lenses zoom range from 10:1 (called 10x) studio up to 70:1 (called 70x) sports detachable consumer...
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LensesLenses
Zoom RangeZoom Range
from 10:1 (called 10x) studiofrom 10:1 (called 10x) studio
up to 70:1 (called 70x) sportsup to 70:1 (called 70x) sports
detachabledetachable
Consumer camcorders let you increase Consumer camcorders let you increase the zoom range digitally (really just the zoom range digitally (really just enlarged pixels)enlarged pixels)
ENG/EFP lensesENG/EFP lenses
Range from 13x to 17xRange from 13x to 17x
Wide angle adapterWide angle adapter
Range extenderRange extenderusually 2xusually 2xreduces the light into lens by halfreduces the light into lens by half
Optical CharacteristicsOptical Characteristics
Focal lengthFocal length
FocusFocus
Light transmissionLight transmissioniris and f-stopiris and f-stop
Depth of fieldDepth of field
Focal LengthFocal Length
Distance from optical center of lens to the Distance from optical center of lens to the imaging deviceimaging device
how wide or narrow the vista will behow wide or narrow the vista will bezoom lenses are variable-focal-lengthzoom lenses are variable-focal-length
Minimum object distance (MOD)Minimum object distance (MOD)usually 2 to 3 feetusually 2 to 3 feet
Macro allows “next to lens” focusMacro allows “next to lens” focus
FocusFocus
Accomplished Zoomed All the Way In!Accomplished Zoomed All the Way In!
stays focused all through zoom rangestays focused all through zoom range
Studio configurationStudio configuration
left hand panning handleleft hand panning handle
Field cameraField camera
focus ringfocus ring
farthest out on the lensfarthest out on the lens
Light: Iris and f-stopLight: Iris and f-stop
ApertureAperturefrom all-open to completely closedfrom all-open to completely closed
Settings called f-stopsSettings called f-stopsf/16—nearly closed, very bright lightf/16—nearly closed, very bright lightf/1.7--almost completely open, low lightf/1.7--almost completely open, low light
Sharpest images between f/5.6 and f/8Sharpest images between f/5.6 and f/8
Lens SpeedLens Speed
Fast lenses go down to very small f-stopFast lenses go down to very small f-stop
number betas are f/1.8number betas are f/1.8
Slower lenses have lowest f-stops in the Slower lenses have lowest f-stops in the range of f/2.8range of f/2.8
Remote Iris controlRemote Iris control
Adjusted by CCUAdjusted by CCU
shadingshading
Auto-Iris SwitchAuto-Iris Switch
Field cameras—camera adjusts itselfField cameras—camera adjusts itself
however, does poorly in high-contrast however, does poorly in high-contrast scenesscenes
Can check by pressing button on lens but Can check by pressing button on lens but keep in manualkeep in manual
Depth of FieldDepth of Field
Area of scene in focusArea of scene in focus
greater behind object greater behind object
Focus on foreground object-Focus on foreground object-
background is out of focusbackground is out of focus
Depth of FieldDepth of Field
ShallowShallow
if movement, requires constant if movement, requires constant refocusingrefocusing
GreatGreat
nearly everything is on focus, no need for nearly everything is on focus, no need for constant refocusingconstant refocusing
Operational ControlsOperational Controls
Zoom controlZoom controlservo motor makes smoothservo motor makes smoothmanual—can be disabled for very quickmanual—can be disabled for very quick
changes in zoom levelchanges in zoom level
On right panning handle of studio cameraOn right panning handle of studio cameraright-hand rocker on ENG lens (W-T)right-hand rocker on ENG lens (W-T)
Digital ZoomDigital Zoompresets—camera must be fixedpresets—camera must be fixed
Focus ControlFocus Control
Studio CameraStudio Cameraleft panning handle—twist gripleft panning handle—twist grip
Field CameraField Camerafront of lensfront of lens
Auto Focus (should always be OFF)Auto Focus (should always be OFF)chooses center object onlychooses center object only
Camera Mounts/MovementCamera Mounts/Movement
Handheld/Shoulder-mountHandheld/Shoulder-mountcan introduce lots of movementcan introduce lots of movementquickly adaptablequickly adaptable--but TIRING!--but TIRING!
TripodTripodthree independent, collapsible legsthree independent, collapsible legsspreader—keeps from collapsespreader—keeps from collapse
TripodsTripods
Must be levelMust be level
leveling bowl—air bubbleleveling bowl—air bubble
can be placed on dolly (wheels)can be placed on dolly (wheels)
Pan and Tilt HeadsPan and Tilt Heads
Pan - horizontal movementPan - horizontal movement
Tilt - vertical movementTilt - vertical movement
Fluid HeadsFluid Headsspring-loaded counterbalance encased in spring-loaded counterbalance encased in
oil, provides drag for smoothnessoil, provides drag for smoothnesstilt/pan drag tilt/pan locktilt/pan drag tilt/pan lock
Camera Operation
Do Not:
leave in a car
expose to extreme weather
rain, hot sun, extreme cold
point lens at sun
drop batteries
leave batteries in sun
lay camera on side
Before The Shoot
Check all your equipment
camera, mics, cables, lights, tripod, batteries
Check tripod
pan/tilt locks, camera adapter (betas have red tab)
Do a test recording to make sure it all works
Before the Shoot
Check shotgun and external mics
do you have enough cable?
or is it wireless?
Check lights
cords and extensions (3-prong adapter)
Be sure you have tape
in-camera and extra
During the Shoot
Keep camera steady/Use tripod
bend knees
elbows against body
within reason, hold your breath
lean against a sturdy support
During the Shoot
Movement:Zoom all the way out
more forgiving of focus, wobbly movementPanning
move whole torso, not just armsbefore move, point knees towards end of pan
Movement
People walking
get in front of them and move backward
that way you get faces
ENG/EFP Camera
Hold on right shoulder, slip right hand through strap on zoon lens
Focus with left hand
Keep camera as steady as possible
Keep zoom out wide
Preset knees for pans
ENG/EFP Camera
Walk backward in front of moving people
White balance!for every new light situation
Be sure you’re getting good audioCheck exposure with auto iris-but keep it in
manualPreset zooms if possible
ENG/EFP Camera
If you don’t preset zoom:
you will have to follow-focus
focus more critical in low-light
Keep shotgun audio in auto
Pay attention to warning lights
red dot steady—recording (tally)
After the Shoot
Remove the videotape and replace it with another one in the camera
LABEL your tape
Turn all the switches off
Turn the iris to “C”
Replace the lens cap
After the Shoot
Roll up and secure mic cables
Return all equipment to its proper storage space
Put all batteries on charger
Let anything wet dry out
During the Show
Put on headset, unlock camera
Rack the focus to make sure you have the sharpest setting (when not “hot”)
hairline and eyes are good spots
For dolly-set focus on midpoint
Start dollys slowly, end smoothly
Try to brake camera before extreme pedestal positions
During the Show
Generally keep shots at eye level
Make sure you have enough cable
Be aware of what’s around you
Keep your eyes on viewfinder
Look for other shots to “sell” director
Don’t move or focus when tally light is on
During the Show
Mark camera positions on the floor
with tape
Listen to all director comments
Avoid chatter on the intercom
Framing Shots
=Show images as clearly as possible so they convey meaning and energy
You are clarifying and intensifying the event
Screen Size and Field of View
TVs much smaller than movie screens
Close-in shots best
Therefore field of view is tighter than movies
Field of View
How close the object appears relative to the camera (viewer)
Extreme long shotLong shotMedium shotClose-upExtreme close-up
Conventional Shots
Bust shot
Knee shot
Two-shot
Three-shot
Over-the-shoulder shot
Cross Shot (like reaction)
Framing Shots
Dealing with Height and Width
4x3 well-suited to both
16x9 best suited to width/horizontal
cant camera for height
or use other objects to mask sides
Close Ups
Close-upAllow headroomFramed below the shoulderssides look empty in 16x9
Extreme close-upcuts off top of the headframed just below top of shoulderslooks squeezed in 16x9
Headroom
Leave headroom in all types of shots
Too much headroom is bad though
Noseroom/Leadroom
Person looking/pointing
creates “index vector”
leave extra room to compensate
Screen motion
creates “motion vector”
leave leadroom to compensate
Closure
Mentally filling in missing areas of shotTo form sensible patterns
Positive Closure
Negative Closureclose-up just of facepole coming out of a man’s head
Depth
Lens choice
Positioning of objects
z-axis (foreground, middleground, background)
Depth of field
shallow shows depth and distance
because background is out of focus
Depth
Lighting and Colorbright and strong/saturated seems closer than dim and washed-out
Try to establish foregroundmiddlegroundbackground
Screen Motion
Movement towards lens is strongest
Leadroom for lateral motion
Where they’re going…..
If one person leaves a two-shot, follow her…you can’t keep both people in shot
Screen Motion
Must be SMOOTH
Excessive camera movement is the hallmark of an amateur photographer