Three or more cameras rolling simultaneously on one scene — standard for sitcoms, live TV, dialogue-heavy sequences. Each angle captured once; editing happens in the truck or post.
Three or more cameras run simultaneously on a scene—a working method that creates entirely different rhythms on set compared to the classic single-camera procedure. You set up your cameras in fixed positions: one for the wide shot, one for a close-up on character A, one for a close-up on character B. The actors play through as if a performance were taking place—no stop-and-go, no "again from the beginning for the other camera." The editing is done either live in the control truck (as with sitcoms and sports broadcasts) or later in the edit, when you review the material and choose the best camera angle for each moment.
The practical advantages are obvious: pace—you shoot a scene through once and have your coverage. Actor performance—those who can play continuously instead of restarting after each take find their flow more easily. Especially in dialogue-heavy scenes, you immediately notice that the energy remains constant. However, this requires precise camera positions in advance—improvisation during the shoot is cumbersome when you have to coordinate three focused operators. Lighting becomes an art form: all three cameras must look good simultaneously, with no hidden edges for "the next camera." This demands well-thought-out key-fill arrangements and often more light overall.
In television—the classic multi-cam domain—a director sits in the truck and chooses which camera goes to air during the recording. This is live editing under pressure. In a feature film context (rarer, but it happens), you record all three cameras but edit later. Advantage: you have more freedom of choice in the edit than if the decision was made live. Disadvantage: significantly more material to review.
Typical setup errors: cameras running into each other's frames—a production design nightmare. Actors not knowing where to look when three cameras are active simultaneously. Insufficient lighting because you hoped it would be enough for all three angles—it never is. Plan your positions early, communicate them with the DP and focus puller, and try a run-through without cameras so the actors know where the "invisible" cameras are. This saves confusion during the actual take.