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The multiple-camera setup, multiple-camera mode of production, multi-camera or simply multicam is a method of filmmaking, television production and video production. Several cameras—either film or professional video cameras —are employed on the set and simultaneously record or broadcast a scene.
Live streaming of the camera images has been around for a while, but it really took off during the 2020 Covid lockdowns. Film crews needed better ways of distancing, and to get rid of the group of people standing around monitors. Streaming to personal phones and iPads allows crewmembers to socially distance while still watch the camera feeds.
Multicam LSM (Live Slow Motion) is software developed by the Belgian company EVS Broadcast Equipment. [1] Combined with its remote controller, it allows controlling the XT3 video server. Multicam(LSM) remote controller from EVS company. This software and the production server allows broadcasters to record, control and play media. [2]
HTTP Live Streaming (also known as HLS) is an HTTP-based adaptive bitrate streaming communications protocol developed by Apple Inc. and released in 2009. Support for the protocol is widespread in media players, web browsers, mobile devices, and streaming media servers.
A Sony BVS-3200CP vision mixer A Blackmagic Design ATEM 1 M/E broadcast switcher (fourth from top of rack), rack-mounted with other equipment in a typical live production environment. Many switchers are separated into two devices: one that does the bulk of video processing (pictured here), and a control surface used by the technical director .
The cameras in a multiple-camera setup are controlled by a device known as a camera control unit (CCU), to which they are connected via a triax, fibre optic or the almost obsolete multicore cable. The CCU, along with genlock and other equipment, is installed in the central apparatus room (CAR) of the television studio.
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These vision engineers had two roles. Firstly, they set up the CCUs at the start of a production and ensured that the picture created was of broadcast quality. This process included a lengthy alignment process in which the vision engineer would work with the camera operator, to adjust the settings on both the actual camera and the CCU in tandem ...
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