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

Video Camera TechniqueVideo Camera TechniqueVideo Camera TechniqueVideo Camera Technique

Creating the illusionCreating the illusion

Of 3 dimensionsOf 3 dimensions

In a 2-D mediumIn a 2-D medium

Updated July 10, 2006

FOCUS FOCUS FOCUS FOCUS

• Technique for focusing on a Technique for focusing on a stationary objectstationary object

1.1. zoom in on object/subject as far zoom in on object/subject as far as possible find area of contrast as possible find area of contrast

2.2. focus focus

3.3. zoom out and frame (COMPOSE) your zoom out and frame (COMPOSE) your shotshot

... this works for stationary ... this works for stationary objects onlyobjects only

FOCUS FOCUS FOCUS FOCUS

• Do not use fold-out Do not use fold-out viewfinderviewfinder

• Do not use auto-focusDo not use auto-focus• Double check focusDouble check focus

ZOOMZOOMZOOMZOOM

• Lengthening and shortening the Lengthening and shortening the lens lens "in" - longer, closer "in" - longer, closer "out" - shorter, farther away "out" - shorter, farther away make sure the zoom is make sure the zoom is 'motivated,’ has purpose 'motivated,’ has purpose

• Avoid the tendency to 'overzoom.' Avoid the tendency to 'overzoom.' • Well-composed start and finishWell-composed start and finish• Usually requires a pan and tilt Usually requires a pan and tilt with the zoomwith the zoom

ZOOMZOOMZOOMZOOM

• Digital zoom - selects and Digital zoom - selects and expands ("blows up") an expands ("blows up") an increasingly smaller part of increasingly smaller part of the image.the image.

• This leads to very close This leads to very close shots from far away but also shots from far away but also produces digital noise in the produces digital noise in the form of pixels and grain.form of pixels and grain.

ZOOMZOOMZOOMZOOM

• Useful for far away shots where Useful for far away shots where importance of image overrides importance of image overrides concern for quality - that is, concern for quality - that is, if you can live with a grainy if you can live with a grainy image, use the digital zoom.image, use the digital zoom.

• Can function as an artistic Can function as an artistic choicechoice

ZOOM INZOOM INZOOM INZOOM IN

• Pulls the viewer into the Pulls the viewer into the shot, into situationshot, into situation

• More intimate and emotional More intimate and emotional (lines on the face, tension, (lines on the face, tension, sweat)sweat)


• Narrows the Narrows the angle of viewangle of view which which eliminates visual information at eliminates visual information at the sides of the framethe sides of the frame

Longer lens narrows the Longer lens narrows the angle of viewangle of view


• Longer lensLonger lens yields shallower depth of yields shallower depth of field, throws the background out of field, throws the background out of focus focus

• Good for depth - narrows the angle of Good for depth - narrows the angle of view which eliminates visual view which eliminates visual information at the sides of the frame information at the sides of the frame

• ””Forces" audience to view fewer items Forces" audience to view fewer items in the framein the frame

ZOOM OUTZOOM OUTZOOM OUTZOOM OUT

• Reveals information to the Reveals information to the viewer that they couldn't see viewer that they couldn't see with the tighter shot, allows with the tighter shot, allows space, reveals other space, reveals other characters or objects in the characters or objects in the scenescene

• Allows more space for talent Allows more space for talent movementmovement


• Short lens widens the Short lens widens the angle of angle of viewview

DOLLYDOLLYDOLLYDOLLY

• DOLLY - movement of entire cam DOLLY - movement of entire cam toward or away from the subjecttoward or away from the subject

• Similar to a zoom but with a Similar to a zoom but with a different effect - keeps the same different effect - keeps the same 'angle of view' throughout the 'angle of view' throughout the camera movecamera move

• ””Participant" or POV orientation Participant" or POV orientation as camera moves through the scene as camera moves through the scene

PANPANPANPAN

• Left/right movement of camera Left/right movement of camera head on stationary cam. mount head on stationary cam. mount (either tripod or on the (either tripod or on the shoulder of videographer) shoulder of videographer)

• Suggests 'observer' role Suggests 'observer' role (compared to a 'truck') - (compared to a 'truck') - action 'passes by' the camera action 'passes by' the camera

TRUCKTRUCKTRUCKTRUCK

• Left/right movement of entire Left/right movement of entire camera camera

• Usually mounted on a rolling Usually mounted on a rolling platform (dolly) but may be handheldplatform (dolly) but may be handheld

• As cam follows along-side the As cam follows along-side the action, allows viewer to participate action, allows viewer to participate in the moving scene (Indiana Jones in the moving scene (Indiana Jones fighting on a moving truck, Olympic fighting on a moving truck, Olympic sprinters) sprinters)

TILT, ARCTILT, ARCTILT, ARCTILT, ARC

• TiltTilt - up/down movement of - up/down movement of camera head on stationary camera head on stationary cam. mount tilt - up/down cam. mount tilt - up/down movement of camera head on movement of camera head on stationary cam mountstationary cam mount

• ArcArc - left/right arching - left/right arching movement of cameramovement of camera

Basic shot descriptions Basic shot descriptions Basic shot descriptions Basic shot descriptions

• Extreme long shotExtreme long shot (XLS, ELS ) (XLS, ELS )• Cam very far away from the Cam very far away from the subject (often an subject (often an "establishing" shot)"establishing" shot)

• Sets overall context, shows Sets overall context, shows location of actionlocation of action

• Exterior" on drama or sitcom, Exterior" on drama or sitcom, blimp shot at sporting eventblimp shot at sporting event

• Long shots - dramatic, landscape, Long shots - dramatic, landscape, don't translate well to TVdon't translate well to TV


• Long shotLong shot (LS) (LS) • Camera far from the subject,Camera far from the subject, may may include all talent and props in include all talent and props in the shot the shot

• Sets context, shows relationships Sets context, shows relationships

• All players in a basketball game, All players in a basketball game, shot from back of Letterman's shot from back of Letterman's studiostudio


• Medium shotMedium shot (MS) (MS)• Fairly close, "interpersonal" Fairly close, "interpersonal" distancedistance

• Shows most of a person or peopleShows most of a person or people

• May be more specific - 2S, 3S May be more specific - 2S, 3S

• Shows relationships, close-Shows relationships, close-enough to feel "in the action" enough to feel "in the action"


• Close-upClose-up (CU) (CU)

• Close shot, framed tightly, only Close shot, framed tightly, only part of subject seenpart of subject seen

• Variations: bust shot, tight Variations: bust shot, tight shotshot

• Emotional/intense, necessary on Emotional/intense, necessary on TV (small screen) TV (small screen)


• Extreme close-upExtreme close-up ( ECU, XCU) ( ECU, XCU)

• Very close, extreme detailVery close, extreme detail

• The tighter the shot, the more The tighter the shot, the more intenseintense

Composition Composition Composition Composition

• BalanceBalance - strive for visual - strive for visual balance in most shotsbalance in most shots

• ******Rule of thirdsRule of thirds - divide the - divide the screen into vertical and screen into vertical and horizontal thirdshorizontal thirds• Place key objects on those thirdsPlace key objects on those thirds• Follow rule of thirds on every Follow rule of thirds on every shot!shot!

Rule of ThirdsRule of Thirds


• HeadroomHeadroom - room above talent's - room above talent's head head

• LeadroomLeadroom - space in frame in - space in frame in front of talent into which front of talent into which talent moves (e.g., pan)talent moves (e.g., pan)

• LookspaceLookspace - space in frame IN - space in frame IN FRONT of talent into which FRONT of talent into which talent looks talent looks

CompositionCompositionCompositionComposition


• Visual "weight" (and therefore Visual "weight" (and therefore balance) determined by size, color balance) determined by size, color and placement of objects in the and placement of objects in the frame. frame.

• LARGER objects carry more "weightLARGER objects carry more "weight• - also, foreground increases size- also, foreground increases size

• BRIGHTER objects carry more BRIGHTER objects carry more "weight”"weight”• white, yellow, etc...white, yellow, etc...


• CLOSER TO THE EDGE equals CLOSER TO THE EDGE equals more "weight”more "weight”

• - small, but near edge = - small, but near edge = "weight”"weight”

Rule of ThirdsRule of Thirds

Other composition Other composition considerationsconsiderations

Other composition Other composition considerationsconsiderations

• Symmetrical balanceSymmetrical balance NOT required NOT required• Nonsymmetrical framingNonsymmetrical framing acceptable in limited situations acceptable in limited situations

• Landscapes, large horizontal Landscapes, large horizontal objects look better off-centerobjects look better off-center

• Background clutterBackground clutter - avoid it, - avoid it, distracts from the foregrounddistracts from the foreground

• Limit camera motionLimit camera motion - smooth, - smooth, steady, avoid tendency to over steady, avoid tendency to over zoomzoom


• Psychological ClosurePsychological Closure - frame - frame shots so that viewers can shots so that viewers can "mentally" fill-in the parts "mentally" fill-in the parts that extend off-screenthat extend off-screen

• Entire object does NOT need to Entire object does NOT need to be on-screenbe on-screen

• Framing can "suggest" Framing can "suggest" continuationcontinuation


• Framing people - avoid cutting Framing people - avoid cutting people off at natural "cut people off at natural "cut points”points”

• knees, waist, ankles, elbows, knees, waist, ankles, elbows, bust bust

• frame to suggest "closure," frame to suggest "closure," continuation off-screencontinuation off-screen


• Foreground framingForeground framing - use - use objects in the foreground to objects in the foreground to frame the subjectframe the subject• adds depth, more interestingadds depth, more interesting

• Over the shoulderOver the shoulder (O/S, OTS) (O/S, OTS)• Shot of one person framed over Shot of one person framed over the other's shoulder (good for the other's shoulder (good for interviews)interviews)


• Rack focusRack focus - "move" the depth - "move" the depth of field from one object to of field from one object to another by adjusting focus another by adjusting focus ringring

• Aspect ratioAspect 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 TVBut shot with 4x3 in mind for TV


4x3 US 4x3 US TVTV

NTSCNTSC16x916x9

Wide Wide ScreenScreen

TRIPOD OPERATION TRIPOD OPERATION TRIPOD OPERATION TRIPOD OPERATION

• whenever possible, use a whenever possible, use a tripod or other appropriate tripod or other appropriate camera supportcamera support

• exceptions - desired effect, exceptions - desired effect, not enough timenot enough time


• Set up tripod properlySet up tripod properly• legs lockedlegs locked• spreaders lockedspreaders locked• set tripod feet - spikes or set tripod feet - spikes or rubberrubber

• camera plate FULLY secured to cam camera plate FULLY secured to cam and tripod (quick release plate and tripod (quick release plate stays with the camera)stays with the camera)

• bubble balance to insure level bubble balance to insure level shotshot


• Pan dragPan drag - knob which - knob which controls pan "looseness"controls pan "looseness"• set to your preferenceset to your preference

• Pan lockPan lock - be careful, - be careful, usually leave this unlocked usually leave this unlocked when you step away from the when you step away from the camera to keep from knocking camera to keep from knocking camera overcamera over


• Tilt dragTilt drag - same function as - same function as the pan drag the pan drag • Don't want tilt or pan motions Don't want tilt or pan motions TOO LOOSE, makes for unsteady TOO LOOSE, makes for unsteady camera moves camera moves

• Tilt lockTilt lock - ALWAYS set the - ALWAYS set the tilt lock when leaving the tilt lock when leaving the cameracamera


• Panning/tilting - set drag to Panning/tilting - set drag to your preferenceyour preference

• Begin and end with a balanced, Begin and end with a balanced, well-composed shot well-composed shot

• START in the uncomfortable START in the uncomfortable position, finish in the position, finish in the comfortable positioncomfortable position

• Set up tripod in a comfortable Set up tripod in a comfortable position for the shootposition for the shoot

• Use pan bar to smooth out pan Use pan bar to smooth out pan and tilt motionsand tilt motions

HAND HELD OPERATION HAND HELD OPERATION HAND HELD OPERATION HAND HELD OPERATION

• Brace yourself if necessary, use Brace yourself if necessary, use head, shoulder, arm to steady the head, shoulder, arm to steady the cameracamera

• Work with partner if you will be Work with partner if you will be movingmoving

• Consider alternate camera Consider alternate camera position (low level, held by position (low level, held by handle, braced on kneehandle, braced on knee

• The WIDER the angle (zoomed out) The WIDER the angle (zoomed out) the steadier the shot.the steadier the shot.

HAND HELD OPERATION HAND HELD OPERATION HAND HELD OPERATION HAND HELD OPERATION

• Extreme zooms (narrow angle, Extreme zooms (narrow angle, zoomed in) yields shakier zoomed in) yields shakier shotsshots

• Do news interviews, MOS Do news interviews, MOS interviews w/short lensinterviews w/short lens

Summary - Camera Operations

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

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

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