When someone is narrating something, and they’re looking into the camera, I know they’re really not talking to me, but they do engage my hindbrain somehow. Then, for no reason, they switch to another camera, and I’m looking at the guy from the side. Then back to the front, and then back to the side. I honestly don’t understand the rational for this maneuver. It breaks the spell. If they want to add interest, they should show images pertaining to the story. I’ve even seen this done in commercials. Usually it begins like a regular commercial, then it switches to the side, and sometimes we’re treated to a view of all the equipment that hidden from the first view. Who started this shit?
It’s to keep it from being too static, I think, and it’s been around for a long time…certainly back to the 90s.
I do wonder about how your hind brain would react if you got five minutes of someone staring you directly in the eye while talking to you…maybe you’d need a break at some point? But too many jumps feels silly.
There’s other ways to avoid being static. Most newscasters don’t feel the need to do this thing, and I’m fine with them prattling on.
The reason for this isn’t to avoid being static. It’s to allow them to integrate multiple takes. If they just keep the exact same angle, you’ll notice the discontinuity. It’s not at all new. The whole “shot reverse shot” you see in interviews is all about this, too.
Sure, you can cut to something else, if you have something available. But they don’t usually in these cases.
Most people don’t even seem to notice the discontinuity if they do it this way, which is how some videos can be deliberately misleading. But the usual use is just to allow for recording only bits at a time, or reshooting something due to a mistake.
Groucho Marx did it in the 30s, and Oliver Hardy did it in the silent days.
Oh yeah? Then how come newscasters, talk show hosts, etc. say things like “We’ll see you tomorrow” or “See you next week”? The people on TV can see us!
That’s what b-roll or stock footage is for! (I’ve made some pretty egregious and ridiculous inserts like that, from time to time, to cover those discontinuities).
I assume that’s one of the reasons most newscasts have two anchors, so they can go back and forth.
That’s what we used to call a jump cut. It was considered a severe no-no back in the day. Now it is considered edgy and artsy.
The shaky cam thing that caught on in the late 80’s seems to finally run its course. In another 10 years the jump cut will be passe too.
Newscasters, late night show hosts and plenty of other people do it all the time. However, what they usually do is continue making eye contact with the live camera.
What you’re talking about, which I don’t like either, is when the host continues to talk to the same camera even though they’ve switched the feed to a different camera.
I agree, it’s weird and kinda kills the continuity. When they switch to the side camera, I always feel like I’m watching a behind the scenes thing or a scene from a movie in which our character is on TV (so we’re watching a character talking to a camera/audience).
That’s exactly it. And it’s used all the time in those mini documentaries that get churned out. it gets tedious.
I’d suggest that when used in commercials, it’s a way to deliberately draw attention to the camera work, and in doing so, evoke the feel of a documentary (i.e. more trustworthy than an advertisement). There’s been a tendency in recent years (in UK adverts at least) to frame it in the style of a social media vlogger (is that word still used?) to lend the advert ‘authenticity’.
I think the trend that bothers me far more is that all documentaries now have to show the subjects sitting down for their interview, styrofoam coffee cup in hand, usually making innocuous small talk (“So, you want me here? Is this good? I haven’t talked about this in a while,” etc.) that somehow ends up feeling vaguely incriminatory.
One of the funnier parts of Adult Swim’s “Check it Out! with Dr. Steve Brule” bits is how Brule has no idea where to look and the cameraperson is fighting for a decent angle:
I agree that it’s a pretty lame technique. Even worse is when they pick a weird angle for the secondary shots. The most egregious I’ve seen recently:
I do not need to have a shot of the presenter from the top. It’s even worse when he’s looking at the camera.
Bleh.
My peeve is when it’s two or more people talking and the camera starts moving in constant circles around the two.
It’s like; Stop! You’re making me dizzy!
I was interviewed on TV once, back in the 70s. They only had one camera so there did it once with the camera over the interviewer’s shoulder, and then again over mine.
When I watched it on screen, I was amazed at how natural it looked.
This was a minor plot point in Heinlein’s The Puppet Masters. There are aliens that attach to humans’ backs and connect to their spine to control them. At one point, the President gives a televised speech, and to prove that he’s not controlled, he takes off his shirt and turns around to show his bare back. Except he doesn’t: He starts to turn around, and then there’s a jump to another camera showing a close-up of a man’s back. But most TV viewers just saw (or thought they saw) him turning around, in one smooth motion.
Remember Fight Back!, the consumer protection series that aired in the late afternoon on Sundays back in the '80s? That show must have had a budget measured in hundreds of dollars, since it consisted only of the presenter sitting on a tall stool and talking into one camera. When he finished on one topic, the miniscule studio audience would applaud to indicate that segment was over. The presenter would then shift on his stool to look into a second camera and move on to the next topic. This went on for the length of the episode. It may have been a creative way of saving money, but it resulted in a remarkably static show.
One artsy-fartsy camera technique was used a lot in the '70s on shows like Mannix and Mission: Impossible. There would be two people having a conversation some distance apart, and instead of switching from one point of view to another the camera would stay in one spot, usually close to the face of speaker A. It would then alternate from A to B simply by adjusting the focus; i.e., the person not talking would be blurred. This would go back and forth until the viewer felt queasy or developed a headache. I haven’t seen this done for a long time now, thankfully.
Errol Morris conducted most of his documentary interviews with the subject lookiing directly at the camera without any cutaways. He used what he called the Interrotron, which is basically a teleprompter that displays Errol’s face to the subject instead of a text script. “For the first time, I could be talking to someone, and they could be talking to me and at the same time looking directly into the lens of the camera. Now, there was no looking off slightly to the side. No more faux first person. This was the true first person.”