1. CAMERA TECHNOLOGY and KEY PRINCIPLES for ACHIEVING A QUALITY IMAGE REVIEW of BASIC CAMERA TECHOLOGIES AND KEY CONCEPTS Updated July 6, 2006

2. CHIPS Pick-up device - "retina" of the camera Senses light, changes light energy into electric energy, 3 chips are better than 1 Senses light, changes light energy into electric energy, 3 chips are better than 1 ’Charged-coupled device' CCD, chip ’Charged-coupled device' CCD, chip Durable, permanently registered Durable, permanently registered

3. IRIS Metal leaves which control amount of light entering the camera Metal leaves which control amount of light entering the camera Aperture is the opening Aperture is the opening Measured in "f-stops" 1.4 - 22 (1 stop open, doubles amount of light coming in) Measured in "f-stops" 1.4 - 22 (1 stop open, doubles amount of light coming in)

4. IRIS f1.4 = wide open f1.4 = wide open f16 = small opening f16 = small opening If smallest f-stop 1.4 = fast lens (good low light) If smallest f-stop 1.4 = fast lens (good low light) If smallest f-stop 4.0 = slow lens (poor low light) If smallest f-stop 4.0 = slow lens (poor low light)

5. AUTO IRIS ”Auto" iris - standard setting ”Auto" iris - standard setting Camera "averages" the light reading and adjusts the iris accordingly Camera "averages" the light reading and adjusts the iris accordingly Causes problems with areas of high contrast or w/large dark or large light areas Causes problems with areas of high contrast or w/large dark or large light areas  High contrast ratio (dark vs. light areas in the frame)

6. AUTO IRIS Sports event w/harsh shadows, people shot against dark/light background Sports event w/harsh shadows, people shot against dark/light background Concert or play with extensive dark areas Concert or play with extensive dark areas Nighttime shoot Nighttime shoot

7. MANUAL IRIS ”Manual iris" - optional setting ”Manual iris" - optional setting Manually set the iris so that it won't change Manually set the iris so that it won't change Goal, setting the iris to pick up your subject accurately Goal, setting the iris to pick up your subject accurately Image through the viewfinder is best indication of iris setting Image through the viewfinder is best indication of iris setting Zebra stripes indicate overexposed areas in frame (if available on cam) Zebra stripes indicate overexposed areas in frame (if available on cam)

8. LENS Optical Zoom lens actually lengthens, shortens w/in the lens housing Optical Zoom lens actually lengthens, shortens w/in the lens housing Digital zoom simulates zoom electronically Digital zoom simulates zoom electronically Cam samples part of the image on the chip and ‘blows up’ image Cam samples part of the image on the chip and ‘blows up’ image Generally creates unfavorable image - grainy, pixilated Generally creates unfavorable image - grainy, pixilated

9. Viewfinder Small TV monitor mounted on camera Small TV monitor mounted on camera.5 to 1 inch TV (studio viewfinders bigger).5 to 1 inch TV (studio viewfinders bigger) Adjust to be comfortable tilt up and down Adjust to be comfortable tilt up and down Focus is separate from cam focus Focus is separate from cam focus Slides closer and farther from camera Slides closer and farther from camera Eye-piece can be adjusted or opened to allow full view of the viewfinder from a distance Eye-piece can be adjusted or opened to allow full view of the viewfinder from a distance Check before recording, set the contrast, brightness controls Check before recording, set the contrast, brightness controls

10. Viewfinder Pop-out screen increasingly common Pop-out screen increasingly common Very helpful for framing, and to let the team see the composition of a shot Very helpful for framing, and to let the team see the composition of a shot Useful for “playback” of recorded material Useful for “playback” of recorded material Enables “one-man” interviews with more control Enables “one-man” interviews with more control Do NOT use fold-out screen to focus - very unreliable Do NOT use fold-out screen to focus - very unreliable Limit use in bright light (hard to see) Limit use in bright light (hard to see) Drains battery more quickly Drains battery more quickly

11. Other elements of the camera... Special Controls (will vary with the camera) Special Controls (will vary with the camera) Manual/auto focus - typical on consumer models, can be problematic, use manual focus Manual/auto focus - typical on consumer models, can be problematic, use manual focus  Work poorly on reflective or horizontal surfaces Low light tools Low light tools  Gain control - boosts sensitivity of chip normal, amplifies the video signal, +3, +6, +9db, +18db  Use only when necessary, creates grainy pic  Some cams have a ‘low lux’ setting also  Some cams have a ‘low lux’ setting also

12. Depth of Field Key to controlling and creating depth in video, film and still photography Key to controlling and creating depth in video, film and still photography By controlling several interrelated variables, shooter can manipulate depth of field to: By controlling several interrelated variables, shooter can manipulate depth of field to:  Add depth to a shot  Make shot more interesting  Control viewer’s eyes Depth vs. Depth of Field - not the same Depth vs. Depth of Field - not the same Depth - having the “appearance” of 3-dimensions in two dimensional space (width & height) Depth - having the “appearance” of 3-dimensions in two dimensional space (width & height)

13. Depth of Field Area in focus in front of camera Area in focus in front of camera Variables affecting DOF: Variables affecting DOF: Lens length: shorter lens = greater DOF Lens length: shorter lens = greater DOF Aperture/iris: smaller iris = greater DOF Aperture/iris: smaller iris = greater DOF Light: more light = greater DOF Light: more light = greater DOF Shutter speed: faster speed requires more light, yields shallower DOF Shutter speed: faster speed requires more light, yields shallower DOF

14. Depth of Field Shallow DOF: only Greeny in focus Shallow DOF: only Greeny in focus Open Iris, f 1.4, 2.0 Open Iris, f 1.4, 2.0 Low lighting or Neutral Density filter on cam Low lighting or Neutral Density filter on cam Faster speed requires more light, yields shallower DOF Faster speed requires more light, yields shallower DOF DOF

15. Depth of Field

16. Great DOF: All 3 in focus Great DOF: All 3 in focus Stopped-down iris, f-12, f-16 Stopped-down iris, f-12, f-16 Well-lit scene, no ND filter Well-lit scene, no ND filter Shutter speed: slower speed requires less light, yields a greater DOF Shutter speed: slower speed requires less light, yields a greater DOF DOF

17. Depth of Field

18. Manipulate DOF to keep part of the frame out of focus Manipulate DOF to keep part of the frame out of focus Make your shot composition a conscious choice Make your shot composition a conscious choice Strive for depth in your shots Strive for depth in your shots

19. Depth of Field OTHER METHODS OF CREATING DEPTH OTHER METHODS OF CREATING DEPTH Rack focus Rack focus Foreground framing Foreground framing Positioning of objects & characters w/in frame Positioning of objects & characters w/in frame

20. Color Temperature Light temperature measured in degrees Kelvin Light temperature measured in degrees Kelvin Outdoor light (sunny day)= 5600 o Kelvin BLUE Outdoor light (sunny day)= 5600 o Kelvin BLUE Typical studio/field video light = 3200 o degrees Kelvin REDDISH/ORANGE Typical studio/field video light = 3200 o degrees Kelvin REDDISH/ORANGE Fluorescent light is 4900 o K Fluorescent light is 4900 o K

21. Color Temperature Be aware of the light situation where you are shooting Be aware of the light situation where you are shooting 1) SOURCE - sun, field lights, outside/inside, color temp? 1) SOURCE - sun, field lights, outside/inside, color temp? 2) DIRECTION - overhead, behind/from front? 2) DIRECTION - overhead, behind/from front? 3) INTENSITY - strong/intense or diffuse? 3) INTENSITY - strong/intense or diffuse? Control as many variables as possible, try to use uncontrollable variables to your advantage. Control as many variables as possible, try to use uncontrollable variables to your advantage.

22. White balancing the camera White balancing the camera Proper color temperature can be attained through adjustments to the camera (white balance settings), camera filters and lighting gels. Proper color temperature can be attained through adjustments to the camera (white balance settings), camera filters and lighting gels. Color balance - tells camera what "white" looks like under existing lighting conditions. Color balance - tells camera what "white" looks like under existing lighting conditions.

23. White Balance continued Most prosumer cameras have 4 white balance settings: Most prosumer cameras have 4 white balance settings: Automatic - camera automatically adjusts to the light temperature Automatic - camera automatically adjusts to the light temperature Inside - 'light bulb” icon indicates tungsten light balance (3200K) Inside - 'light bulb” icon indicates tungsten light balance (3200K) Outside - "sun" icon indicates outside light setting (5600K) Outside - "sun" icon indicates outside light setting (5600K)

24. White Balance continued White Balance continued Set it manually if at all possible Set it manually if at all possible Manual White Balance - Manual White Balance - 1. set master switch to 'manual' 1. set master switch to 'manual' 2. fill screen with white surface 2. fill screen with white surface 3. push white balance button, when it stops blinking, camera is balanced 3. push white balance button, when it stops blinking, camera is balanced

25. White Balance continued Hold white object under existing light MAKING SURE THAT DOMINANT LIGHT SOURCE FALLS ON white object Hold white object under existing light MAKING SURE THAT DOMINANT LIGHT SOURCE FALLS ON white object Some cams require you to hold the button down until indicator stops blinking Some cams require you to hold the button down until indicator stops blinking Others, just push button, release, wait for "OK" signal in viewfinder Others, just push button, release, wait for "OK" signal in viewfinder

26. White Balance continued Professional cameras require that the proper internal filter is selected BEFORE setting the white balance Professional cameras require that the proper internal filter is selected BEFORE setting the white balance 'Manual' is the preferred method as it guarantees proper balance 'Manual' is the preferred method as it guarantees proper balance

27. The issue of Control Know the effect you want to achieve and attempt to control as many variables a possible Know the effect you want to achieve and attempt to control as many variables a possible Take control of the production location Take control of the production location Control lighting - location, intensity, direction Control lighting - location, intensity, direction Control sound - eliminate unwanted sound, enhance desired sound Control sound - eliminate unwanted sound, enhance desired sound

28. Control Purposefully decide on talent, camera and lighting location before setting up. Purposefully decide on talent, camera and lighting location before setting up. Control as many elements as possible Control as many elements as possible Control comes through professional preparation and communication Control comes through professional preparation and communication

29. Video Camera Technique Creating the illusion Of 3 dimensions In a 2-D medium Updated July 10, 2006

30. FOCUS Technique for focusing on a stationary object Technique for focusing on a stationary object 1. zoom in on object/subject as far as possible find area of contrast 2. focus 3. zoom out and frame (COMPOSE) your shot... this works for stationary objects only

31. FOCUS Do not use fold-out viewfinder Do not use fold-out viewfinder Do not use auto-focus Do not use auto-focus Double check focus Double check focus

32. Camera Moves Make all moves as smooth and intentional as possible Make all moves as smooth and intentional as possible Do not call attention to moves Do not call attention to moves Zoom, Dolly Zoom, Dolly Pan, Truck Pan, Truck Arc, Crane/Boom, Tilt Arc, Crane/Boom, Tilt

33. ZOOM 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

34. 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. 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

35. 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)

36. 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

37. ZOOM IN

38. 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

39. 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 talent movement Allows more space for talent movement

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

41. ZOOM OUT

42. DOLLY 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

43. PAN 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

44. TRUCK 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)

45. 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

46. Basic shot descriptions Extreme long shot (XLS, ELS ) 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

47. Basic shot descriptions Long shot (LS) 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

48. Basic shot descriptions Medium shot (MS) Medium shot (MS)  Fairly close, "interpersonal" distance  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"

49. Basic shot descriptions Close-up (CU) Close-up (CU)  Close shot, framed tightly, only part of subject seen  Variations: bust shot, tight shot  Emotional/intense, necessary on TV (small screen)

50. Basic shot descriptions Extreme close-up ( ECU, XCU) Extreme close-up ( ECU, XCU)  Very close, extreme detail  The tighter the shot, the more intense

51. Composition 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  Follow rule of thirds on every shot!

52. Rule of Thirds

53. Composition 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

54. Composition

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64. Composition 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 BRIGHTER objects carry more "weight” BRIGHTER objects carry more "weight”  white, yellow, etc...

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

66. Composition

67. Rule of Thirds

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73. 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

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

75. Composition

76. Composition 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

77. Composition 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 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)

78. Composition 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)  Film, HDTV = 16 x 9 (1.78:1)  But shot with 4x3 in mind for TV

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

80. 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

81. TRIPOD OPERATION Set up tripod properly 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

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

83. 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 Tilt lock - ALWAYS set the tilt lock when leaving the camera Tilt lock - ALWAYS set the tilt lock when leaving the camera

84. TRIPOD OPERATION Panning/tilting - set drag to your preference Panning/tilting - set drag to your preference Begin and end with a balanced, well- composed shot Begin and end with a balanced, well- composed shot START in the uncomfortable position, finish in the comfortable position START in the uncomfortable position, finish in the comfortable position 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

85. 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.

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

87. Summary - Camera Operations Becoming a good camera operator requires practice and knowledge of your equipment Strive for depth whenever possible Remember to try and control as many variables as possible