Video Camera Technique Creating the illusion Of 3 dimensions In a 2-D medium

FOCUS zoom in on object/subject as far as possible find area of contrast focus zoom out and frame (COMPOSE) your shot ... this works for stationary objects only

ZOOM Lengthening and shortening the lens  "in" - longer, closer  "out" - shorter, farther away  make sure the zoom is 'motivated,’ has purpose  Avoid the tendency to 'overzoom.'  Well-composed start and finish Usually requires a pan and tilt with the zoom

ZOOM Digital zoom - selects and expands ("blows up") an increasingly smaller part of the image. This leads to very close shots from far away but also produces digital noise in the form of pixels and grain.

ZOOM Useful for far away shots where importance of image overrides concern for quality - that is, if you can live with a grainy image, use the digital zoom. Can function as an artistic choice

ZOOM IN pulls the viewer into the shot, into situation more intimate and emotional (lines on the face, tension, sweat)

ZOOM IN narrows the angle of view which eliminates visual information at the sides of the frame Longer lens narrows the angle of view

ZOOM IN

ZOOM IN longer lens yields shallower depth of field, throws the background out of focus good for depth - narrows the angle of view which eliminates visual information at the sides of the frame "forces" audience to view fewer items in the frame

ZOOM OUT reveals information to the viewer that they couldn't see with the tighter shot, allows space, reveals other characters or objects in the scene allows more space for actor movement

ZOOM OUT Short lens widens the angle of view

ZOOM OUT

ZOOM OUT

ZOOM OUT

ZOOM OUT

DOLLY DOLLY - movement of entire cam toward or away from the subject Similar to a zoom but with a different effect - keeps the same 'angle of view' throughout the camera move "participant" or POV orientation as camera moves through the scene

PAN Left/right movement of camera head on stationary cam. mount (either tripod or on the shoulder of videographer)  Suggests 'observer' role (compared to a 'truck') - action 'passes by' the camera

TRUCK Left/right movement of entire camera Usually mounted on a rolling platform (dolly) but may be handheld As cam follows along-side the action, allows viewer to participate in the moving scene (Indiana Jones fighting on a moving truck, Olympic sprinters)

TILT, ARC Tilt - up/down movement of camera head on stationary cam. mount tilt - up/down movement of camera head on stationary cam mount Arc - left/right arching movement of camera

Basic shot descriptions Extreme long shot (XLS, ELS ) cam very far away from the subject    (often an "establishing" shot) sets overall context, shows location of action exterior" on drama or sitcom, blimp shot at sporting event Long shots - dramatic, landscape, don't translate well to TV

Basic shot descriptions Long shot (LS) camera far from the subject, may include all talent and props in the shot sets context, shows relationships all players in a basketball game, shot from back of Letterman's studio

Basic shot descriptions Medium shot (MS) fairly close, "interpersonal" distance shows most of a person or people may be more specific - 2S, 3S   shows relationships, close-enough to feel "in the action"

Basic shot descriptions Close-up (CU) close shot, framed tightly, only part of subject seen variations: bust shot, tight shot emotional, necessary on TV (small screen)

Basic shot descriptions Extreme close-up ( ECU, XCU) very close, extreme detail The tighter the shot, the more "emotional"

Composition Balance - strive for visual balance in most shots ***Rule of thirds - divide the screen into vertical and horizontal thirds Place key objects on those thirds Follow rule of thirds on every shot!

Rule of Thirds

Rule of Thirds

Rule of Thirds

Rule of Thirds

Rule of Thirds

Composition Headroom - room above talent's head Leadroom - space in frame in front of talent into which talent moves (e.g., pan) Lookspace - space in frame IN FRONT of talent into which talent looks  

Headroom, Leadroom, Lookspace

Headroom, Leadroom, Lookspace

Headroom, Leadroom, Lookspace

Headroom, Leadroom, Lookspace

Headroom, Leadroom, Lookspace

Headroom, Leadroom, Lookspace

Composition Visual "weight" (and therefore balance) determined by size, color and placement of objects in the frame. LARGER objects carry more "weight - also, foreground increases size BRIGHTER objects carry more "weight” white, yellow, etc...

Composition CLOSER TO THE EDGE equals more "weight” - small, but near edge = "weight”

Other composition considerations Symmetrical balance not required Nonsymmetrical framing acceptable in limited situations Landscapes, large horizontal objects look better off-center Background clutter - avoid it, distracts from the foreground Limit camera motion - smooth, steady, avoid tendency to over zoom

Rule of Thirds, Balance

Rule of Thirds, Balance

Rule of Thirds, Balance

Rule of Thirds, Balance

Composition Psychological Closure - frame shots so that viewers can "mentally" fill-in the parts that extend off-screen Entire object does NOT need to be on-screen Framing can "suggest" continuation

Composition

Composition

Composition Framing people - avoid cutting people off at natural "cut points” knees, waist, ankles, elbows, bust frame to suggest "closure," continuation off-screen

Composition Foreground framing - use objects in the foreground to frame the subject adds depth, more interesting Over the shoulder (O/S, OTS) Shot of one person framed over the other's shoulder (good for interviews)

Composition Rack focus - "move" the depth of field from one object to another by adjusting focus ring Aspect ratio U.S. TV = 4 x 3 (1.33:1) Film, HDTV = 16 x 9 (1.78:1) But shot with 4x3 in mind for TV

Composition 4x3 US TV NTSC 16x9 Wide Screen

TRIPOD OPERATION whenever possible, use a tripod or other appropriate camera support exceptions - desired effect, not enough time

TRIPOD OPERATION Set up tripod properly legs locked spreaders locked set tripod feet - spikes or rubber camera plate FULLY secured to cam and tripod (quick release plate stays with the camera) bubble balance to insure level shot

TRIPOD OPERATION Pan drag - knob which controls pan "looseness" set to your preference Pan lock - be careful, usually leave this unlocked when you step away from the camera to keep from knocking camera over

TRIPOD OPERATION Tilt drag - same function as the pan drag don't want tilt or pan motions TOO LOOSE, makes for unsteady camera moves Tilt lock - ALWAYS set the tilt lock when leaving the camera

TRIPOD OPERATION Panning/tilting - set to your preference START in the uncomfortable position, finish in the comfortable position Begin and end with a balanced, well-composed shot Set up tripod in a comfortable position for the shoot Use pan bar to smooth out pan and tilt motions

HAND HELD OPERATION Brace yourself if necessary, use head, shoulder, arm to steady the camera Work with partner if you will be moving Consider alternate camera position (low level, held by handle, braced on knee The WIDER the angle (zoomed out) the steadier the shot.

HAND HELD OPERATION Extreme zooms (narrow angle, zoomed in) yields shakier shot Do news interviews, MOS s w/short lens