be shot in either multiple- or single-camera modes. It may be deemed preferable to use the single-camera technique especially if specific camera angles and camera movements for a feature film-like visual style are considered crucial to the success of the production, and if visual effects are to be frequently used. Though multi-camera was the norm for U.S. sitcoms during the 1950s (beginning with I Love Lucy), the 1960s saw increased technical standards in situation comedies, which came to have larger casts and used a greater number of different locations in episodes. Several comedy series of the era also made use of feature film techniques. To this end, many comedies of this period, including Leave It to Beaver, The Andy Griffith Show, and The Brady Bunch, used the single-camera technique. Apart from giving the shows a feature film style, this technique was better suited to the visual effects frequently used in these shows, such as magical appearances and disappearances and lookalike doubles in which the regular actors played a dual role. These effects were created using editing and optical printing techniques, and would have been difficult had the shows been shot using a multi-camera setup. In the case of Get Smart, the single-camera technique also allowed the series to present fast-paced and tightly edited fight and action sequences reminiscent of the spy dramas that it parodied. Single-camera comedies were also prevalent into the early 1970s. With its large cast, varied locations, and seriocomic tone, the TV series M*A*S*H was shot using single-camera style. Happy Days began in 1974 as a single-camera series, before switching to the multi-camera setup in its second season. However, the success of All in the Family (which was taped with multiple cameras live in front of a studio audience, very much like a stage play) and Norman Lear's subsequent sitcom productions led to a renewed interest by sitcom producers in the multi-camera technique; by the latter part of the 1970s, most sitcoms again employed the multi-camera format. By the mid-1970s, with domestic situation comedies in vogue, the multi-camera shooting style for sitcoms came to dominate and would continue to do so through the 1980s and 1990s, although the single-camera format was still seen in television series classified as comedy-drama or "dramedy". The early 21st-century Golden Age of Television saw a resurgence in the use of single-camera in sitcoms, such as in Malcolm in the Middle, Curb Your