It really depends on how the program is produced and directed. The Lear productions *do* look and feel like stage productions that just happen to have cameras present. But there are others where this is not so apparent. The Dick Van Dyke Show is a good example. It's possible to get cameras in close and have good micing to closely emulate that single camera presence but it takes more work and blocking to achieve.John Hermes said:I don't like the three-camera technique because it is too much like a stage play with people talking too loud and overacting. Perhaps some people like for exactly that reason, but not me. Plus, there is nothing like a close-up where the camera is actually just a few feet away versus a zoom lens from across the studio. It has a totally involving presence.
I like the way some British shows have achieved this effect by showing the completed program to a studio audience and recording the laughter. You sort of get the best of both worlds. The intimacy of single camera and the spontaneous laughter of the audience. The primary downside to this technique is the actors get zero audience feedback to better hone their performance.Jack P said:I prefer the era when actors talked loud enough so you could understand them. If anything, I despise the trend of recent decades where mumbling has become the norm in almost everything tune into. I also don't like frequent close-ups and in fact this is why the 50s version of "Dragnet" can at times be unwatchable from my standpoint because of Jack Webb's obsession with tight-close ups (the same scripts on radio "breathe" better and I feel like I'm getting a wider canvas).
And with sitcoms, the element of natural audience reaction to canned laughter is another plus.