CAMERA WORK:Movement of lens of camera, Types of shots

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TV News Reporting and Production MCM 516

LESSON 11

CAMERA WORK

The camera works on the principal of human eye and it shows what all the human eye watches through

its lens. The eye retains the image for 1/16 second while the camera works at the speed of 25 frames per

second and that's why the fractions of frames or pictures seem to be moving on the screen.

Camera functions

The camera can be utilized as per the requirement of the shot, situation of he programmes and the mood

of the scene. There are following camera functions generally used in television productions.

Movement of lens of camera

During this technique only lens of the camera is moved

Zoom in

Image coming close to viewer

Zoom out

Image going away from the viewer

Focus

Image becoming sharp

Defocus

Image getting blur

Movement of camera itself

During this technique camera itself is moved

Pan right

Camera is moved towards right side

Pan left

Camera is moved towards left side

Tilt up

Camera is moved upwards

Tilt down

Camera is moved downwards

Movement of camera with tripod

During this technique the camera is moved with the pedestal or tripod leaving its place as well.

Dolly in

Camera is moved close to the object

Dolly out

Camera is moved away from the object

Track right

Camera is moved to the right side of the object

TV News Reporting and Production MCM 516

Track left

Camera is moved to the left side of the object

Use of crane

This is an arrangement of making a cameraman sit on an equipment like crane to make free movement

over a crowd especially used in music show, concerts awards ceremonies.

Use of jib

This is an arrangement of making a camera placed on equipment like triangular stay sail set to make free

movement of the camera itself while the operator is on ground controlling the camera.

Use of wide-angle lens

It is used when there is a small space available for the movement of camera. It gives the broader

perspective of the shot.

Use of fish-eye lens

It is used to create dramatic effect of the situation and to show the panoramic view of the scene.

Shot

The frame being captured through the camera lens is called shot. It's the picture being photographed or

scene being recorded.

Types of shots

Extreme close up (ECU)

Big close up (BCU)

Close up (CU)

Medium close up/bust shot (MCU)

Medium shot (MS)

Medium long shot (MLS)

Long shot (LS)

Very long shot (VLS)

Top/High angle shot (looking downwards)

Low angle shot (looking upwards)

Two shot (can be CU/MCU/MS)

Over the shoulder shot (OTS)

Moving subject walking into space

Differential shot

Video Equipment

Studio Cameras

The studio television camera is the beginning of the video signal. It is here that visible light is

transformed or transduced into electrical energy. The video signal remains in the form of electrical

energy, either analog or digital, for most of the remaining process until a picture monitor (TV set)

converts the electrical signal back into visible light. The principle parts of the studio camera are; the

camera head (including lens, imaging device, and viewfinder), the camera mount, and the studio

pedestal.

The Camera

Lens: The external optics is designed to collect and focus the light onto the face of the imaging device.

The lens contains focusing, focal length, and aperture controls. The first two controls are made by the

camera operator at the camera head, and the aperture control is typically made by the video engineer at

the CCU. Studio cameras at a TV station have servo controls for zoom, and manual controls for focus.

The servo zoom control, which provides smooth and variable speed zooms with a little practice, is

TV News Reporting and Production MCM 516

located on the right pan handle while the focus control is located on the left pan handle. NOTE: On a

properly maintained camera and lens, focus should be set with the lens set to maximum focal length.

Once set, the lens will maintain accurate focus throughout the zoom range as long as the distance

between subject and lens does not change.

Imaging Devices: The internal optics, including the beam splitter, are housed in the camera body.

View Finder: The monochrome (black and white) monitor on top of the camera head is your window

on the world. And while it provides no information about the colors being reproduced, it is an accurate

display for the purpose of framing, focus and composition. The angle of the VF is adjustable to provide

optimum viewing regardless of the height of the camera or the height of the operator. The VF has

contrast and brightness controls and should be adjusted for your particular situation. These controls do

not in any way affect the video output of the camera.

The Camera Mount

The camera is attached to a head which is in turn attached to the camera support--in our case a tripod

and dolly combination. Types of professional camera heads include cam heads and fluid heads. Both

allow for smooth pans and tilts. However, the smoothness of these movements is determined in part by

the operator's proficiency and muscular coordination. Hours of practice are necessary before one can be

fully proficient with camera moves worthy of "on-air" service. Please be aware of the location and use

of the pan and tilt locks and tension adjustments. Never try to operate the camera head with the locks

engaged, or with the tension adjustments tightened. Whenever the operator is at the camera, both the

pan and tilt adjustments should be unlocked and loose enough so that the camera movements can be

executed smoothly and quickly according to the director's wishes. Before the operator leaves the

camera, even for a moment, the pan and tilt should be locked securely. Please follow these directions

carefully!

Movement

Primary: movement of the subject(s) in front of the camera

Secondary: movement of the camera

Pan: horizontal movement of the camera head

Tilt: vertical movement of the camera head

Pedestal: raising or lowering of the camera head

Truck: pedestal movement left or right (in relation to the subject)

Dolly: pedestal movement forward or back (in relation to the subject)

Arc: pedestal movement around a subject, retaining a fixed distance from the subject

Tertiary: movement caused by a sequence of camera shots or transitions, e.g. cuts, dissolves, fades,

wipes, etc.

Camera Operation

Before the Shoot

Check out your headset, make sure that the intercom is working and that the Director or TD

knows that you are on camera.

Unlock the camera head and adjust the pan, and tilt drag. Never use the drag controls to lock

down the camera.

If you don't have a cable puller assigned to your camera, make sure that you have enough cable

to reach your positions and that it is coiled neatly out of the way.

Check with the video engineer to uncap the camera. Focus and set your viewfinder adjustments.

Practice zooming and setting focus--get a feel for the mechanical or servo controls.

If you have a shot sheet, rehearse your shots and moves.

Check to see that the Teleprompter (if you have one) is working.

Always lock your camera and physically cap the lens before leaving it.

TV News Reporting and Production MCM 516

During the Shoot

Unlock the camera head and make sure that the adjustments are correct. The camera should

never be operated with the pan and tilts locks engaged!

Preset the focus once you're in position. Unless you're on air, always set your focus with the

lens in its maximum focal length position.

Make sure that your wheels are set for planned dolly or trucking moves.

If you have a difficult move, have the FD or a floor assistant help you.

Be aware of other objects, people, activities around you--e.g. other cameras, mic booms,

monitors (don't stand between it and the talent), FD (don't run into him/her), props, light stands, etc.

Keep your eyes on the viewfinder and be looking for your next shot--help the director but try

not to "out-direct" him/her.

Be aware of your tally light.

Anticipate and get to your next shot quickly.

Mark critical camera positions on the studio floor with tape.

Use your talk back mic only in emergencies.

Listen to the directions given to other cameras as well as your own. Use the external switch to

view the "on-air" camera and try to match shots when appropriate.

After the Shoot

Wait for the "wrap" signal to lock down your camera.

Cap the lens

Move your camera to its storage location and coil the cable neatly on the wall hangers in a

figure-eight wrap.

Assist with other studio wrap procedures.

Portable Camcorders

There is the Ikegami HC-400W camera with Panasonic DVCPro50 VCR backend. The department

owns three of these units and they are refered to as the Red, Blue and Green units. Each camcorder has

an accompanying Porta Brace grip bag with appropriately color-coded audio and grip accessories. The

Ikegami professional camcorders are capable of shooting in 4:3 or 16:9 aspect ratios, and can record in

DVCPro25 or DVCPro50 mode. The 25 and the 50 refer to Mbps (Megabits per second) of digital data

and the 50 Mbps records at twice the tape speed of 25 Mbps, thus halving the effective length of the

field tapes that are used.

The other type of camcorder is the Sony PD-100. This 3-chip DVCam format camcorder is a prosumer

quality camera that is capable of high quality pictures under ideal conditions. The PD-100 has automatic

focus, white-balance, and exposure...but for best results it is a good idea to learn to use the manual

settings. The PD-100 has a flip-out color LCD screen that can be very helpful in certain conditions. The

PD-100 can be used with either mini DV or DVCam tape stock and can shoot in either mode. Like with

the DVCPro25/50 choice described above, shooting in the DVCam mode means slightly faster tape

TV News Reporting and Production MCM 516

speed, or less record time from the tape. A 60 minure DV tape, recorded in the PD-100 in DVCam

mode, will last for approximately 42 minutes.

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