10/16/20151 RTV 151 Video & Cameras Remember to check for course outline & reading every week; Remember all class videos are required. Remember: read the assigned reading, take notes, study material as we are going through it, ask questions in class. Remember to check for course outline & reading every week; Remember all class videos are required. Remember: read the assigned reading, take notes, study material as we are going through it, ask questions in class.

10/16/20152 ‘Active’ NBS membership Social events Speakers invited to campus Tours arranged / attended Attendance of regional conference Submission of production to competition Participation in fundraising, service, other student group activities Social events Speakers invited to campus Tours arranged / attended Attendance of regional conference Submission of production to competition Participation in fundraising, service, other student group activities

10/16/20153 Overview Visual program distribution Terrestrial NTSC: 4x3, 30 fps, interlaced, 525 scan lines ATSC: 16x9, I or P, 480 / 720 / 1080 No 1080p in ATSC system, now 720p or 1080i Cable, DBS, IPTV Geosynchronous satellites Fiber optic, streaming, virtual DVR Example: local cable headend picks up signals from --, distributes signals by -- DTV vs. digital cable, etc. Visual program distribution Terrestrial NTSC: 4x3, 30 fps, interlaced, 525 scan lines ATSC: 16x9, I or P, 480 / 720 / 1080 No 1080p in ATSC system, now 720p or 1080i Cable, DBS, IPTV Geosynchronous satellites Fiber optic, streaming, virtual DVR Example: local cable headend picks up signals from --, distributes signals by -- DTV vs. digital cable, etc.

10/16/20154 Video Process The screen: Pixels (megapixels) Resolution Still images Standard film: 24 fps Persistence of vision NTSC 525 scan lines of dots (480 used) 4:3 aspect ratio 30 fps interlaced fields The screen: Pixels (megapixels) Resolution Still images Standard film: 24 fps Persistence of vision NTSC 525 scan lines of dots (480 used) 4:3 aspect ratio 30 fps interlaced fields

10/16/20155 Video Process …..cont…. HDTV / DTV scan lines Interlaced or progressive scan 24, 30, or 60 frame rate 480p / 1080i DV: 720 x 480 aspect ratio / frame size …..cont…. HDTV / DTV scan lines Interlaced or progressive scan 24, 30, or 60 frame rate 480p / 1080i DV: 720 x 480 aspect ratio / frame size

10/16/20156 Wide Screen 16:9 Letter box Side boxes Video space TV cutoff Pan & scan 16:9 Letter box Side boxes Video space TV cutoff Pan & scan

10/16/20157 Principles of video color Light hits CCD (1 or 3 CCDs) (or CMOS) Beam splitter splits into the 3 primary colors (electrical signals) Other end--CRT, LCD, LED, Plasma, DLP Transducer / encoding - decoding 3 attributes of video color Hue, saturation, luminance Chrominance : hue & saturation --> Light hits CCD (1 or 3 CCDs) (or CMOS) Beam splitter splits into the 3 primary colors (electrical signals) Other end--CRT, LCD, LED, Plasma, DLP Transducer / encoding - decoding 3 attributes of video color Hue, saturation, luminance Chrominance : hue & saturation -->

10/16/20158 Color (cont.) HUE... Primary colors: RGB Complementary colors Cyan, magenta, yellow White: all colors; Black: absence HUE... Primary colors: RGB Complementary colors Cyan, magenta, yellow White: all colors; Black: absence

10/16/20159 Color continued... Saturation Intensity or vividness of color Hue & Saturation=chrominance Luminance = brightness Luma & chroma continued... Saturation Intensity or vividness of color Hue & Saturation=chrominance Luminance = brightness Luma & chroma

10/16/ Magnetic recording Analog vs. Digital Slant tracks for writing speed Analog vs. Digital Slant tracks for writing speed

10/16/ Time Code Vital to videotape Important for timing / syncing SMPTE VITC vs. longitudinal ‘striping’ Vital to videotape Important for timing / syncing SMPTE VITC vs. longitudinal ‘striping’

10/16/ Data file recording Digital Compression Codecs WMA, QuickTime RealPlayer Flash plug-in HDD DVD / Blu Ray / Optical discs Flash memory (built in vs. removable, like SD card) Beyond flash memory Digital Compression Codecs WMA, QuickTime RealPlayer Flash plug-in HDD DVD / Blu Ray / Optical discs Flash memory (built in vs. removable, like SD card) Beyond flash memory

10/16/ Three ‘parts’ of the camera The camera body The lens The mount The camera body The lens The mount

10/16/ Camera Lenses Focal length…how wide or narrow /‘long lens’ Fixed focal length / prime lens More common in film Zoom Lens Distance from front to back glass Optical zoom vs. digital ‘zoom’ More common in video Focus: soft, sharp Depth of field / rack focus / selective Depth of field is affected by focal length, aperture, and the distance of objects from the camera. Focal length…how wide or narrow /‘long lens’ Fixed focal length / prime lens More common in film Zoom Lens Distance from front to back glass Optical zoom vs. digital ‘zoom’ More common in video Focus: soft, sharp Depth of field / rack focus / selective Depth of field is affected by focal length, aperture, and the distance of objects from the camera.

10/16/ Camera Lenses Front focus to focus a zoom lens Must ‘critical focus’ each time Back focus : use macro flange at back of lens F-stop aperture (iris opening) / diaphram F-22, 16, 11, 8, 5.6, 4 (double/half) Don’t use to compensate for bad lighting f-stops / t-stops / zoom vs. prime lens Manual vs. autofocus Sharp focus, selective focus, follow focus, rack focus, soft focus, swimming focus ** Photography is ** ---> the art of capturing and controlling light. Video, film, still images Front focus to focus a zoom lens Must ‘critical focus’ each time Back focus : use macro flange at back of lens F-stop aperture (iris opening) / diaphram F-22, 16, 11, 8, 5.6, 4 (double/half) Don’t use to compensate for bad lighting f-stops / t-stops / zoom vs. prime lens Manual vs. autofocus Sharp focus, selective focus, follow focus, rack focus, soft focus, swimming focus ** Photography is ** ---> the art of capturing and controlling light. Video, film, still images

10/16/ CCU and Cameras Studio cameras vs. field CCU for settings Tally lights Lighting & filters (later) White balance AGC / gain / decibels (video level) Studio cameras vs. field CCU for settings Tally lights Lighting & filters (later) White balance AGC / gain / decibels (video level)

10/16/ Camera Mounts & movements Tripod and pedestal Friction head / Fluid Head Crane vs. jib Dolly / track SteadiCam vs. Handheld Image stabilization Robotics, follow me, Segue, ‘copter, cable mount, etc. (see online reading) Camera movements Pan, tilt, truck, dolly, arc, zoom, boom, crane, steady- cam, tracking, DVE Tripod and pedestal Friction head / Fluid Head Crane vs. jib Dolly / track SteadiCam vs. Handheld Image stabilization Robotics, follow me, Segue, ‘copter, cable mount, etc. (see online reading) Camera movements Pan, tilt, truck, dolly, arc, zoom, boom, crane, steady- cam, tracking, DVE

10/16/ Cameras -- composing shots Field of view -- rules of thirds LS/WS, est. shot, MS, CU, 2-shot, ots or o/s, head room, nose room, look space, cut-off lines, lead room, eye line Sequencing shots / sequence Depth composition (framing, focus) Angle : eye level /high / low / canted Symmetrical shots Point of view: objective, subjective, presentational Field of view -- rules of thirds LS/WS, est. shot, MS, CU, 2-shot, ots or o/s, head room, nose room, look space, cut-off lines, lead room, eye line Sequencing shots / sequence Depth composition (framing, focus) Angle : eye level /high / low / canted Symmetrical shots Point of view: objective, subjective, presentational

10/16/ Illusion of Movement Composing individual ‘shots’ Editing shots together Persistence of vision 24 vs. 30 fps (transfers) ‘shutter speed’ Demonstrated in the online reading Composing individual ‘shots’ Editing shots together Persistence of vision 24 vs. 30 fps (transfers) ‘shutter speed’ Demonstrated in the online reading

10/16/ Transitions What is a shot? Fade / cut / Diss / Wipe / DVE ‘Changing shots’ in a one-shot Multi cam shoots vs. film style Real time to Filmic time Invisible / seamless edits Sequences Master Shot / cover shot Crane, tracking, feather, 360 shot, follow, swish pan, snap zoom Jump cuts / pop cuts What is a shot? Fade / cut / Diss / Wipe / DVE ‘Changing shots’ in a one-shot Multi cam shoots vs. film style Real time to Filmic time Invisible / seamless edits Sequences Master Shot / cover shot Crane, tracking, feather, 360 shot, follow, swish pan, snap zoom Jump cuts / pop cuts

10/16/ The Static Frame Visual storytelling involves interplay of blocking, lighting, costumes, and setting -- as captured by the camera Edge of the frame / off-screen space Visual storytelling involves interplay of blocking, lighting, costumes, and setting -- as captured by the camera Edge of the frame / off-screen space

10/16/ Technical vs. aesthetics What kind of camera? What kind of lighting? What kind of lens? Consumer vs. Prosumer vs. professional cameras Film vs. video cameras How the story is told? ‘Language’ of visual storytelling -- Hollywood style, home movies style, new media style, NPPA / news style ### What kind of camera? What kind of lighting? What kind of lens? Consumer vs. Prosumer vs. professional cameras Film vs. video cameras How the story is told? ‘Language’ of visual storytelling -- Hollywood style, home movies style, new media style, NPPA / news style ###