The Dreaded Travelling Shot
One of a series of posts about working at CBC Radio back in the day.
(Here’s some more).
This is a repost, with some slight revisions, of a post I wrote back in June 30th 2006 on a different version of this blog. Also posting the audio sample of the travelling shot in question, which wasn’t included in the original post:
First of all, I have no idea how to spell “traveling.” I have seen it spelled both as “traveling” and “travelling.” The more I look at the word with either spelling, the stranger it looks.
That aside, some of you may recall my comments on traveling shots in radio a little while back. (For those of you new to the term, a traveling shot is a shot in television, film or radio in which the characters are on the move and the camera/microphone is following them. Think Xander on his skateboard in the opening shot of the very first Buffy the Vampire Slayer for TV, or the famous lengthy traveling shot with Tim Robbins that opens Robert Altman’s The Player)
Basically, traveling shots in radio are usually a bad idea. The reason they’re usually a bad idea is because many writers write them accidentally, without even realizing that they’re writing a traveling shot, until they get in the studio and the engineer says, what the heck, this is a traveling shot, you do realize how difficult it is to convey traveling shots on radio, dontcha? And they say, well, you did read the script before getting here didn’t you? And the engineer says, um, I didn’t really have time, and the writer says, well then you only have yourself to blame then, don’t you? And then the engineer says, well, the producer should have caught it, and then the producer suddenly jerks awake in his chair and says, what scene are we on…?
So why am I repeating myself?
Well, after I wrote that post, I wound up working on projects that were essentially traveling shot after traveling shot. Clearly people are not reading this blog (for shame!) It bears repeating: do not drink and drive, do not pet burning dogs, and DO NOT write traveling shots for radio UNLESS YOU ARE A FOOLISH, IMPETUOUS RECORDING FOOL LIKE MYSELF!
Have I made myself clear?
I beg your pardon? You want to know about the “foolish, impetuous recording fool like myself” business?
Oh, all right.
Yes, I was personally responsible for one of the traveling shots. The traveling shot in Canadia, to be precise. (Canadia being the science fiction comedy pilot I’m producing with my buddy Matt Watts).
You see, after writing about them, I realized that I’ve long wanted to try recording the granddaddy of all traveling shots. One that really works. Because if you can convey to the listener what’s going on, then your traveling shot will have worked. Now, it happens that I have recorded dinky little traveling shots that have sort of worked, and longer traveling shots that have kind of worked, and location traveling shots where I’ve followed actors with a boom on the streets of Montreal that also have kind of worked after a fashion…
…but I’ve never built a really good, effective traveling shot for a radio play in a studio.
So I said to Matt as we were planning Canadia that I thought it would be neat to attempt a West Wing/Hill Street Blues style traveling shot off the top of Canadia. So obliging fellow that he is, Matt went ahead and wrote one.
It so happened that we got busy before the taping, Matt was off to New York to see The Drowsy Chaperone (which he helped write), and we never got to discuss the scene properly before taping was upon us. I had originally thought that I might grab a boom and a Tascam and follow the actors around somehow, but instead I opted to record the actors in place with the rest of the cast swirling around them.
Racing against the clock in post-production, however, I lost my nerve and simplified the scene to essentially a static shot. It didn’t work at all. It just lay there in the play, twitching from time to time like a dying rat. When Matt heard my rough mix, he was horrified. I had to admit that it didn’t resemble our original conception at all. Guilty as charged, I admitted that “it still needed a bit of tweaking.”
During the final mix, I sent Matt off for some sound effects, which meant that he had to pass through five different rooms and hallways, each with radically different acoustic ambiances. On the way, it occurred to him that if we broke the scene up in exactly that manner (several different clearly distinct rooms) that it could be made to work. The scene happens to take place on a starship, where this would make complete sense. Additionally, it’s a great opportunity to take listeners on an acoustic tour of the ship.
I grabbed an AKG stereo microphone and our Edirol and Matt and I set off on a trek across the Broadcast Centre. I recorded everything as we passed through as many radically different acoustic environments as possible. Afterward, I loaded the material into my ProTools mixing session and cut it down to about a minute and a half, the length of the traveling shot. We placed doors at strategic points during the scene, and built wildly different sound effects beds for each section. (These included a set of stairs, an engine room, a room with loads of construction happening, etc.)
I also electonically “treated” the actors’ voices depending on their supposed location (as well as the accompanying sound effects)… for instance, in the stairwell, I used a Protools plugin called TrueVerb to make them sound realistically like they were in a stairwell.
Although I’m essentially opposed to the use of footsteps in radio (for fear of it becoming “all about the footsteps”), I try valiantly not to be too dogmatic about such things, and reluctantly added a “soupcon” of footsteps here and there just to help sell the movement in the scene.
We think it works.
Next time round we’ll plan it better, though, so that the actors know exactly what they’re supposed to be doing when (ie. speaking loudly in the engine room). Although I must say that there is something to be said for their straight delivery, in which nothing is overplayed.
Now if we can only get this show greenlighted for a series and broadcast so that folks can actually hear it…
Note: Not only was the show greenlit, it ultimately went two seasons, with twenty episodes in total broadcast (twenty-one in total made, with two versions of the pilot).
Here is the infamous travelling shot: