Through The Looking Glass

When it comes to kitting out a studio there's a fundamental point which needs to resonate throughout the workflow. It needs to work flawlessly, writes Austin Freshwater, Director – Professional Imaging, Canon UK.
This is the case whether it's a pre-recorded show which tapes lots of episodes in quick succession, or a live show which is broadcast just once a week for ten episodes.

The lenses used to capture studio shows are no exception to this rule. The glass needs to be reliable, robust, intuitive and provide the highest image quality.

A pre-recorded show like The Chase or Tipping Point will have a period of perhaps two months in a studio. Within this timeframe the production team might need to record 70 episodes. A lot goes into each episode's production so it's the camera operator's job to make sure that the right coverage is recorded. If you have to stop shooting every 15 minutes because you're not getting what you need from the lens, then everyone's job gets harder.

It's a similar story with a live show where production teams have one shot to get it right. They say live television should never work with children or animals. But you wouldn't want to work with an unreliable lens either.

When choosing the right lens for either kind of studio production, an operator needs glass with intuitive features. Autofocus and image stabilisation are just a couple of these. Working on a programme which isn't scripted means anyone can say anything at any moment. If you miss a quip or a joke on a panel show because of soft focus it means the comedian has to repeat their witty comeback. Audiences don't tend to find the same thing funny twice, especially if they heard it three minutes ago.

An image stabiliser is important for a show like X Factor. With people performing on stage there's a lot of movement involved. As an operator you have to make sure you cover that with a smooth, uninterrupted shot. If a shot isn't perfect, there might be an option to cut to another camera angle in post-production but the main camera's feed will always be the best option. So it needs to be right.

These features need to be easy to use, so operators can get what they need quickly. This saves everyone the headache of having to wait around to record.

An operator also needs to rely on the glass they're using. It needs to perform not just once, but multiple times, likely in quick succession and without a break. Solid build quality is paramount. An operator needs to know the glass they choose to do the job will do it without issue. If you need to cut a live transmission or remove a camera from live duties because the lens isn't working correctly, it's game over.

Having multiple cameras on set might mean having multiple lenses too. Colour matching needs to be consistent between lenses, especially if a show is live. Having this uniformity across camera units gives operators creative certainty. Whatever the different lighting across the studio, when images are cut together, their colours need to match and viewers mustn't be distracted by different temperatures.

There will always be a number of different factors that need to be weighed up when choosing a lens for a studio production. Often the neglected child, the lens is absolutely critical to the success of any production. So take a closer look through the looking glass, do your research, and talk to systems integrators and producers about exactly what you're looking to achieve. It'll be worth it.

www.canon.co.uk

This article is also available to read at BFV online.

(JP/LM)