Studio Camera Operation and Lighting
Fayetteville Public Access Television 101 W. Rock Street Fayetteville, AR 72701 faypublic.tv 4794443433
08/2014 1 of 10 Welcome to the Studio Camera Operation and Lighting class! In this class you will learn to operate the studio cameras, correctly compose shots, and execute basic camera movements. You will also learn lighting concepts and how to properly light a set in the studio. In order to pass this class you must complete the instructor led handson training and score at least 70% on a proficiency test.
The Role of the Camera Operator: The camera operator controls one of the studio cameras during a studio production. The camera operator takes direction from the director and effectively executes shot framing and composition as well as any camera movement requested by the director. The camera operator is also responsible for making sure that camera cables are properly wrapped and that cameras are properly placed back in their storage area after the production has finished.
Camera Locks: There are multiple locks that you need to be aware of in order you use the studio camera. First are the wheel locks. Before you attempt to move the camera you must first make sure each of these locks are open and allow each wheel to move freely.
Next are the pan and tilt locks. These locks keep the camera from being able to rotate on its vertical axis and horizontal axis.
The pan lock lever is located on the back of the pedestal head. Make sure it is loose in order to pan the camera to the left or right.
08/2014 2 of 10 There are two locks for the tilt. First is the tilt lock pin located on the right side of the pedestal. To disengage it simply pull it out and twist it to the left. The tilt lock lever is located on the left side of the camera. Be sure that both the tilt lock lever and the tilt lock pin have been released before you attempt to tilt the camera.
The final lock is the pedestal lock. It is located on the pedestal base directly under the steering wheel. Releasing this lock will allow you to raise or lower the height of the camera. After you have selected an appropriate height be sure to secure this lock.
NOTES
______
______
______
08/2014 3 of 10 Camera Movement: The movement of this camera is controlled by using the steering wheel. Located on the steering wheel you will find a red plastic marker. This marker is used to indicate which direction the camera will move in. To steer the camera you will simply turn the steering wheel until the red marker is pointing in the direction you wish to move the camera.
Camera moves are intended to focus the viewer’s attention. Movement should be performed with a purpose, at an appropriate speed for the circumstance and not confuse the viewer. Below are standard camera movement definitions. ● Pan Rotating the camera left or right around a vertical axis. ● Tilt Rotating the camera up or down around a horizontal axis. ● Truck Moving the camera left or right on the pedestal. ● Dolly Moving the camera closer to or further from the subject on the pedestal. ● Arc Similar to truck except you move in a half circle or ‘arc’ to left or right. ● Pedestal Raising or lowering the camera on the pedestal column.
Focus and Zoom Controls: At the end of the handlebars sit the focus and zoom controls. The zoom control in positioned on the right handlebar. On the zoom control is a switch that can be moved to either the right or the left. Moving it to the right will zoom in and moving it to the left will zoom out. The zoom control is pressure sensitive so the farther you press it to the right or left; the faster the speed of the zoom.
The focus control is at the end of the left handlebar. To make adjustments to the camera’s focus the camera operator will roll the focus control to the right or the left and watch the viewfinder to see when their shot comes into focus.
08/2014 4 of 10 Setting the Focus: In order to set the focus on the studio camera you will want to zoom in all the way on your subject. Make sure you are zoomed in as far as the camera will let you and slowly begin to roll the focus control until your subject becomes clear and in focus. When setting the focus on a person it is usually recommended to use their eyes as a target. After you have set the focus on the camera you should not have to reset the focus unless the camera moves closer to or further from the subject or the subject moves closer to or further away from the camera. If the distance does change during the production be sure to reset the focus when the director is on another camera.
Shot Composition:
Head Room: Head room refers to the space between the top of the screen and the framed object or person. Proper head room consists of a shot without too much or too little room above the subject’s head. Too much or too little head room can be distracting to the viewer.
TOO MUCH NOT ENOUGH GOOD HEAD ROOM
Nose Room: Nose room refers to the talk space in front of a person. It is also known as ‘leading’ the subject. Proper nose room is when a figure or head is off center with the majority empty screen space in the direction a person is speaking or moving.
08/2014 5 of 10 Basic Camera Shots:
Long Shot (LS) or Wide Shot (WS) Shows the full figure, the entire body or bodies. Shows the greatest field of view. The lens is usually zoomed out all the way. This shot is also called an establishing shot when it is used to show the audience where the scene is taking place.
Medium Shot (MS) This shot is usually from the knees or the waist up to the top of the subject. Usually about 50% of the field of view of the Long Shot.
Medium Close Up (MCU) This shot is usually framed from midtorso to the top of the head. Usually about 40% of the field of view of the Long Shot.
08/2014 6 of 10
Close Up (CU) This shot includes the top of the shoulders to the top of the head. Usually about 30% of the field of view of the Long Shot.
Extreme Close Up (ECU) Extremely tight shot of a person or object. Usually about 10% of the field of view of the Long Shot.
NOTES
______
______
______
______
______
______
08/2014 7 of 10 Lighting: In the studio you will find different types of lights. The first one we will discuss is the Fresnel. The Fresnel light is one of the most common lights used in studio production. It produces a very even light that is soft at the edges. Because the edge of the light is soft, it will blend easily with the edges of other lights to give smooth coverage. You can control light spill by adjusting the barndoors which are mounted onto the front of the Fresnel. The barndoors have four rotatable flaps that can be used to mask the beam.
A scoop light is a large light with a domelike reflector and no lens. It consists almost entirely of a bulb in the center of a big curved metal dome that acts as a reflector. The result is a wide, softedged pool of light good for general lighting and fill lighting.
The softlite is a compact, lightweight indirect fill light that provides a very soft even light. These lights have a lower intensity than the scoop lights and are slightly more directional.
08/2014 8 of 10 3 Point Lighting: The three point lighting technique is a standard method used in video, film and still photography. This technique uses three lights called the key light, fill light, and back light.
Key Light: This is the main light. It is usually the strongest and has the most influence on the look of the scene. It is placed to one side of the subject so that this side is well lit and the other side has some shadow.
Fill Light: This is the secondary light and is placed on the opposite side of the key light. It is used to fill the shadows created by the key. The fill will usually be softer and less bright than the key. To achieve this you could move it further away or use some diffusion material.
Back Light: The back light is placed behind the subject and lights it from the rear. Rather than providing direct light, its purpose is to provide definition and subtle highlights around the subject. This helps separate the subject from the background and provides a threedimensional look.
08/2014 9 of 10 Adjusting Lights: ● Be sure to take proper precautions when adjusting or moving lights in the studio. ● Place the ladder under the light you wish to adjust and make sure it is secure before climbing up to the light. ● Always wear the gloves provided and never touch a light that has been on for a long time; it will be very hot. ● When adjusting lights do not force them in the direction you want. First loosen the clamp using the provided crescent wrench. Secure the clamp again after you have adjusted the light. ● When moving a light to a new location, be sure to unhook the safety chain and replace it once you have reattached the light to the grid in a new location. ● If you notice that a bulb has burned out please notify a staff member immediately and they will change the bulb for you. ● Before you begin recording be sure to turn off the studio overhead lights.
Turning Lights On and Off: You will notice on the ceiling above the lights are a series of electrical outlets. Each outlet has a number next to it. These are the numbers that correspond to the light inputs on the lighting panel. Make note of which lights you will need for your production. The lighting panel is located behind the green wall towards the back corner of the studio. Inside the lighting panel you will find a series of numbered switches. Switch the inputs that you noted earlier on and go check your lighting arrangement. If you need to make any adjustments, do so now. After each production look at each of the lights that were used to insure none of them burned out during the production. If they are all still functioning simply turn them off. If any of them have burned out, make note of the light and tell a staff member before turning the lights off.
NOTES
______
______
______
______
______
______
08/2014 10 of 10