1. RTV 151 Video & Cameras Remember to check www.tonydemars.com
for course outline & reading every week;
Remember class videos linked on outline.
Remember: read the assigned reading, take notes, study material as we are going through it, ask questions in class.
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2. Overview Visual program distribution Terrestrial Cable, DBS, IPTV
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.
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3. 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
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4. Video Process …..cont…. HDTV / DTV 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
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5. 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 -->
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6. Color (cont.) HUE... Primary colors: RGB Complementary colors
Cyan, magenta, yellow
White: all colors; Black: absence
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7. Color Saturation Hue & Saturation=chrominance Luminance = brightness
continued...
Saturation
Intensity or vividness of color
Hue & Saturation=chrominance
Luminance = brightness
Luma & chroma
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8. Magnetic recording Analog vs. Digital Slant tracks for writing speed
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9. Time Code
Important for timing / syncing
SMPTE
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10. Data file recording Digital Compression Codecs HDD
WMA,
QuickTime
RealPlayer
Flash plug-in
HDD
DVD / Blu Ray / Optical discs
Flash memory (built in vs. removable, like SD card)
Beyond flash memory
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11. Three ‘parts’ of the camera
The camera body
The lens
The mount
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12. 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.
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13. Camera Lenses Manual vs. autofocus Critical focus
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
Critical focus
** Photography is ** ---> the art of capturing and controlling light. Video, film, still images
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14. CCU and Cameras Studio cameras vs. field CCU for settings Tally lights
White balance
AGC / gain / decibels (video level)
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15. 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
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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
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17. Illusion of Movement Composing individual ‘shots’
Editing shots together
24 vs. 30 fps (transfers)
‘shutter speed’
Demonstrated in the online reading
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18. 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
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19. 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
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20. 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 ###
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