Switching the Gap: The Gadget Solution for Actor Training by Patrick Sabongui
with supplemental video interview and demonstration
How a Live-editing Switcher Reconciles the Theatrical Process with On-camera Demands
"What's the difference between acting for the stage and acting for the camera?" your theater
school acting teacher invariably asks on Day 1 of your Acting for the Camera class. Fair
question. Unfair paradigm.
Framing the course in this way plants a seed in the actor, an insidious idea that their characters
must behave differently in different mediums and that their instrument must therefore be used
differently. That's not to say that there isn't some truth to adapting to the camera, but starting here
focuses the student actor on the result of the performance rather than on the rich underlying
infrastructure of bringing a text to life. It reinforces a binary that does not accurately reflect
the contemporary nuanced landscape of performance today. Teaching in a pre-
professional, conservatory-style BFA acting program at a public university, the need for an
affordable, accessible solution became an educational imperative; How can under-
resourced educators leverage new techniques and technologies in hopes of matriculating
students armed with the latest competitive knowledge and skills?
There are more forms of acting than simply “live” or “on-camera.” On one end of the
spectrum is what is commonly labeled “acting for the camera,” more precisely understood
as single-camera narrative work. Despite the name, this method often employs multiple
cameras capturing fragments of a scene that are later assembled through continuity-style
editing from takes shot out of sequence. This encompasses most contemporary film and
television—from prestige drama to romantic comedy. On the other end of the spectrum is
live theater: a shared space, an audience, and performers acting in real time after a
rehearsal period absent of spectators. Somewhere between these poles sits multicamera
performance—sitcoms and live-taped shows rehearsed extensively and performed
continuously in front of a studio audience. Also occupying this middle ground is cross-
coverage single-camera work, where two or three cameras capture complementary angles
simultaneously to preserve emotional continuity in time-sensitive, highly emotional, or
improvisational scenes.
Consider a student in on-camera class filming a scene from a play: same story, different
medium. If the actor begins with the notion of embodying the story specifically for camera
they may be tempted to start by thinking about "reining it in" or "pulling it back" or otherwise
diminishing their expression of the story moments. This result-oriented mentality disconnects
the actor from the complex, organic and potentially spontaneous process of building a
character. A conventional scene-study rehearsal process is stretched out over days or weeks
and allows time for exploration and discovery. Through repetition of the scene with their
partner(s), actors can refine their choices by reacting and responding to each other. The
typical process for on-camera performance includes almost no rehearsal time and focuses
attention on whichever actor is on screen, their behaviors and line readings. This hyper-
focus on the individual on-screen actor and the dissection of their performance can make
the student actor self-conscious or creatively paralyzed.
The more useful distinction between mediums is in defining and leveraging the difference in
those processes: the continuous, uninterrupted flow of theater versus the ironically named
"continuity style" of on-camera work.
For the actor, the fundamental difference is that in a play the actor lives the story
chronologically from the beginning to the end of a scene, as opposed to on camera, where the
actor repeats moments out of sequence while doing mental gymnastics trying to keep track of
blocking, choices, tone and gesture so the editing process pieces together something resembling
a continuous scene. The common challenge in both instances is the artifice: living and behaving
in an imagined character's fictitious circumstances in fake environments under the innumerable
external distractions of the production process. The more the flow is interrupted, the more
intrusive thoughts can creep into the actor's mind, effectively rupturing the tenuous intellectual,
emotional and physiological connection necessary to truthfully embody a character in any
medium. In live performance, the actor’s responses are always seen and interpreted in
context of the moment: if the actors on stage are listening and responding to one another,
all dialogue and behaviors will make some degree of sense to an audience. Because of the
isolating nature of the camera and the process of editing moments that were captured out
of sequence, actors must try to match their performance to some previous and/or
subsequent take in hopes that when the other characters’ side of the scene is edited in it all
makes contextual sense*. In the case of actor training, which is challenging enough, the
logistical contortions of the technical demands of on-camera continuity add a layer of
complexity that can actually undermine the student’s ability to access and implement the
deeper work of actually acting. (*As mind-bending as this is to read, I assure you it’s even more confusing to do).
Watch full video interview with Patrick Sabongui about his process, how the technology works in the classroom with specific details, and student responses.
The Technology Villain
To inaccurately quote the immortal Bones from Star Trek, “Damn it Jim, I’m an acting teacher,
not a production company!”
In acting class, we're faced with challenges beyond the ones inherent in the filmmaking process:
sterile learning environments rather than immersive sets, deconstructed exercises rather than
holistic rehearsals or filming experiences, fractional material disconnected from the broader
narrative, an often distracted audience of peers (who we are simultaneously competitive with and
supportive of), and worst of all, the noxious desire to "be a good actor"—to gain the approval of
our classmates and our overbearing, know-it-all acting teacher* who always has notes and never
seems satisfied. (*no offense to my peers, but let’s be honest… students have opinions)!
A main villain in the story of teaching on-camera acting to theater actors is technology. It's
impossible to engage an entire film production and post-production crew to accompany your
course. Even hiring a videographer is not a sustainable option—at least not in any institution
where I've ever taught, for the same reason many schools can't afford to teach regular musical
theater classes: you need a pianist/accompanist, a choreographer, a vocal coach… which is
prohibitively expensive. Even if you could bring in a TA or a dedicated camera-operator, you're
adding yet another variable to the equation of "people and things that can derail an actor in
process."
Besides, who gets the honor of editing all that footage? College profs and acting teachers already
have enough unpaid labor, their own auditions or gigs, and/or other part-time jobs to tend to. The
coverage and editing bottleneck kill curriculum and in-class momentum. On top of that, if
students never get to see the edited product, they can't really learn how montage informs—or in
fact, creates—the final performance. Trying to manufacture a playback workflow in class would
be a nightmare… unless you also hire a DIT (Digital Information Technician, the crewmember
on set responsible for director monitors and playback) alongside your in-class production
company. Besides, the acting students who are observing the scene work (and probably just
running lines in their heads for their upcoming scene) are also now relegated to passive
observers—robbing them of valuable learning opportunities. A renowned theater director and
faculty colleague commented, “This is exactly the kind of practical application we need to
implement. Bringing technology into the classroom creates efficiency for teachers and
immediate feedback for students while keeping the whole class actively involved.”
Live Switching as a Pedagogical Solution or: [Live Switcher enters stage left]
If only there was a way to take the best parts of both processes and combine them into one class.
How could you simultaneously allow actors to rehearse a scene as they would for the stage, then
perform it on camera without having to compromise their momentum? How do we assemble the
footage from an in-class scene without having to spend hours editing? How can an instructor
empower every student in the class to take part in the on-camera storytelling process even when
they're not acting in it? How do we do all this without the need for more faculty or staff?
A live production switcher is a piece of technology that closes the gap between mediums. Live
switchers are commonly used in professional contexts including sports broadcasts, live
television, sitcoms, and game shows taped in front of studio audiences. With the rise of do-
it-yourself content creators, live switching has become even more prevalent, allowing a
single operator to control multiple cameras and execute a real-time edit without a full crew.
In the classroom, it allows the acting instructor to reconcile the strengths of a continuous
theatrical process with the mechanical demands of a fractured on-camera performance. It enables
us to use multiple cameras to capture the scene simultaneously from multiple angles, preserving
the continuous flow of a theater process, while someone operates the live, real-time edit during
the performance with the simple push of a few buttons. The system records both the live edit and
isolated angles automatically, providing immediate playback without any post-production crew
or waiting.
And who, you may ask, is the skilled creative laborer tasked with executing the live-edit? Well,
I’m glad you asked, it’s a student. The system is so easy-to-use that a fellow actor-in-training can
take on this in-class assignment, and it’s so intuitive that their main challenge is not learning the
hardware or software, it’s learning the scene and its timing, developing a sensitivity and point-of-
view on their classmate’s work that gives them the ability to follow the narrative as they see fit.
One student described the experience as “filmmaking jazz,” noting that the camera became
another scene partner whose attention actively shaped the moment. This artistic agency is an
invaluable byproduct of using a device that enables you to switch between angles, allows
observers to see the edit in real time, and records everything that’s happening in the moment.
In terms of educational accessibility, some switchers, like the ATEM Blackmagic, offer free
apps that turn any smartphone into a viable camera input. This dramatically lowers the barrier
to entry since most students already own compatible equipment and have "skin in the game"
when using their own devices. No need for expensive dedicated cameras for each input.
There are many viable options in the live-switcher market. Companies such as Roland
FEELWORLD, RGBlink, YoloLiv, Osee, Elgato, and Lumantek all offer portable
switchers at varying price points. This growing market allows institutions to scale their
investment according to pedagogical goals and budget rather than technological ambition
alone.
Application and Benefits
This setup works for both single-camera narrative-style material (dramas, procedurals) and
multicam set-ups where you're working on sitcoms and comedy. Theater-trained actors no longer
face the false choice between authentic process and camera technique—they can maintain
character flow while naturally developing camera awareness without the trap of "performing
differently" from medium to medium. As one student put it, “You can’t wait for your close-
up—you have to be fully present at all times.” Another student said, “This process was less
about continuity and more about spontaneity,” a testament to the switcher’s ability to close
the gap between a live performance and the on-camera experience.
For acting instructors, this banishes the "technology villain" from the classroom. You can finally
reconcile theatrical strengths with on camera demands while focusing on acting coaching (which
is what we signed up for in the first place) instead of technical troubleshooting (which no one
likes). Budget-conscious programs also benefit from a one-time equipment investment and no
post-production software licensing or editing lab requirements, versus ongoing crew costs: your
department chair will love this part.
A welcome byproduct of this process is that it instantly generates an accurate evaluation
tool. The switcher saves both the live edit and the individual camera angles, and once
uploaded to an accessible cloud, students can review their work while the instructor has a
concrete resource to assess performance, process, and growth over time.
The Process Revolution
In this reduced-attention-span world, maintaining that theatrical flow, even when working on
camera isn't just pedagogically sound—it’s essential for keeping students engaged and present.
The team approach keeps all students engaged through rotating technical roles: camera operators
learn framing and composition, the switcher learns pacing and editorial choices, and actors learn
to work with camera presence naturally while prioritizing their connection to themselves, their
scene partner, and the material. One student commented, “I was very present; paying
attention to the energy of the scene, trying to catch the live delivery of lines from characters
and also capture the reactions from the character receiving the lines/listening.” Non-
performing students become active participants rather than passive observers. Combine the
student on the live switcher (or "Vision Mixer," or "Technical Director," or "Story DJ" as we call
it) with students operating the cameras, someone on the boom mic, a script supervisor, someone
watching for scenic, props, and costume continuity… now you've got all students invested and
actively participating in not only supporting their classmates, but in telling and capturing the
story. As one student reflected, “Seeing how even the smallest listening choices show up on
camera taught me how important it is to stay emotionally engaged throughout the entire
scene.” They learn production skills alongside acting technique while simultaneously
understanding storytelling from multiple perspectives - not to mention gaining appreciation for
the labor and focus required of their on-set collaborators.
The live edit is also available immediately after you call "cut!" allowing students to review both
the edited performance and isolated angles with no waiting. Let’s be honest: in today’s instant-
gratification world, if students can't see their work right away, they're mentally moving on to the
next thing. This immediate feedback creates coaching opportunities while the performance is still
fresh, and the system automatically generates distinct folders which you can upload to a large-
capacity cloud, permitting students to review their work on their own time from anywhere.
Reel Impact and Current Limitations
Ideally, students stop thinking about "camera acting" versus "stage acting"—their focus returns
to what made them fall in love with acting in the first place: playing pretend, character truth, and
moment-to-moment reality. This system facilitates the natural integration of camera awareness
without compromising authenticity. The free iPhone app democratizes access to professional
tools and removes financial barriers that often exclude diverse student populations. You’ll need a
bunch of cables and adapters, but those costs pale in comparison to the alternatives.
Bridging the Gap
A live switcher in class doesn't just solve a technical problem—it solves a pedagogical one. By
eliminating the false choice between an organic, authentic theatrical process and the cumbersome
technical demands of on-camera training, it allows acting education to honor both the humanity
of character work and the realities of contemporary media production. It can also go a long way
to smash barriers—financial, technical, and conceptual—that have long prevented accessible
comprehensive actor training.
The technology can still be perfected, but it's convenient, effective, and constantly improving.
For educators committed to preparing actors for today's rapidly evolving industry while
preserving the foundational tenets of the craft, the live production switcher represents not just a
tool, but a paradigm shift toward more inclusive, holistic, and authentic actor training. If arts
education hopes to survive the threat of AI and CGI, then we'd better hurry up and get
comfortable with the inclusion of new technologies into the classroom. We can hide in our dark
studio spaces and cling to the days of the traditional conservatory model, but then we can’t
complain when the industry leaves our students behind.
Student Reflections
“The live switcher was very exciting because it felt like filmmaking jazz… I was very present,
paying attention to the energy of the scene, trying to catch the live delivery of lines from
characters and also capture the reactions from the character receiving the lines/listening… it
broke the bounds of prescribed technique and allowed a new freedom of camera choices made
in the moment. The acting process was different as I knew the camera could catch me at any
time, so it felt like there was another scene partner, the camera- whose attention affected the
scene in present time. Presence, liveness, and constant focus and following impulses in a new
way was all part of this process.” - Frances Porter
“This process was less about continuity and more about spontaneity.” - Jake Okula
“Using the live switcher completely changed how I understood storytelling on
camera. Working in a multicam setup made me realize that every moment counts. You can’t
‘wait’ for your close-up, you have to be fully present and actively in it at all times.
Seeing the live edit helped me understand how the story is being shaped in real time and how
my choices affect not just my performance, but the entire set with my peers. Operating the
cameras and the switcher opened my eyes understanding for the technical side of acting. It
forced me to understand the script more and to know the story for real, the rhythm of the
scene, and how to guide the audience’s attention without overperforming Both with the
switcher and Acting It was one of the most fun and valuable on-camera learning experiences
I’ve had.” - Kayla John
“…the multicam work felt like acting on stage with an extra partner, the camera. I got to
operate one of the cameras myself, and I saw how a scene goes straight through and the
director makes quick and sensitive choices with the live switcher at the same time. Since the
live edit happens in real time, actors, the director, and camera operators all have to stay alert.
In the multicam work, as actors, we often do not know which camera is on us at any moment,
so we have to act fully, like in theater.” - Chulun Jung
“Seeing how even the smallest choices, listening, and honest reactions are shown through the
lens helped me to know that it’s important to stay present and stay true to myself. The
multicam process helped me to be more aware of my surroundings, and what’s going on
around me because I learned to multi-task keeping in mind all the factors that are involved
when you are dealing with multicam. I learned how important it is to remain emotionally
charged throughout an entire scene. I would say that this experience has given me a better
sense of collaboration between actor, camera, and storytelling.” - Hannah Nelson