CAMERA TECHNOLOGY
and KEY PRINCIPLES for
ACHIEVING A QUALITY
IMAGE
REVIEW of BASIC
CAMERA
TECHOLOGIES
AND KEY
CONCEPTS
Updated July 6, 2006
CHIPS
Pick-up device - "retina" of the camera
• Senses light, changes light energy into
electric energy, 3 chips are better than 1
• ’Charged-coupled device' CCD, chip
• Durable, permanently registered
IRIS
• Metal leaves which control amount of light
entering the camera
• Aperture is the opening
• Measured in "f-stops" 1.4 - 22 (1 stop
open, doubles amount of light coming in)
IRIS
• f1.4 = wide open
• f16 = small opening
• If smallest f-stop 1.4 = fast lens (good
low light)
• If smallest f-stop 4.0 = slow lens (poor
low light)
AUTO IRIS
• ”Auto" iris - standard setting
• Camera "averages" the light reading and
adjusts the iris accordingly
• Causes problems with areas of high
contrast or w/large dark or large light areas
 High contrast ratio (dark vs. light areas in
the frame)
AUTO IRIS
• Sports event w/harsh shadows, people
shot against dark/light background
• Concert or play with extensive dark areas
• Nighttime shoot
MANUAL IRIS
• ”Manual iris" - optional setting
• Manually set the iris so that it won't
change
• Goal, setting the iris to pick up your
subject accurately
• Image through the viewfinder is best
indication of iris setting
• Zebra stripes indicate overexposed
areas in frame (if available on cam)
LENS
• Optical Zoom lens actually lengthens,
shortens w/in the lens housing
• Digital zoom simulates zoom electronically
• Cam samples part of the image on the chip
and ‘blows up’ image
• Generally creates unfavorable image grainy, pixilated
Viewfinder
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Small TV monitor mounted on camera
.5 to 1 inch TV (studio viewfinders bigger)
Adjust to be comfortable tilt up and down
Focus is separate from cam focus
Slides closer and farther from camera
Eye-piece can be adjusted or opened to allow full view of
the viewfinder from a distance
• Check before recording, set the contrast, brightness
controls
Viewfinder
• Pop-out screen increasingly common
• Very helpful for framing, and to let the team see the
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composition of a shot
Useful for “playback” of recorded material
Enables “one-man” interviews with more control
Do NOT use fold-out screen to focus - very unreliable
Limit use in bright light (hard to see)
Drains battery more quickly
Other elements of the
camera. . .
Special Controls (will vary with the camera)
• Manual/auto focus - typical on consumer models, can
be problematic, use manual focus
 Work poorly on reflective or horizontal surfaces
• Low light tools
 Gain control - boosts sensitivity of chip normal, amplifies
the video signal, +3, +6, +9db, +18db
 Use only when necessary, creates grainy pic
 Some cams have a ‘low lux’ setting also
Depth of Field
• Key to controlling and creating depth in video,
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film and still photography
By controlling several interrelated variables,
shooter can manipulate depth of field to:
 Add depth to a shot
 Make shot more interesting
 Control viewer’s eyes
• Depth vs. Depth of Field - not the same
• Depth - having the “appearance” of 3-dimensions in
two dimensional space (width & height)
Depth of Field
• Area in focus in front of camera
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Variables affecting DOF:
Lens length: shorter lens = greater DOF
Aperture/iris: smaller iris = greater DOF
Light: more light = greater DOF
Shutter speed: faster speed requires more
light, yields shallower DOF
Depth of Field
DOF
•Shallow DOF: only Greeny in focus
•Open Iris, f 1.4, 2.0
•Low lighting or Neutral Density filter on cam
•Faster speed requires more light, yields
shallower DOF
Depth of Field
Depth of Field
DOF
•Great DOF: All 3 in focus
•Stopped-down iris, f-12, f-16
•Well-lit scene, no ND filter
•Shutter speed: slower speed requires less
light, yields a greater DOF
Depth of Field
Depth of Field
• Manipulate DOF to keep part of the frame
out of focus
• Make your shot composition a conscious
choice
• Strive for depth in your shots
Depth of Field
• OTHER METHODS OF CREATING
DEPTH
• Rack focus
• Foreground framing
• Positioning of objects & characters w/in
frame
Color Temperature
• Light temperature measured in degrees Kelvin
• Outdoor light (sunny day)= 5600o Kelvin BLUE
• Typical studio/field video light = 3200o degrees
Kelvin REDDISH/ORANGE
• Fluorescent light is 4900o K
Color Temperature
• Be aware of the light situation where you are
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shooting
1) SOURCE - sun, field lights, outside/inside, color
temp?
2) DIRECTION - overhead, behind/from front?
3) INTENSITY - strong/intense or diffuse?
Control as many variables as possible, try to use
uncontrollable variables to your advantage.
White balancing the camera
• Proper color temperature can be attained
through adjustments to the camera (white
balance settings), camera filters and
lighting gels.
• Color balance - tells camera what "white"
looks like under existing lighting conditions.
White Balance continued
• Most prosumer cameras have 4 white
balance settings:
• Automatic - camera automatically adjusts
to the light temperature
• Inside - 'light bulb” icon indicates tungsten
light balance (3200K)
• Outside - "sun" icon indicates outside light
setting (5600K)
White Balance continued
• Set it manually if at all possible
Manual White Balance • 1. set master switch to 'manual'
• 2. fill screen with white surface
• 3. push white balance button, when it stops
blinking, camera is balanced
White Balance continued
• Hold white object under existing light MAKING SURE
THAT DOMINANT LIGHT SOURCE FALLS ON white
object
• Some cams require you to hold the button down until
indicator stops blinking
• Others, just push button, release, wait for "OK"
signal in viewfinder
White Balance continued
• Professional cameras require that the
proper internal filter is selected BEFORE
setting the white balance
• 'Manual' is the preferred method as it
guarantees proper balance
The issue of Control
• Know the effect you want to achieve and
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attempt to control as many variables a
possible
Take control of the production location
Control lighting - location, intensity, direction
Control sound - eliminate unwanted sound,
enhance desired sound
Control
• Purposefully decide on talent, camera
and lighting location before setting up.
• Control as many elements as possible
• Control comes through professional
preparation and communication
Video Camera Technique
Creating the illusion
Of 3 dimensions
In a 2-D medium
Updated July 10, 2006
FOCUS
• Technique for focusing on a stationary
object
1. zoom in on object/subject as far as
possible find area of contrast
2. focus
3. zoom out and frame (COMPOSE) your
shot
... this works for stationary objects only
FOCUS
• Do not use fold-out viewfinder
• Do not use auto-focus
• Double check focus
Camera Moves
• Make all moves as smooth and
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intentional as possible
Do not call attention to moves
Zoom, Dolly
Pan, Truck
Arc, Crane/Boom, Tilt
ZOOM
• Lengthening and shortening the lens
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 "in" - longer, closer
 "out" - shorter, farther away
 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
• 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 narrows the angle of
view
ZOOM IN
ZOOM IN
• 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 talent movement
ZOOM OUT
• Short lens widens the angle of view
ZOOM OUT
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/intense, necessary on TV (small
screen)
Basic shot descriptions
• Extreme close-up ( ECU, XCU)
 Very close, extreme detail
 The tighter the shot, the more intense
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!
Rule of Thirds
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
Composition
Composition
Composition
Composition
Composition
Composition
Composition
Composition
Composition
Composition
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
Rule of Thirds
Composition
Composition
Composition
Composition
Composition
Other composition
considerations
• Symmetrical balance NOT required
• Nonsymmetrical framing acceptable in limited
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situations
Landscapes, large horizontal objects look better
off-center
Background clutter - avoid it, distracts from the
foreground
Limit camera motion - smooth, steady, avoid
tendency to over zoom
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 onscreen
• Framing can "suggest" continuation
Composition
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 (1.33:1)
 Film, HDTV = 16 x 9 (1.78:1)
 But shot with 4x3 in mind for TV
Composition
4x3 US
TV
NTSC
16x9
Wide Screen
TRIPOD OPERATION
• whenever possible, use a tripod or other
appropriate camera support
• exceptions - desired effect, not enough
time
TRIPOD OPERATION
• Set up tripod properly
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legs locked
spreaders locked
set tripod feet - spikes or rubber
camera plate FULLY secured to cam and
tripod (quick release plate stays with 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 drag to your
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preference
Begin and end with a balanced, wellcomposed shot
START in the uncomfortable position,
finish in the comfortable position
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 shots
• Do news interviews, MOS interviews
w/short lens
Summary - Camera
Operations
• Becoming a good camera operator
requires practice and knowledge of your
equipment
• Strive for depth whenever possible
• Remember to try and control as many
variables as possible