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Chapter 4: Fundamentals of Camerawork and Shot Composition

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Chapter 4: Fundamentals of Camerawork and Shot Composition Chapter 4: Fundamentals of Camerawork and Shot Composition The Role of Camerawork A television program is a series of video images synchronized to a series of audio clips. Described this way, it is easy to understand why camerawork is such a fundamental part of producing TV programs. One of the first steps in designing a TV program that motivates your audience to think, feel, or do what you want them to do, is to decide: • What to shoot; • How to shoot it; • When and where to shoot it; • How to sequence the various shots; and • How to transition between the shots. Camerawork is the first place you decide what to include and what to exclude from your “TV reality” (i.e. your program). So, as you make the above decisions, you’ll also be choosing what NOT to shoot, what angles and perspectives NOT to include, which relationships you will NOT establish through your shot sequence. Different Realities: The Human Eye vs. the Camera Lens Before we talk about how to shoot, it is important to realize the differences between the “reality” we see with our eyes and the “reality” that the camera sees. In television, we see only what the camera lens shows us, only when it shows it to us, and only how it shows it to us. HUMAN EYE CAMERA LENS Active, easily stimulated by Static, must stage movement and movement move camera to follow action Wide field of view, can focus on many Narrow field of view, emphasis natur- objects at once, non-selective ally given to objects placed in center Peripheral vision makes objects Tunnelvision, creates exaggeration of appear closer than they are space between objects 3-dimensional space Everything appears flattened to two dimensions Sees detail and subtle differences Lacks resolution to show finest details and subtlest differences Extensive contrast range (10,000:1), Limited contrast range (20-30:1), information within contrast range is detailed information is lost in dark or easily discerned bright areas Adapted from: Progressive Video Programming, by Jeffrey Glasser, Stephen Gach, Pamela Levine Rev. 01/10/2000 Cambridge Community TV Green Book: Fundamentals Page 4 - 1 This chart of differences may seem interesting but somewhat trivial as you read it; but when actually start making TV programs these differences will become very real and significant for you. The tunnelvision effect and the apparent flattening of space will affect how you arrange the set, the cameras, and the lighting. The limited contrast range will require you to spend a lot more time thinking about and dealing with lighting. You will find yourself becoming a composer painting shots with video, the TV screen will be your canvas. The artist in you will emerge. So, too, will the critic. For you will become a more active and observant TV viewer, and also much more aware of the constructed nature of television “reality.” Basic Camera Operation In learning how to compose the video portion of your program, two aspects need to be addressed: The mechanical aspect of operating cameras, and the subjective aspect of composing a story with camera shots. For the purposes of this manual, we are going to address each aspect separately. The appearance of an image seen through a camera lens depends on two things: 1) the focal length of the lens 2) the physical position of the camera relative to the subject. Focal Length, Zoom Lenses, and Lens Movements: The longer the focal length (Telephoto), the larger the image appears; the shorter the focal length (Wide-angle), the smaller the image. A zoom lens is a lens with variable focal lengths from Wide-angle to Telephoto. Zooming in: Is the process of changing the focal length from a Wide- angle (W) shot to a close-up or Telephoto (T) shot. Zooming out: Is the process of going from a close-up or Telephoto (T) shot to a Wide-Angle (W) shot. Focusing: Most of us know that focusing means adjusting a lens to give its sharpest resolution of an image. But did you know that there is ONE correct way to focus a zoom lens? Always begin by zooming the lens in on the subject as far as it will go, and then set the focus so that the image is at its sharpest. As long as the actual distance between the camera and the subject doesn’t change, the subject will stay in focus as you zoom in or out. Rev. 01/10/2000 Cambridge Community TV Green Book: Fundamentals Page 4 - 2 Physical Camera Location and Camera Movements Besides changing the focal length, the whole camera can be moved to change the appearance of a subject. * Pan Left or While keeping the tripod/dolly still, swivel the camera Right: lens horizontally to the left or right. In order to "see more right," the cameraperson will be directed to pan right. Pans should generally be executed very slowly. Follow Pan: Pan to keep a moving subject within the frame. Swish Pan: A very fast pan that blurs the background. * Tilt Up or While keeping the tripod/dolly still, move the camera Down: lens up or down. In order to "see more down," the cameraperson will be directed to tilt down. * Dolly In or Move the whole camera and tripod/dolly closer to or Out: farther from the subject. * Truck (or Move the whole camera and tripod/dolly to the left or Track) Left right. or Right: * Arc: Truck and Dolly the camera at the same time, moving in a semi-circular arc around the subject. * Pedestal Crank the center post of the tripod up or down. Note: Up or Usually, the lens should be at eye level with the talent. Down: And, for maximum stability, first extend the tripod legs to gain extra height before raising the pedestal. One Last Word on Lens and Camera Movements Lens and camera movements that are not done smoothly, naturally, or without an obvious reason, will call attention to themselves. In many cases, this will detract from the content of the show, except when the jarring effect of a fast zoom is part of the message (as in Wayne’s World). The most prized camerapersons are those who execute camera and lens movements without calling the viewer’s attention to the fact that there ever was a cameraperson between them and their view of “reality.” For this reason, it is important when starting out to practice your camera work every chance you get, and to make an effort to get those chances. Seek out other producers, volunteer for shoots, or shoot your own program. Public Access is the perfect environment to learn by doing; it’s OK to make mistakes and learn from them. The sooner you master the mechanical aspects of running cameras, the sooner you’ll be able to focus (excuse the pun!) on the real fun stuff, composing with the camera! Types of Shots Rev. 01/10/2000 Cambridge Community TV Green Book: Fundamentals Page 4 - 3 Now let’s start composing your television program using the fundamental video building blocks: The camera shots. To ease communication between producers, directors, writers, and camerapersons, the TV industry has developed a language to describe the kind of shot desired at each particular instant. You would do well to learn this language if you you want to fit right in with other crews at CCTV, crews in other Access centers, or crews in commercial or Public TV stations. While the terms Long, Medium, and Close-up are frequently used, some people prefer to use more precise descriptions like “knee,” “waist,” and “head and shoulders.” * Long Shot: Shows entire body and (LS) some of the surroundings. Often used at the start of a program or a segment of a program to orient the viewer to where the talent is located. Imparts little or no emotional impact. * Medium Shot: "Waist shot." Generally (MS) includes the upper half of the body, cutting the person off near the waist. Provides a little more sense of intimacy with the talent, and is a "bread and butter" shot for interviews. * Close-Up: "Head and shoulders" shot. (CU) Provides an even greater sense of intimacy and emphasis than the Medium Shot. When focused on objects, can help viewers see details they might otherwise miss. Another commonly used shot for “talking heads” interviews. * Extreme For even more dramatic Close-Up: effect, this tight shot frames (ECU) only part of the face. It tells the viewer that what is being said is very important or emotional, and therefore this shot should be reserved for situations of deep emotion or high intensity. Rev. 01/10/2000 Cambridge Community TV Green Book: Fundamentals Page 4 - 4 * Establishing or Same as the long shot or Wide Shot: even wider, this shot is often (ES) used at the start of a program or program seg- ment to establish its setting and context. Similarly, it is often used at the end of a program or right before a break to let the viewer know that the end is coming. * Two Shot: A Medium Shot that frames two persons, instead of the usual one. * Over-the- A shot that focuses on one Shoulder Shot: subject by looking over the (O/S) shoulder of another person who is facing the subject. Sometimes called a "Shot- Reverse-Shot." Composition Techniques As a Public Access producer, you are NOT bound by the same constraints that apply to professional commercial producers, and therefore have a terrific opportunity to experiment with new approaches to new subject matter. At the same time and in most cases, you are still trying to impact an audience whose expectations have been largely shaped by the practices of commercial TV producers.
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