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Chapter 7, Overview

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Chapter 7, Overview Day Two – Extended Leave Assignments Camera Operation and Picture Composition ASSIGNMENT: Read the following pages about Camera Operation and Picture Composition. Then, write a summary discussing what you see are the most important factors concerning Camera Operation and Picture Composition. Also, update your notes to illustrate the most important aspects Camera Operation and Picture Composition. Intro: Digital cameras with their automated features have become so user-friendly that anybody can run a camera, right? Wrong! Although you may see entire television series that are shot by amateurs, professional camera work still requires practice and a basic knowledge of how to move the camera with or without a special camera support—and especially how to compose effective pictures. There is nothing wrong with using the automated features of an electronic camera so long as the conditions allow it. But even the smartest automated camera has no way of knowing what part of the event you consider important and how best to clarify and intensify the selected event details through maximally effective shots. Nor can it exercise aesthetic judgment—how to frame an extreme close-up, for example. This is why it is important to learn as much as possible about camera operation before trying to do your blockbuster documentary. Section 7.1, Working the Camera, discusses the basic camera movements, the standard mounting equipment, and the do’s and don’ts of camera operation. Section 7.2, Framing Effective Shots, focuses on some of the aesthetic aspects of picture composition in various aspect ratios. The standard camera movements are pan, turning the camera horizontally; tilt, pointing the camera up or down; pedestal, lowering or elevating the camera on a studio pedestal; tongue, moving the whole camera from left to right or from right to left with the boom of a jib arm; crane or boom, moving the whole camera up or down on a camera jib arm; dolly, moving the camera toward or away from the scene; truck or track, moving the camera laterally; arc, moving the camera in a slightly curved dolly or truck movement; cant, tilting the camera sideways; and zoom, changing the focal length of the lens while the camera is stationary. The basic camera mounts are handheld and shoulder-mounted, the monopod, the tripod and the tripod dolly, the studio pedestal, stabilizing systems, the jib arm, and the robotic pedestal. The mounting head connects the camera to the tripod or studio pedestal and allows the camera to be smoothly tilted up and down and panned horizontally. The quick-release plate is used to attach a camcorder to mounting a head. The wedge mount facilitates attaching the heavier cameras to the cam head in a balanced position. Before using a camcorder, check that the batteries are fully charged and that you have enough videotape or other recording media for the assignment. Do an audio check with the camera mic and the external mic. When working a camcorder or portable camera, handle it with the utmost care. Do not leave it unprotected in the sun or uncovered in the rain. At all times pay particular attention to white balance, presetting the zoom, and recording ambient sound. Switch to auto-controls if the conditions are right. After the production put everything back carefully so that the equipment is ready for the next assignment. Section 7.2 Because the television screen size is relatively small, we use more close-ups and medium shots than long shots. When shooting for wide-aspect-ratio, large-screen HDTV, you can use more medium shots and long shots. Field of view refers to how much of a scene you show in the viewfinder, that is, how close the object appears relative to the viewer. The field of view is organized into five steps: ELS (extreme long shot, or establishing shot), LS (long shot, full shot, or establishing shot), MS (medium shot, or waist shot), CU (close-up), and ECU (extreme close-up). Alternate shot designations include the bust shot, the knee shot, the two-shot, the three- shot, the over-the-shoulder shot (O/S), and the cross-shot (X/S). In organizing the screen area for the traditional 4 × 3 and the HDTV 16 × 9 aspect ratios, the major considerations are dealing with height and width, framing close-ups, headroom, noseroom and leadroom, and closure. A simple and effective way to organize screen depth is to establish a distinct foreground, middleground, and background. In creating the illusion of a third dimension (depth), you need to consider the choice of lens, positioning of objects, depth of field, and lighting and color. In organizing screen motion for the 4 × 3 aspect ratio, z-axis motion (movement toward or away from the camera) is stronger than lateral movement (from one side of the screen to the other). When working in the 16 × 9 aspect ratio, lateral movement becomes more prominent. arc To move the camera in a slightly curved dolly or truck. aspect ratio The width-to-height proportions of the standard television screen and therefore of all standard television pictures: 4 units wide by 3 units high. For HDTV the aspect ratio is 16 × 9. The small portable media (cell-phone) screens have various aspect ratios. camera Camera mount whose mechanism holds the camera steady while the operator stabilizing moves. system cant Tilting the shoulder-mounted or handheld camera sideways. close-up Object or any part of it seen at close range and framed tightly. The close-up can (CU) be extreme (extreme or big close-upECU) or rather loose (medium close- upMCU). closure Short for psychological closure. Mentally filling in spaces of an incomplete picture. crane (1) Motion picture camera support that resembles an actual crane in both appearance and operation. The crane can lift the camera from close to the studio floor to more than 10 feet above it. (2) To move the boom of the camera crane up or down. Also called boom. cross-shot Similar to the over-the-shoulder shot except that the camera-near person is (X/S) completely out of the shot. dolly (1) Camera support that enables the camera to move in all horizontal directions. (2) To move the camera toward (dolly in) or away from (dolly out or back) the object. extreme close-up Shows the object with very tight framing. (ECU) extreme long shot Shows the object from a great distance. Also called establishing shot. (ELS) field of view The portion of a scene visible through a particular lens; its vista. Expressed in symbols, such as CU for close-up. headroom The space left between the top of the head and the upper screen edge. jib arm Similar to a camera crane. Permits the jib arm operator to raise, lower, and tongue (move sideways) the jib arm while titling and panning the camera. leadroom The space left in front of a person or an object moving toward the edge of the screen. long shot Object seen from far away or framed loosely. Also called establishing shot and (LS) full shot. medium Object seen from a medium distance. Covers any framing between a long shot shot (MS) and a close-up. Also called waist shot. monopod A single pole onto which you can mount a camera. mounting A device that connects the camera to the tripod or studio pedestal to facilitate head smooth pans and tilts. Also called pan-and-tilt head. noseroom The space left in front of a person looking or pointing toward the edge of the screen. over-the- Camera looks over a person''s shoulder (shoulder and back of head included in shoulder shot) at another person. shot (O/S) pan To turn the camera horizontally. pedestal (1) Heavy camera dolly that permits raising and lowering the camera while on the air. (2) To move the camera up and down via a studio pedestal. quick- A mounting plate used to attach camcorders and ENG/EFP cameras to the release mounting head. plate robotic Motor-driven studio pedestal and mounting head. It is guided by a computerized pedestal system that can store and execute a great number of camera moves. Also called robotic. studio pan- A camera mounting head for heavy cameras that permits extremely smooth pans and-tilt and tilts. head tilt To point the camera up or down. tongue To move the boom or jib arm with the camera from left to right or right to left. tripod A three-legged camera mount. Can be connected to a dolly for easy maneuverability. truck To move the camera laterally by means of a mobile camera mount. Also called track. two-shot Framing of two people. z-axis An imaginary line representing an extension of the lens from the camera to the horizonthe depth dimension. zoom To change the lens gradually to a narrow-angle position (zoom-in) or to a wide- angle position (zoom-out) while the camera remains stationary. .
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