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Operating a Camera

Whenever possible, the camcorder or ENG/EFP camera should be on a tripod. ... Found on most camcorders. Work well most times unless the wrong subject is chosen by ...

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Operating a Camera

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  1. Operating a Camera Television Production COM 112 Volunteer State College

  2. Overview Basic Camera Movements Camera Mounts and How to Use Them Operational Features

  3. Basic Camera Movements • Pan - Turning camera horizontally left to right or right to left

  4. Basic Camera Movements • Tilt - Pointing the Camera up or down

  5. Basic Camera Movements • Cant - Tilting the Camera Sideways, left or right (the horizon is slanted)

  6. Basic Camera Movements • Pedestal - Raising or lowering the camera on the tripod or studio pedestal center column

  7. Basic Camera Movements • Dolly - Moving the camera and pedestal/tripod toward or away from the subject in a fairly straight line.

  8. Basic Camera Movements • Truck or Track - Using a mobile camera mount to move the camera laterally keeping camera pointing at a right angle to the move

  9. Basic Camera Movements • Arc - Slightly curved truck movement

  10. Basic Camera Movements • Crane or Boom - Up or Down movement on a camera crane or jib arm.

  11. Basic Camera Movements • Tongue - Moving whole camera left to right or right to left with boom of a camera crane or jib arm

  12. Basic Camera Movements • Zoom - Changing focal length of lens by zoom control while camera remains stationary.

  13. Camera Mounts and Use • Handheld and Shoulder Mounted Camera • Small Camcorder • Steadied with both hands and elbows pressed against your body

  14. Camera Mounts and Use • Handheld and Shoulder Mounted Camera • Small Camcorder • Lean against a solid surface when possible

  15. Camera Mounts and Use • Handheld and Shoulder Mounted Camera • Small Camcorder • Pan by moving at knees and uncoiling body

  16. Camera Mounts and Use • Handheld and Shoulder Mounted Camera • Small Camcorder • Walking backwards is a steadier picture than waling forward

  17. Camera Mounts and Use • Shoulder Mounted ENG/EFP Camera • Carried on Shoulder • Typically right hand slips through strap attached to lens with finger control on zoom lens • Left Hand typically steadies camera and operates focus ring

  18. Key Concept 1 • Keep the handheld or shoulder mounted camera as steady as possible and zoomed out when moving.

  19. Tri pod Supported Camera • When ever possible mount the camera. A tri pod or some other camera mount is always more steady than hand held • Even a sand bag on a car hood is more consistently steady.

  20. Tri pod Supported Camera • Tri-pod has 3 adjustable pods (legs) often secured by a spreader. • Tri-pod legs don’t have to be the same length. (stadium bleachers) • Good tri-pods have an air bubble for leveling.

  21. Tri pod Supported Camera • Mounting head is important part of tripod • Sometimes call pan-and-tilt head • Camera operator uses pan/tilt handle to accomplish moves • You move the handle opposite the direction needed • Push down to tilt up and push up to tilt down • Push right to pan left and push left to pan right

  22. Mounting Head • Operator should un-lock pan and tilt when operating camera • Lock pan and tilt when finished

  23. Mounting Head • Operator should adjust pan and tilt drag • Drag is resistance to your pan and tilt movement to allow smooth moves

  24. Tri-Pod Advantages • Steady camera when zoomed in or out • Smoother pans and tilts • Limits excessive camera movement • Less fatiguing for operator

  25. Key Concept 2 • Whenever possible, the camcorder or ENG/EFP camera should be on a tripod.

  26. Tri-Pod Dolly • Allows movement of camera on the tripod • Trucks and arcs • Typically a 3 wheel unit to which tri-pod legs attach

  27. The Field Dolly • Four wheels similar to a wagon with plywood platform • Handles at each end • One end steers the pneumatic tires

  28. The Studio Pedestal • Most complex and expensive camera mounting • Has both parallel and tricycle steering • Pneumatic telescoping column to raise and lower camera

  29. Parallel and Tricycle Steering • Parallel steering - all three casters steer in the same direction • Used for normal camera moves • Tricycle steering - only one wheel is steerable • Used to rotate the pedestal to move it closer to scenery or a wall

  30. CAM Friction Head • Typically found on studio pedestal to handle weight of studio camera and teleprompter • Still has pan and tilt drags and locks • Two panning handles too allow camera movements combined with zooms

  31. CAM Friction Head • Usually has Wedge mount plate to accommodate quick removal or attachment to camera head. • A slide and lock assembly

  32. Key Concept 3 • Always lock the mounting head when leaving the camera un-attended

  33. Special Camera Mounts • Robotic Pedestal - computer controlled • Steady Cam- Gyroscopically or Spring Balanced • Collapsible Jib Arm - for high shots and extended reach

  34. Special Camera Mounts • Short Jib Arm - Counterbalanced and clamps to other structure • Bean or Sand Bag - provides steady cushion in stationary spot and can be tied down

  35. Operational Features • White Balancing - adjustment of red, green and blue chroma channels to that white looks like white in the light you have

  36. White Balancing • Usually automatic on camcorders • Operator induced on ENG/EFP cameras • Accomplished by focusing on white surface and pressing the white balance trigger or button. Viewfinder notes completion.

  37. White Balancing • In Studio White Balancing usually accomplished by video operator or engineer.

  38. Key Concept 4 • Unless the camera has fully automatic white balance system, you need to white balance every time you enter a new lighting environment.

  39. Focusing • Accomplishing a sharp and clear picture • Most ENG/EFP cameras have manual focus • Some camcorders have Auto to Manual Focus switching

  40. Presetting or Calibrating a Zoom Lens • Adjusting lens to maintain focus throughout a wide to close zoom • In handheld ENG/EFP operation front ring on lens is focus ring

  41. Key Concept 5 • To preset (calibrate) a zoom lens • 1. Zoom in as closely as possible on target object and bring it into focus • 2. All subsequent zooms will remain in focus as long as camera and target object don’t move • 3. Every time camera or subject moves you need to re-calibrate

  42. Auto Focus • Found on most camcorders • Work well most times unless the wrong subject is chosen by camera to measure distance for focus • For artistic moves you’ll need to switch to manual

  43. Depth of Field • Area within z-arc in focus • Shallow depth of field makes focus critical • Narrow angle (zoomed in) and low light level lessen the depth of field • Wide angle (zoomed out) and high light level increase depth of field

  44. Key Concept 6 • Depth of field is dependent on focal length of lens, the aperture, and the distance from camera to object.

  45. Zooming • Rocker switches found on Camcorders & ENG/EFP units. • Some have speed controls • Others control zoom speed by pressure of rocker switch • Similar rocker switch on studio camera panning handle

  46. Key Concept 7 • Keep your zooming to a minimum.

  47. Check list for CamCorders & ENG/EFP Cameras • Don’t expose the camera to the elements • Leave the camera with care • Use the lens cap • User fully charged batteries

  48. Check list for CamCorders & ENG/EFP Cameras • Verify the video tape format • Examine all Connections • Test the Camera • Set the Switches

  49. Checklist for CamCorders & ENG/EFP Cameras • Set the Switches • Perform a White Balance • Always capture audio • Heed the warning signs

  50. Checklist for Studio Camera • Get in touch and in control • Tame the cables • Test zoom and focus • Practice your moves

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