cameras and
get a consistent look." Hisham Abed, another freelance reality TV DP,
has a background in film (including Columbia TriStar’s The
Debut) and scripted television production. He brings the
discipline he learned there to the set of MTV’s Laguna Beach:
The Real Orange County.
always shoot my television shows with the camera’s preset," Croll says.
"Rarely do I white balance. That way I can match all of the cameras and
get a consistent look." Hisham Abed, another freelance reality TV DP,
has a background in film (including Columbia TriStar’s The
Debut) and scripted television production. He brings the
discipline he learned there to the set of MTV’s Laguna Beach:
The Real Orange County.
Laguna Beach: The Real Orange County
What’s Up: A cast of privileged sun-kissed teenagers populates MTV’s hit reality series
The Look: Rich and colorful
DP: Hisham Abed
Camera: Panasonic AJ-SDX900
Abed recently wrapped the second season of the show, which The
New York Times
recently called "the best-looking show on television" (and compared to
beautifully shot Italian films!). He’s also done promos for the WB’s
The Tyra Banks Show, the title sequence for ABC’s
Venus and Serena: For Real, as well as the title
sequence for MTV’s Till Death Do Us Part: Carmen and
Dave.
New York Times
recently called "the best-looking show on television" (and compared to
beautifully shot Italian films!). He’s also done promos for the WB’s
The Tyra Banks Show, the title sequence for ABC’s
Venus and Serena: For Real, as well as the title
sequence for MTV’s Till Death Do Us Part: Carmen and
Dave.
Unlike many reality shows that use a single camera to capture their
subjects, Laguna Beach uses at least two or three
cameras for each scene. Sometimes as many as
six Panasonic AJ-SDX900 SD cameras are used to capture the soap
opera-style action.
subjects, Laguna Beach uses at least two or three
cameras for each scene. Sometimes as many as
six Panasonic AJ-SDX900 SD cameras are used to capture the soap
opera-style action.
"We pre-plan each scene and anticipate where the cast are going to be
as much as we can, but there’s always a new twist that develops on the
spot," Abed says. "We try to be less run-and-gun than many of the
reality TV shows now on the air. We go into each day with the mindset
that we are shooting a scripted show, as much as possible."
as much as we can, but there’s always a new twist that develops on the
spot," Abed says. "We try to be less run-and-gun than many of the
reality TV shows now on the air. We go into each day with the mindset
that we are shooting a scripted show, as much as possible."
Five Hours Per Crew Per Day… For Eight Months
Using the DVCPRO 50 format, Abed says he doesn’t worry about how much tape he’s shooting. Laguna Beach
requires about five hours of tape per crew, per day. The key, he adds,
is to get the unscripted action on tape and then add or subtract
moments in the edit suite. For the show’s second season, Abed shot
footage over the course of eight months, which will be cut into 15
episodes. "Like a good documentary, it takes a lot of shooting to get
what you want," he says. The show’s second season, which began airing
in August, will be in post for about three months.
requires about five hours of tape per crew, per day. The key, he adds,
is to get the unscripted action on tape and then add or subtract
moments in the edit suite. For the show’s second season, Abed shot
footage over the course of eight months, which will be cut into 15
episodes. "Like a good documentary, it takes a lot of shooting to get
what you want," he says. The show’s second season, which began airing
in August, will be in post for about three months.
The look of Laguna Beach is not a happy accident. Abed works
hard to establish a set of guidelines and production values for others
on the crew to follow. He often instructs his operators to shoot with
long lenses and concentrate on close-ups. They try to capture
establishing shots when the timing is right, especially at the top and
bottom of a scene. And they coordinate the timing of their shots to get
balanced and matching coverage that ultimately will be cut like a
feature film.
hard to establish a set of guidelines and production values for others
on the crew to follow. He often instructs his operators to shoot with
long lenses and concentrate on close-ups. They try to capture
establishing shots when the timing is right, especially at the top and
bottom of a scene. And they coordinate the timing of their shots to get
balanced and matching coverage that ultimately will be cut like a
feature film.
"One thing I don’t like about some of the reality TV shows I see is
that there’s a wide range of shooting styles in a single show," Abed
says. "I like my operators to give me the same look every time. The
compliments we’ve received for the show’s look are a direct result of
that."
that there’s a wide range of shooting styles in a single show," Abed
says. "I like my operators to give me the same look every time. The
compliments we’ve received for the show’s look are a direct result of
that."
The Light You Have, Not the Light You’d Like to Have
Abed says he also tries to pay a lot of attention to lighting,
depending on where he is in the shooting schedule. If he’s behind,
there’s little to time to fuss with lights. "I try to take advantage of
the best that natural light has to offer, and supplement it if it’s
necessary, time permitting," he says. "At times, we’re faced with
extreme lighting conditions; for example, people in front of windows.
In that instance, when we don’t have the fire power to balance the
illumination of faces against the level of the exteriors, I encourage
the use of silhouettes in a scene, especially if it enhances the drama.
depending on where he is in the shooting schedule. If he’s behind,
there’s little to time to fuss with lights. "I try to take advantage of
the best that natural light has to offer, and supplement it if it’s
necessary, time permitting," he says. "At times, we’re faced with
extreme lighting conditions; for example, people in front of windows.
In that instance, when we don’t have the fire power to balance the
illumination of faces against the level of the exteriors, I encourage
the use of silhouettes in a scene, especially if it enhances the drama.
"When I can, I will throw up lights where I think people are going to
be, but I can never be absolutely sure," Abed adds. "If I light too
much or too broad an area, it’s only because I’m trying to anticipate
where the talent will be in the set. It’s great when people find the
light in exactly the way I planned it. It doesn’t always work out that
way, however." To achieve its stylized look, Laguna
Beach employs an Arri light kit, Kino Flos, a Dedo light kit,
and an assortment of customized lights, all transported in a van.
be, but I can never be absolutely sure," Abed adds. "If I light too
much or too broad an area, it’s only because I’m trying to anticipate
where the talent will be in the set. It’s great when people find the
light in exactly the way I planned it. It doesn’t always work out that
way, however." To achieve its stylized look, Laguna
Beach employs an Arri light kit, Kino Flos, a Dedo light kit,
and an assortment of customized lights, all transported in a van.
The Laguna Beach crew consists of two camera operators, one
assistant camera operator, an audio mixer and a PA, as well as a field
producer and a director. Footage from each day is logged and sent to
the production studios of Go Go Luckey Productions ( Los Angeles, CA),
where it is eventually edited over a 10-week period on an Avid Media
Composer Meridian system and output to DigiBeta before delivery to MTV.
The show also goes through color-correction on a Da Vinci system at
West Coast Digital in Santa Monica.
assistant camera operator, an audio mixer and a PA, as well as a field
producer and a director. Footage from each day is logged and sent to
the production studios of Go Go Luckey Productions ( Los Angeles, CA),
where it is eventually edited over a 10-week period on an Avid Media
Composer Meridian system and output to DigiBeta before delivery to MTV.
The show also goes through color-correction on a Da Vinci system at
West Coast Digital in Santa Monica.
Keeping It Real
Like Croll, Abed is not a fan of fiddling with in-camera settings.
"Much like shooting on film without corrective filtration, shooting on
presets allows us to record the subtle changes in color temperature
that happen throughout the day, rather than white balance it out," Abed
says. "That’s especially important in Laguna Beach,
where, for example, towards the end of the day you find this beautiful
golden glow that washes over the town."
"Much like shooting on film without corrective filtration, shooting on
presets allows us to record the subtle changes in color temperature
that happen throughout the day, rather than white balance it out," Abed
says. "That’s especially important in Laguna Beach,
where, for example, towards the end of the day you find this beautiful
golden glow that washes over the town."
Abed says he likes the SDX900 because it produces a clean picture that
he couldn’t achieve with any other electronic camcorder. "It was the
closest thing to a film look that we could get in a cost-effective 24p
format," he says. "We couldn’t afford to use HD on this show because
we’re shooting so much footage that it would be cost-prohibitive."
he couldn’t achieve with any other electronic camcorder. "It was the
closest thing to a film look that we could get in a cost-effective 24p
format," he says. "We couldn’t afford to use HD on this show because
we’re shooting so much footage that it would be cost-prohibitive."
Abed adds that he doesn’t think HD is necessary for Laguna Beach,
and says the SDX900 provides a softer look than the Panasonic VariCam
(although he’d like to use the VariCam’s adjustable frame rate for
slow-motion effects).
and says the SDX900 provides a softer look than the Panasonic VariCam
(although he’d like to use the VariCam’s adjustable frame rate for
slow-motion effects).
"Our schedules are always tighter on reality TV shows, so I find I’m
thinking on my feet a lot," Abed says. "I love searching for and
creating that window of beauty within the chaos of a scene, finding the
best shot for the story we’re trying to tell at that moment. Out of
that little window I try to convey some sort of universal truth, to
capture the essence of a human story that all people can relate to, to
create something transcendent. That’s the goal of what I call reality
TV."
thinking on my feet a lot," Abed says. "I love searching for and
creating that window of beauty within the chaos of a scene, finding the
best shot for the story we’re trying to tell at that moment. Out of
that little window I try to convey some sort of universal truth, to
capture the essence of a human story that all people can relate to, to
create something transcendent. That’s the goal of what I call reality
TV."
The Reality Stigma
At the end of the day, working on reality TV shows often comes with a
label that many shooters prefer not to acknowledge. Abed and Croll
agree that the stigma is there.
label that many shooters prefer not to acknowledge. Abed and Croll
agree that the stigma is there.
"I’m a working director/DP doing what I love to do," says Croll. "I
don’t worry about labels. Right now, it’s good to be labeled a reality
TV director/DP." In fact, Croll is currently the only reality
director/DP represented by mega-talent agency CAA.
don’t worry about labels. Right now, it’s good to be labeled a reality
TV director/DP." In fact, Croll is currently the only reality
director/DP represented by mega-talent agency CAA.
"A lot of the shows that are lumped into the reality TV category are
really game shows," Abed says. "The drama in many reality shows is
created out of the circumstances the shows themselves produce, whereas
the drama in our show is actually based on the lives of this group of
kids. We’ve also tried to eliminate interviews, which is a heavily
relied-upon device for shows when the drama has not been captured
clearly enough and needs to be spelled out. But, more honestly, it is a
stylistic choice that was made in order to shift the look of the show
more towards that of a scripted show.‘Reality TV’ is a very subjective
term. I personally don’t like it. I’ve learned to live with it."
really game shows," Abed says. "The drama in many reality shows is
created out of the circumstances the shows themselves produce, whereas
the drama in our show is actually based on the lives of this group of
kids. We’ve also tried to eliminate interviews, which is a heavily
relied-upon device for shows when the drama has not been captured
clearly enough and needs to be spelled out. But, more honestly, it is a
stylistic choice that was made in order to shift the look of the show
more towards that of a scripted show.‘Reality TV’ is a very subjective
term. I personally don’t like it. I’ve learned to live with it."
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