Matakuliah
Tahun
: O0382 – Dasar-dasar Produksi Siaran Televisi
: 2010
THE TELEVISION CAMERA
Pertemuan 3
The Television Camera (1/3)
How Television Cameras Work
Television camera is the most important television production
equipment. It is necessary to understand basic knowledge of how camera
works in order to maximize it potential and understand how it affects the
rest of a production.
Parts of the camera
All television cameras consist of 3 (three) main parts: (1) the lens,
that selects a certain field of view and produces a small optical image; (2)
the camera, that converts the optical image as delivered by the lens into
electrical signals; (3) the viewfinder, that shows a small video image of
what the lens is seeing.
Some cameras have a small fold-out screen that does not need
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people to see through an eyepiece to see the camera picture.
The Television Camera (2/3)
From light to video signal
All television cameras, digital or analog, big or small; work on similar basic
principle: the conversion of an optical image into electrical signals that
are reconverted by a television set into visible screen images. The light
that is reflected off an object is gathered by lens and focused on the
imaging (pickup) device. The imaging device is the principal camera
element that converts light into electric energy-the video signal. The
signal is then amplified and processed so it can be reconverted into
viable screen images.
Beam splitter and imaging device are 2 (two) important equipment inside
the camera with the following explanation:
 Beam splitter consists of various prisms and/ or filters that separate
white light that passes through camera lens into three light primaries
(RGB). Since all prisms and filters are contained in a small block then
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the beam splitter is often called the prism block.
The Television Camera (3/3)
Imaging device converts light into electricity. This imaging, or pickup,
device consists of a small solid-state device (approx. the size of a postage
stamp with a small window) called a chip or charge-coupled device
(CCD). It contains hundred of thousands of image sensing elements,
called pixels (pix for picture, and els for elements) that are arranged in
horizontal and vertical rows.
Pixels functions to compose an image. The more and smaller the tiles in
the mosaic the more detail the picture will have. The more pixels in the
imaging chip contains, the higher the resolution of the video image.
Each pixel is a discrete image element that transforms its color and
brightness information into a specific electric charge. In digital cameras
each pixel has a unique computer address. The electric charges from all
the pixels eventually become the video signals for the three primary light
colors. These RGB signals make up the chrominance (color) information
or the C signal. The luminance (black and white) information is provided
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by an additional signal, the Y signal.
The Camera Chain (1/4)
The Camera Chain
A high-quality studio camera is connected by cable to an electrical outlet.
The cable connects the camera to a chain of equipment to produce
picture.
The major parts of such a camera chain are: (1) the actual camera, called
the camera head because it is at the head of the chain; (2) the camera
control unit or CCU; (3) the sync generator that provides the
synchronization pulses to keep the scanning of the various pieces of
television equipment in step; and (4) the power supply.
Camera control unit (CCU)
CCU performs 2 (two) main functions: to setup and to control. During
setup, camera is adjusted for: (1) the correct color version; (2) the
proper contrast range between the brightest and darkest areas of
scene; (3) the brightness steps within this range.
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The Camera Chain (2/4)
The video operator (VO) usually needs control only ‘master black’ or
‘pedestal’ (adjusting the camera for the darkest part of the scene), and the
‘white level’ or ‘iris’.
The VO has 2 (two) primary instruments for checking the relative quality of
the color signal: the waveform monitor (also called oscilloscope that
displays the luminance/ brightness information), and the vector scope that
shows the chrominance (color) signals.
When the actual operational controls are separated from CCU then we
speak of a remote control unit (RCU) or, more accurately, an operation
control panel (OCP).
For example, when CCUs are located in master control but OCPs are in
studio control room. This will allow VO to do the initial camera set up in
master control and then sit in control room and ‘shade’ the pictures
according to both technical standard and aesthetic requirements of the
production. That’s why VO is called a shader.
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The Camera Chain (3/4)
The term RCU also refers to small CCU that can be taken to EFP location
to make field cameras perform at optimal levels.
The sync generator and power supply
The sync generator produces electronic synchronization pulses (sync
pulses) that keep in step the scanning in the various pieces of equipment
(camera, monitors and videotape recorders).
A genlock provides various pieces of studio equipment with a general
synchronization pulse (house sync).
The power supply generates the electricity (direct current) that drives the
television equipment. In a studio, the power supply converts AC
(alternating current) to DC (direct current) power and feeds it to the
cameras.
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The Camera Chain (4/4)
The camera cable feeds all the CCU functions to the camera and
transports the video signals from the camera back to CCU.
Field (ENG/ EFP) cameras and all camcorders are self-contained, which
means that the camera itself holds all the elements of the chain to
produce and deliver acceptable video images to the VTR (videotape
recorder). The only part of the normal camera chain that can be detached
from the field camera or camcorder is the power supply-the battery.
All other controls are solidly built-in and automated. Some of the more
sophisticated field cameras accept external sync, which means that they
can be genlocked with other cameras and/or an RCU.
Most cameras have built-in control equipment that can execute the CCU
control functions automatically. However the automated controls cannot
exercise the camera to deliver pictures that suit the artistic rather than
routine technical requirements; therefore, the camera functions the CCU
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or RCU and not depending on its automatic mode.
Types of Camera (1/7)
Types of Cameras
Television cameras can be classified by their electronic makeup and by
how they are used. Cameras are grouped by electronic makeup are
either analog and digital; while cameras classified by functions are for
either studio or ENG (electronic news gathering)/ EFP (electronic field
production) use.
Analog and digital cameras
All cameras, analog or digital, large or small, start out with an analog
video signal. The light that is transported through the lens to the beam
splitter and from there to the imaging device remains analog
throughout. Even after the translation of the RGB light beams by the
CCDs, the resulting video signals are still analog.
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Types of Camera (2/7)
In the analog camera, the video signal remains analog throughout the
processing inside the camera and during the recording, assuming that the
VTR is also analog.
In the digital camera, the analog RGB video signals are digitized and
processed right after leaving the CCDs.
Although digital signals are stronger than the analog ones, which means
that they are less prone to distortion, they are not automatically high
definition. Despite their superior picture quality, several brands of digital
cameras are still operating on the traditional 525-line, 30-frames persecond NTSC system and, therefore, not considered high definition.
Television cameras are classified into 3 (three) groups: (1) studio
cameras; (2) ENG/ EFP cameras and camcorders; and (3) consumer
camcorders. The classification is based on primary production function of
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the camera, not on its electronic makeup.
Types of Camera (3/7)
Studio cameras
The term studio camera is generally used to describe high-quality
cameras, including high-definition television (HDTV) cameras. They are so
heavy and require the aid of camera pedestal or other type of camera
mount so the cameras can maneuver properly.
Studio cameras are used for various studio productions like news,
interviews, and panel shows, daily serial dramas, situation comedies, and
instructional shows that require high-quality video.
The obvious difference between standard studio camera and
ENG/EFP and consumer cameras is that studio cameras can function only
as part of camera chain; all other camera types can be self-contained or
capable of delivering video signal to the VTR without any other peripheral
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control equipment.
Types of Camera (4/7)
The picture quality of studio cameras is determined by the VO who is
operating the CCU; therefore there only few buttons on studio cameras
compared with ENG/ EFP cameras.
The decision of whether to use a 720p or 1080i digital studio camera
depends on its primary use and for obtaining picture quality and control.
The 720p format will produce high-quality HD (high definition) pictures
that are more than sufficient for most studio productions and large filed
productions. The 1080i format will be the best option when producing
extremely fine details images such as medical shows.
High-quality video needs not only an HD camera but also a video
recorder capable of recording images without quality loss.
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Types of Camera (5/7)
With previous explanation on digital camera, we can say that digital
camera and recorders reign supreme as through these equipments then
digital images can be dubbed (reproduced) many times and transmitted
without any noticeable loss of quality.
ENG/ EFP cameras and camcorders
The characteristics of ENG/ EFP cameras and camcorders:
portable, self-contained and hold the whole camera chain in the small
camera head;
designed to produce high-quality pictures (video signals) that can be
recorded on a separate VTR;
operate on the same basic principle as the smaller consumer model;
have automatic control features as the alternative to the available
buttons and switches since the functions of CCU, VTR and audio control
must be controlled by the camera operator;
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Types of Camera (6/7)
 able to produce acceptable pictures even in drastically changing
conditions without having to readjust the camera;
 very efficient due to their small and light feature composition
 produce high-end quality pictures;
 to make it compatible with regular studio cameras, the ENG/ EFP model
is built in specially made camera frame: (1) a large external tally is
added, (2) small eyepiece viewfinder is replaced with a larger one, (3)
zoom and focus controls that can be operated from the panning handles
are added.
Consumer camcorders
The characteristics of consumer camcorders:
 Built as a single, inseparable unit;
 have automated features: (1) auto-focus which focuses on what camera
believes to be the target object; and (2) auto-iris which regulates the
incoming light;
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 Consumer camcorders differ mostly in the quality of lens.
Types of Camera (7/7)
In professional digital camcorders, the quality of lenses are: (1) can
deliver high-quality and sharper pictures that are recorded on a 1/4 –
inch (6.35mm) tape, (2) produce better pictures under low light
conditions.
It is like the Hitachi DVDCAM that records up to 30 minutes of video and
audio on a 3-inch read/ write DVD. As for consumer camcorders, they
use ½-inch videocassettes.
Due to the ever-improving electronics, the size of videotape is no longer
a valid indication of picture quality. The digital camcorder is better than
an analog one.
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