1. CAMERA The Eyes of the Director

2. INTRODUCTION  Responsible to director  Operator Automatic functions –Focus –Exposure  Operation must be come automatic  Must understand technical basics of equipment

3. DIGITAL CAMERAS  Analog to digital converter –Internal –Camera Control Unit (CCU)  Advantages –Fewer circuits –Less Power –Smaller size –Built-in SFX –Remote control

4. FRAMING  Scan area  Essential/critical area –10% ruleP. 219  Head, nose room  180 degree rule  Movement room  Shots –EWS, LS, MLS, MS, MCU, CU, ECU

5. MOVEMENT  Dolly (vs. zoom)  Truck  Arc  Tracking  Pedestal  Boom/Crane

6. MOUNTING DEVICES I  Tripod –Sticks –Head  Fluid, gear, friction  High hat  Hitch hiker  Ball mount –Triangle, spider, spreader

7. MOUNTING DEVICES I I  Pistol grip Body mount  Dollies –Pedestal –Boom - crane –Crab –Tyler

8. OPTICS I  One or more glass/plastic elements –Causes light to bend –Concave - bends light away from center –Convex-bends light toward the center  Focal Point -Light convergence  Focal Length-Optical center to focal point  Focal Plane-inverted image forms

9. OPTICS I I  Angle of acceptancep. 229 –Focal length (FL) + format –Wide angle, normal, narrow angle –Variable focal length (Zoom)  Field of viewp. 230  Depth of Field (DOF)p. 232  Focus distance  Aperturep. 231 –F-stops, T-stops

10. VIDEO CAMERAS  Pickup chips  Viewfinder-tally-communications  Optics-Filters –Color, Neutral Density (ND), Cap  Camera Control Unit (CCU) –Sync generator –Monitors  Camera types –Field, studio, convertible

11. FILM CAMERAS  Format –65mm, 35mm, 16mm, 8 mm (S-8)  Viewing systems –Reflex-through the lens –Non-reflex (parallax)  Sound systems –MOS –SOF (Synced)

12. ACCESSORIES  Same for either video or film  Matte box  Lens hood  Cable release (film)  Video tap (film)  Care:p. 242 –Sensitive –Theft tempting