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

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

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

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

5. ZOOMZOOM 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. 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 Can function as an artistic choice

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

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

8. ZOOM IN

9. longer lens yields shallower depth of field, throws the background out of focus 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 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 "forces" audience to view fewer items in the frame

10. 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 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 allows more space for actor movement

11. ZOOM OUT Short lens widens the angle of view Short lens widens the angle of view

12. ZOOM OUT

16. DOLLYDOLLY DOLLY - movement of entire cam toward or away from the subject 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 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 "participant" or POV orientation as camera moves through the scene

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

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

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

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

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

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

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

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

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

26. Rule of Thirds

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

32. Headroom, Leadroom, Lookspace

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

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

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

41. Rule of Thirds, Balance

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

46. CompositionComposition

47. CompositionComposition

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

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

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

51. CompositionComposition 4x3 US TV NTSC 16x9 Wide Screen

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

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

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

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

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

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

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