LensesLenses

Zoom RangeZoom Range

from 10:1 (called 10x) studiofrom 10:1 (called 10x) studio

up to 70:1 (called 70x) sportsup to 70:1 (called 70x) sports

detachabledetachable

Consumer camcorders let you increase Consumer camcorders let you increase the zoom range digitally (really just the zoom range digitally (really just enlarged pixels)enlarged pixels)

ENG/EFP lensesENG/EFP lenses

Range from 13x to 17xRange from 13x to 17x

Wide angle adapterWide angle adapter

Range extenderRange extenderusually 2xusually 2xreduces the light into lens by halfreduces the light into lens by half

Optical CharacteristicsOptical Characteristics

Focal lengthFocal length

FocusFocus

Light transmissionLight transmissioniris and f-stopiris and f-stop

Depth of fieldDepth of field

Focal LengthFocal Length

Distance from optical center of lens to the Distance from optical center of lens to the imaging deviceimaging device

how wide or narrow the vista will behow wide or narrow the vista will bezoom lenses are variable-focal-lengthzoom lenses are variable-focal-length

Minimum object distance (MOD)Minimum object distance (MOD)usually 2 to 3 feetusually 2 to 3 feet

Macro allows “next to lens” focusMacro allows “next to lens” focus

FocusFocus

Accomplished Zoomed All the Way In!Accomplished Zoomed All the Way In!

stays focused all through zoom rangestays focused all through zoom range

Studio configurationStudio configuration

left hand panning handleleft hand panning handle

Field cameraField camera

focus ringfocus ring

farthest out on the lensfarthest out on the lens

Light: Iris and f-stopLight: Iris and f-stop

ApertureAperturefrom all-open to completely closedfrom all-open to completely closed

Settings called f-stopsSettings called f-stopsf/16—nearly closed, very bright lightf/16—nearly closed, very bright lightf/1.7--almost completely open, low lightf/1.7--almost completely open, low light

Sharpest images between f/5.6 and f/8Sharpest images between f/5.6 and f/8

Lens SpeedLens Speed

Fast lenses go down to very small f-stopFast lenses go down to very small f-stop

number betas are f/1.8number betas are f/1.8

Slower lenses have lowest f-stops in the Slower lenses have lowest f-stops in the range of f/2.8range of f/2.8

Remote Iris controlRemote Iris control

Adjusted by CCUAdjusted by CCU

shadingshading

Auto-Iris SwitchAuto-Iris Switch

Field cameras—camera adjusts itselfField cameras—camera adjusts itself

however, does poorly in high-contrast however, does poorly in high-contrast scenesscenes

Can check by pressing button on lens but Can check by pressing button on lens but keep in manualkeep in manual

Depth of FieldDepth of Field

Area of scene in focusArea of scene in focus

greater behind object greater behind object

Focus on foreground object-Focus on foreground object-

background is out of focusbackground is out of focus

Depth of FieldDepth of Field

ShallowShallow

if movement, requires constant if movement, requires constant refocusingrefocusing

GreatGreat

nearly everything is on focus, no need for nearly everything is on focus, no need for constant refocusingconstant refocusing

Operational ControlsOperational Controls

Zoom controlZoom controlservo motor makes smoothservo motor makes smoothmanual—can be disabled for very quickmanual—can be disabled for very quick

changes in zoom levelchanges in zoom level

On right panning handle of studio cameraOn right panning handle of studio cameraright-hand rocker on ENG lens (W-T)right-hand rocker on ENG lens (W-T)

Digital ZoomDigital Zoompresets—camera must be fixedpresets—camera must be fixed

Focus ControlFocus Control

Studio CameraStudio Cameraleft panning handle—twist gripleft panning handle—twist grip

Field CameraField Camerafront of lensfront of lens

Auto Focus (should always be OFF)Auto Focus (should always be OFF)chooses center object onlychooses center object only

Camera Mounts/MovementCamera Mounts/Movement

Handheld/Shoulder-mountHandheld/Shoulder-mountcan introduce lots of movementcan introduce lots of movementquickly adaptablequickly adaptable--but TIRING!--but TIRING!

TripodTripodthree independent, collapsible legsthree independent, collapsible legsspreader—keeps from collapsespreader—keeps from collapse

TripodsTripods

Must be levelMust be level

leveling bowl—air bubbleleveling bowl—air bubble

can be placed on dolly (wheels)can be placed on dolly (wheels)

Pan and Tilt HeadsPan and Tilt Heads

Pan - horizontal movementPan - horizontal movement

Tilt - vertical movementTilt - vertical movement

Fluid HeadsFluid Headsspring-loaded counterbalance encased in spring-loaded counterbalance encased in

oil, provides drag for smoothnessoil, provides drag for smoothnesstilt/pan drag tilt/pan locktilt/pan drag tilt/pan lock

Camera Operation

Do Not:

leave in a car

expose to extreme weather

rain, hot sun, extreme cold

point lens at sun

drop batteries

leave batteries in sun

lay camera on side

Before The Shoot

Check all your equipment

camera, mics, cables, lights, tripod, batteries

Check tripod

pan/tilt locks, camera adapter (betas have red tab)

Do a test recording to make sure it all works

Before the Shoot

Check shotgun and external mics

do you have enough cable?

or is it wireless?

Check lights

cords and extensions (3-prong adapter)

Be sure you have tape

in-camera and extra

During the Shoot

Keep camera steady/Use tripod

bend knees

elbows against body

within reason, hold your breath

lean against a sturdy support

During the Shoot

Movement:Zoom all the way out

more forgiving of focus, wobbly movementPanning

move whole torso, not just armsbefore move, point knees towards end of pan

Movement

People walking

get in front of them and move backward

that way you get faces

ENG/EFP Camera

Hold on right shoulder, slip right hand through strap on zoon lens

Focus with left hand

Keep camera as steady as possible

Keep zoom out wide

Preset knees for pans

ENG/EFP Camera

Walk backward in front of moving people

White balance!for every new light situation

Be sure you’re getting good audioCheck exposure with auto iris-but keep it in

manualPreset zooms if possible

ENG/EFP Camera

If you don’t preset zoom:

you will have to follow-focus

focus more critical in low-light

Keep shotgun audio in auto

Pay attention to warning lights

red dot steady—recording (tally)

After the Shoot

Remove the videotape and replace it with another one in the camera

LABEL your tape

Turn all the switches off

Turn the iris to “C”

Replace the lens cap

After the Shoot

Roll up and secure mic cables

Return all equipment to its proper storage space

Put all batteries on charger

Let anything wet dry out

During the Show

Put on headset, unlock camera

Rack the focus to make sure you have the sharpest setting (when not “hot”)

hairline and eyes are good spots

For dolly-set focus on midpoint

Start dollys slowly, end smoothly

Try to brake camera before extreme pedestal positions

During the Show

Generally keep shots at eye level

Make sure you have enough cable

Be aware of what’s around you

Keep your eyes on viewfinder

Look for other shots to “sell” director

Don’t move or focus when tally light is on

During the Show

Mark camera positions on the floor

with tape

Listen to all director comments

Avoid chatter on the intercom

Framing Shots

=Show images as clearly as possible so they convey meaning and energy

You are clarifying and intensifying the event

Screen Size and Field of View

TVs much smaller than movie screens

Close-in shots best

Therefore field of view is tighter than movies

Field of View

How close the object appears relative to the camera (viewer)

Extreme long shotLong shotMedium shotClose-upExtreme close-up

Conventional Shots

Bust shot

Knee shot

Two-shot

Three-shot

Over-the-shoulder shot

Cross Shot (like reaction)

Framing Shots

Dealing with Height and Width

4x3 well-suited to both

16x9 best suited to width/horizontal

cant camera for height

or use other objects to mask sides

Close Ups

Close-upAllow headroomFramed below the shoulderssides look empty in 16x9

Extreme close-upcuts off top of the headframed just below top of shoulderslooks squeezed in 16x9

Headroom

Leave headroom in all types of shots

Too much headroom is bad though

Noseroom/Leadroom

Person looking/pointing

creates “index vector”

leave extra room to compensate

Screen motion

creates “motion vector”

leave leadroom to compensate

Closure

Mentally filling in missing areas of shotTo form sensible patterns

Positive Closure

Negative Closureclose-up just of facepole coming out of a man’s head

Depth

Lens choice

Positioning of objects

z-axis (foreground, middleground, background)

Depth of field

shallow shows depth and distance

because background is out of focus

Depth

Lighting and Colorbright and strong/saturated seems closer than dim and washed-out

Try to establish foregroundmiddlegroundbackground

Screen Motion

Movement towards lens is strongest

Leadroom for lateral motion

Where they’re going…..

If one person leaves a two-shot, follow her…you can’t keep both people in shot

Screen Motion

Must be SMOOTH

Excessive camera movement is the hallmark of an amateur photographer