SHARE TWEET 0 Written and directed by Heather Graham, the comedy Half Magic is a story of female empowerment, in which three women turn their frustration over male dominance into a sisterhood, where they can lean on each other as they learn to love themselves without defining their own worth through the men in their lives.
As opposed to the three-camera setup found in most TV studios, single-camera is shot like most films, with traditionally cinematic shots and angles storyboarded like any movie. While this one characteristic is what separates the two classifications of situation comedy, their differences lie far beyond how many cameras are used to film them, allowing a different type of screenwriting to take hold.
For one, the more cinematic style of shooting lends a more, well, cinematic style to the sitcom. Without a laugh track to tell you where the punchlines are and when to laugh, and coupled with the slower, quieter filmic approach, the humor of single-camera sitcoms presents itself in a completely different way.
Just as good characters in comedy can be indicated by lines that are only funny because they were spoken by that particular character, the single-camera environment sets a tone and becomes a place where jokes are only funny because they were specifically said within them. This also allows the humor to be more subtle—the slightest roll of the eyes can be caught in a close-up reaction shot and sell the same kind of laugh that a character hammily mugging to the audience in a three-camera sitcom would make.
Rather than feel like an independent film, single-camera sitcoms can resemble screwball comedies. The cult favorite Arrested Development is a prime example of this and did what The Simpsons and other animated series shows allowed to bypass three-camera setups without raising any eyebrows discovered they could do fifteen years earlier—the rapid-fire delivery of jokes and scenes and locations.
A standard episode of a show like Arrested Development or 30 Rock has an incredible amount of scenes when compared to a three-camera sitcom like Friends.
These shows in effect become live-action cartoons, embracing and indulging in the lack of boundaries a three-camera set inhibits on scripts. Why are three-camera setups inhibiting and typically averse to subtle forms of humor?
This is a fundamentally different storytelling medium than the much more cinematic single-camera style.
YouTube is full of clips of multi-cam shows like The Big Bang Theory with the laugh track edited out and they are fascinating to watch. As the YouTube clips amusingly convey, talking like this in real life would make you sound like a crazy person. But three-camera actors must perform this way, and three-camera writers must likewise conform their scripts.
Three-cam without laugh track: The limited locations of a three-camera sitcom also derive from its theater-like stage.
Only so many sets can be built and fit into a single studio. Usually there is a bar or a diner in a friends and often, workplace and family comedy where everybody hangs out, just to keep things visually interesting.
A show could also employ a limited exterior set portraying the outside of their house or bar. In general, though, ninety percent of a given multi-cam episode will take place in the same handful of sets.
Single-camera shows can shoot on location, or at the very least use different angles to make the same set feel fresh. So not only are they capable of several more scenes than their three-camera counterparts, they can place these scenes in a multitude of locations.
This can expand the sense of the world the show occupies and ground it, or inversely add to its cartoonish energy. A comedy like Arrested Development could take place in a California apartment complex, Iraq, on a boat, in a magic shop, at the beach and in Reno, Nevada, all in the same episode More scenes also allow for more storylines, and more storylines allow for more characters.
Similarly, a multi-cam script might include a primary A-plot, a secondary B-plot, and perhaps a tertiary C-plot, whereas a single-cam could include A, B, C, D, and E plots and give them all more heft and substance.
Another trend since Friends helped sitcoms usher in the single-cam revolution:Our global Writing Program is one of the best in the biz. Consider the facts: alum have gone on to create their own Nickelodeon shows and write for all sorts of TV series and films.
Discussion Multi-cam vs. Single-cam (benjaminpohle.comwriting it seems that a lot of the shows with similar styles of comedy have jumped to single-cam in recent years. But I object to the notion that characters in multi-cam shows are somehow more caricatured or otherwise "less than" single camera characters.
The good multi-camera shows-- I'm.
It was a coincidence, these two funnymen being on the Big Island at the same time. Shandling, who had recently completed final reshoots on his first acting role in years—a U.S.
senator in Iron. Six year ago, I decided to make a comedy about the paradox of family – how it can simultaneously be our source of strength and the root of all our problems, and for better or worse, it’s forever.
When a reader at a contest, agency, or management company opens up a spec script, it’s clear from the very first page whether the writer knows how to write.
It’s clear from the dialogue, formatting and writing style: the way the writer’s chosen to put the images they want the reader to see. Ken Levine's daily column about writing, producing and watching TV sitcoms, TV dramas, film, pop culture and life.