Shooting Video / Cameras Camera, Lens, Mount Shot Composition Transitions & Movements 4/26/2017

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 -- 60 fields 4/26/2017

Video Process …..cont…. HDTV / DTV 3D 4K / UHD 480 720 1080 scan lines Interlaced or progressive scan 24, 30, or 60 frame rate 480p / 1080i DV: 720 x 480 aspect ratio / frame size 3D 4K / UHD 4/26/2017

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, DLP Transducer / encoding - decoding 3 attributes of video color Hue, saturation, luminance Chrominance : hue & saturation --> 4/26/2017

Color (cont.) HUE... Primary colors: RGB Complementary colors Cyan, magenta, yellow White: all colors; Black: absence 4/26/2017

Color Saturation Hue & Saturation=chrominance Luminance = brightness continued... Saturation Intensity or vividness of color Hue & Saturation=chrominance Luminance = brightness Luma & chroma 4/26/2017

Three ‘parts’ of the camera The camera body The lens The mount 4/26/2017

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. 4/26/2017

Camera Lenses Manual vs. autofocus 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 4/26/2017

On the Camera Studio cameras vs. field CCU for settings Tally lights Lighting & filters White balance AGC / gain / decibels (video level) 4/26/2017

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 4/26/2017

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 4/26/2017

Illusion of Movement Composing individual ‘shots’ Editing shots together Persistence of vision 24 vs. 30 fps (transfers) ‘shutter speed’ Demonstrated in the online reading 4/26/2017

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 4/26/2017

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 4/26/2017

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 ### 4/26/2017