Video Camera Technique
Creating the illusion
Of 3 dimensions
In a 2-D medium

FOCUS
• zoom in on object/subject as far as possible find area of contrast
• focus
• zoom out and frame (COMPOSE) your shot

• ... this works for stationary objects only
ZOOM
• Lengthening and shortening the lens
ß "in" - longer, closer
ß "out" - shorter, farther away
ß make sure the zoom is 'motivated,’ has purpose
• Avoid the tendency to 'overzoom.'
• Well-composed start and finish
• Usually requires a pan and tilt with the zoom

ZOOM
• Digital zoom - selects and expands ("blows up") an increasingly smaller part of the image.
• This leads to very close shots from far away but also produces digital noise in the form of pixels and grain.

ZOOM
• Useful for far away shots where importance of image overrides concern for quality - that is, if you can live with a grainy image, use the digital zoom.• Can function as an artistic choice

ZOOM IN
• pulls the viewer into the shot, into situation
• more intimate and emotional. (lines on the face, tension, sweat

ZOOM IN
• narrows the angle of view which eliminates visual information at the sides of the frame

• longer lens yields shallower depth of field, throws the background out of focus
• good for depth - narrows the angle of view which eliminates visual information at the sides of the frame
• "forces" audience to view fewer items in the frame

ZOOM OUT
• reveals information to the viewer that they couldn't see with the tighter shot, allows space, reveals other characters or objects in the scene
• allows more space for actor movement
• Short lens widens the angle of view

DOLLY
• DOLLY - movement of entire cam toward or away from the subject
• Similar to a zoom but with a different effect - keeps the same 'angle of view' throughout the camera move.
• "participant" or POV orientation as camera moves through the scene

PAN
• Left/right movement of camera head on stationary cam. mount (either tripod or on the shoulder of videographer)
• Suggests 'observer' role (compared to a 'truck') - action 'passes by' the camera

TRUCK
• Left/right movement of entire camera
• Usually mounted on a rolling platform (dolly) but may be handheld.
• As cam follows along-side the action, allows viewer to participate in the moving scene (Indiana Jones fighting on a moving truck, Olympic sprinters)

TILT, ARC
• Tilt - up/down movement of camera head on stationary cam. mount tilt - up/down movement of camera head on stationary cam. Mount
• Arc - left/right arching movement of camera

Basic shot descriptions
• Extreme long shot (XLS, ELS )
• cam very far away from the subject (often an "establishing" shot)
• sets overall context, shows location of action
• exterior" on drama or sitcom, blimp shot at sporting event
• Long shots - dramatic, landscape, don't translate well to TV.

Basic shot descriptions
• Long shot (LS)
• camera far from the subject, may include all talent and props in the shot
• sets context, shows relationships
• all players in a basketball game, shot from back of Letterman's studio

Basic shot descriptions
• Medium shot (MS)
• fairly close, "interpersonal" distance
• shows most of a person or people
• may be more specific - 2S, 3S
• shows relationships, close-enough to feel "in the action."

Basic shot descriptions
• Close-up (CU)
• close shot, framed tightly, only part of subject seen
• variations: bust shot, tight shot
• emotional, necessary on TV (small screen)

Basic shot descriptions
• Extreme close-up ( ECU, XCU)
• very close, extreme detail
• The tighter the shot, the more "emotional"

Composition
• Balance - strive for visual balance in most shots
• ***Rule of thirds - divide the screen into vertical and horizontal thirds
• Place key objects on those thirds
• Follow rule of thirds on every shot!

Composition
• Headroom - room above talent's head
• Leadroom - space in frame in front of talent into which talent moves (e.g., pan)
• Lookspace - space in frame IN FRONT of talent into which talent looks
Headroom, Leadroom, Lookspace Headroom, Leadroom, Lookspace Headroom, Leadroom, Lookspace Headroom, Leadroom, Lookspace Headroom, Leadroom, Lookspace Headroom, Leadroom, Lookspace Composition

• Visual "weight" (and therefore balance) determined by size, color and placement of objects in the frame.
• LARGER objects carry more "weight
• - also, foreground increases size
• BRIGHTER objects carry more "weight”
• white, yellow, etc...

Composition
• CLOSER TO THE EDGE equals more "weight”
• - small, but near edge = "weight”

Composition
• Other composition considerations
• Symmetrical balance not required
• Nonsymmetrical framing acceptable in limited situations
• Background clutter - avoid it, distracts from the foreground
• Landscapes, large horizontal objects look better off-center
• Limit camera motion - smooth, steady, avoid tendency to over zoom
Rule of Thirds, Balance

Composition
• Psychological Closure - frame shots so that viewers can "mentally" fill-in the parts that extend off-screen
• Entire object does NOT need to be on-screen
• Framing can "suggest" continuation

Composition
• Framing people - avoid cutting people off at natural "cut points
• knees, waist, ankles, elbows, bust
• frame to suggest "closure," continuation off-screen

Composition
• Foreground framing - use objects in the foreground to frame the subject
• adds depth, more interesting
• Over the shoulder (O/S, OTS
• Shot of one person framed over the other's shoulder (good for interviews

Composition
• Rack focus - "move" the depth of field from one object to another by adjusting focus ring
• Aspect ratio
• U.S. TV = 4 x 3
• Film, HDTV = 16 x 9
• But shot with 4x3 in mind for TV

Composition

TRIPOD OPERATION
• whenever possible, use a tripod or other appropriate camera support
• exceptions - desired effect, not enough time

TRIPOD OPERATION
• Set up tripod properly
• legs locked
• spreaders locked
• set tripod feet - spikes or rubber
• camera plate FULLY secured to cam and tripod (quick release plate stays with the tripod, not the camera)
• bubble balance to insure level shot

TRIPOD OPERATION
• Pan drag - knob which controls pan "looseness"
• set to your preference
• Pan lock - be careful, usually leave this unlocked when you step away from the camera to keep from knocking camera over.

TRIPOD OPERATION
• Tilt drag - same function as the pan drag "
• don't want tilt or pan motions TOO LOOSE, makes for unsteady camera moves
• Tilt lock - ALWAYS set the tilt lock when leaving the camera.

TRIPOD OPERATION
• Panning/tilting - set to your preference
• START in the uncomfortable position, finish in the comfortable position
• Begin and end with a balanced, well-composed shot
• Set up tripod in a comfortable position for the shoot
• Use pan bar to smooth out pan and tilt motions

HAND HELD OPERATION
• Brace yourself if necessary, use head, shoulder, arm to steady the camera
• Work with partner if you will be moving
• Consider alternate camera position (low level, held by handle, braced on knee
• The WIDER the angle (zoomed out) the steadier the shot.

HAND HELD OPERATION
• Extreme zooms (narrow angle, zoomed in) yields shakier shot
• Do news interviews, MOS s w/short lens