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

2. 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

3. 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

4. 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.

5. 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

6. ZOOM IN pulls the viewer into the shot, into situation
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
Longer lens narrows the angle of view

8. ZOOM IN

9. 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

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
allows more space for actor movement

11. ZOOM OUT
Short lens widens the angle of view

12. ZOOM OUT

13. ZOOM OUT

14. ZOOM OUT

15. ZOOM OUT

16. 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

17. 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

18. 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)

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
Arc - left/right arching movement of camera

20. 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

21. 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

22. 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"

23. 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)

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

25. 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!

26. Rule of Thirds

27. Rule of Thirds

28. Rule of Thirds

29. Rule of Thirds

30. Rule of Thirds

31. 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  

32. Headroom, Leadroom, Lookspace

33. Headroom, Leadroom, Lookspace

34. Headroom, Leadroom, Lookspace

35. Headroom, Leadroom, Lookspace

36. Headroom, Leadroom, Lookspace

37. Headroom, Leadroom, Lookspace

38. 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...

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

40. 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

41. Rule of Thirds, Balance

42. Rule of Thirds, Balance

43. Rule of Thirds, Balance

44. Rule of Thirds, Balance

45. 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

46. Composition

47. Composition

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

49. 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)

50. 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

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

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

53. 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

54. 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

55. 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

56. 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

57. 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.

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