Welcome to PVTV LEARNING, from ParkerVision. This curriculum represents the most
advanced and effective way to teach high school and college students the science of modern
television broadcast. Until now, most broadcast curriculums focused on methodology that evolved
over 30 years ago. This curriculum, however, covers basic production techniques and equipment,
and then transports the students into the advanced automation technologies that are quickly
becoming the norm in today’s television broadcast industry.
If you have elected to download only the PDF versions of the Teacher’s and Student’s Editions
of PVTV LEARNING, feel free to jump right into teaching. Throughout the chapters, you
will see references made to additional materials in the way of on-line lessons and tests, and
explanatory videos and animations.
This additional material is available to educators at a significantly discounted cost in electronic
format (on a CD ROM). For more information on obtaining this additional material for your
school, visit our LEARNING web site at www.PVTVLEARNING.com or contact us as shown
below.
ParkerVision, Inc.
8493 Baymeadows Way
Jacksonville, Florida 32256
e-mail: sales@parkervision.com
Tel: 904-737-1367
Fax: 904-731-0958
www.parkervision.com
camera
unit 2
Section
i
Introduction
To create video information, a camera is pointed at a
scene. The camera converts light reflected off various
objects in the scene to “values,” which are then converted into a steady flow of electronic information.
We call this the VIDEO SIGNAL. Video signals are later
re-created into television images.
But we are getting ahead of
ourselves. For now all you need to
know is how to use your video
camera.
You’ll use two basic types of
video camera systems: a
and a
. A studio
To convert real-world images to
camera
is
typically
a sophisticated
video signals, the camera lens
must capture certain properties of video camera that is used indoors
in a controlled environment, such
the subject - contrast, detail and
as a television studio. These
color - then translate and focus
these properties on what we call an cameras are often equipped with
camera control units that allow
. (Today most imaging
remote setup and operation.
devices are CCDs - charge coupled
Usually they can be “patched”
devices - or simply “chips.”)
(input) into a variety of VTRs (video
The imager converts this color,
tape recorders), switchers and live
contrast and detail information
output links, but they don’t often
into an electronic signal, which
come with a tape recorder directly
is then processed and distributed
attached.
for display on monitors and television sets or is recorded by a
videotape recorder.
IMAGER
STUDIO CAMERA
CAMCORDER
camera
unit 2
Section
ii
A camcorder combines a video
camera and videotape recorder
(VTR) in a single unit. (Abbreviate
these two names and you get
“cam.corder.”) Camcorders are
designed with all the necessary
controls in the camera and are
small and flexible so they can be
used in the field or “on location.”
Camcorders come in a variety of
types, and often you can mix and
match a camera with a variety of
different recording devices. The
big difference between a camcorder camera and studio camera
is that the camcorder is small and
Camera viewfinder
Twist-grip
zoom control
portable and suitable for both
indoor and outdoor use, while the
studio camera is not.
No matter what type of camera
you use, first you must learn to set
up and compose shots.
Zoom lens
TelePrompTer
Typical studio camera
ParkerVision CameraMan camera
©2000 ParkerVision, Inc.
Camera pedestal
camera
MLS
LS
Basic Shots
Television programs and all visual stories are told
through a series of shots. A video camera allows you to
focus attention on selected pieces of action through
the selection of shots. Shot names come from a broad
description of the area of the subject in the frame, the
angle of the shot or the movement of the camera. We
often abbreviate the description of the shot into what
almost sounds like a secret code. Take a look at this
illustration and see if you can decipher the code:
online
LESSON:
1
Objectives:
After completing this
section you will be able
to:
• Identify basic shots,
including wide,
medium, close-up,
extreme close-up
• Describe the characteristics of basic shots
• Define and describe
the parts of a tripod
and its uses
• Set up and take down a
tripod correctly
• Attach a camera to a
tripod correctly
All of these are variations on the
three most basic shots, namely,
the long shot, the medium shot
and the close-up.
The
(LS) is a
wide image most often used as an
establishing shot to orient the
LONG SHOT
MLS/FLS MS
CU VCU
unit 2
Section
1.1
ELS/XLS
audience. It lets the viewer know
where the action is taking place,
but it lacks the details that a closeup or even a medium shot can provide. There are several variations
on the long shot. Here you see a
medium long shot (MLS); a long
shot; and an extreme long shot
(ELS or XLS)
If you were recording a long
shot of a person, you would show
your subject from head to toe. Long
shots are sometimes called wide
shots (WS), especially when shooting scenery. Use long shots sparingly. The television screen is very
small, and it is extremely hard for
a viewer to see what is happening
in a long shot.
1
BCU MCU 3/4 KNEE
ECU
camera
unit 2
Section
1.2
ECU
VCU
(extreme close-up)
(very close-up)
medium shot
A
(MS) is a
transitional shot. It bridges the
gap between the wide and long
shots and the close-up. It gives the
viewer a closer look at what is on
the screen but still provides a view
of the background for reference
and orientation. It shows the
viewer any broad action that the
subject may make. A medium shot
refers to any shot that falls
between a wide shot and a closeup. When the subject of your shot
is a person, a medium shot might
mean framing the subject from
mid leg to the top of his/her head,
or from slightly above or below the
waist to the top of the head.
(Cutting the person off exactly at
the waist often looks “funny.”)
2
online
LESSONS:
2·3
MS
3
The close-up is the most important shot in television. The
(CU) allows the
viewer to see a subject or an action
in the greatest detail.
close-up
3/4 KNEE SHOT
©2000 ParkerVision, Inc.
camera
unit 2
Section
1.3
the art of composition
Television programs and all visual stories are told
through a series of pictures or shots. Shots communicate ideas, so we select, frame and compose all shots to
give maximum impact. How you put the shots together
(create a sequence) tells the visual story and communicates your message. A typical sequence would start
with a long shot to orient the audience, and continue
with medium shots to reveal the action. In between the
mid shots, close-ups can be used to vary the emotional
impact, to reveal reactions and to magnify small
details. In fact, close-ups are a great way to tell a story.
Use a series of close-ups highlighting details in a
scene rather than one long shot. Remember, television
is well suited for close-ups.
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LESSON:
4
Each shot is created and selected
for a specific purpose, as well as to
draw the eye to a clear center of
interest. Therefore, in addition to
learning the three basic shots, you
must also know how best to place
the person or subject in the frame.
This is called “the art of composition.” Since you have seen a lot of
television and films, you’re probably already a pretty sophisticated
viewer when it comes to composing
shots and understanding what
looks good and what looks “wrong.”
However, it always helps to have
some guidelines, and there are
quite a few when it comes to composition. These basic techniques
will help you get started.
The amount of space between
the top of a subject’s head and the
top edge of the television frame is
. Too little
called
headroom and you cut off the
subject’s forehead, or the subject
appears cramped. Too much headroom and subjects appear small
and out of proportion to the
screen, or as if they are sinking
out of the bottom of the frame.
HEADROOM
<<ACTION>> Basic shots activity:
Collect and assemble three examples of each of the three basic shots. You may use pictures from
magazines or newspapers, or actual photographs. Attach your “shots” to construction paper. The
shots must be correctly labeled and creatively displayed. You will be graded on the following: Shots
correctly identified/correct number of shots/creative display/you have met your deadline.
camera
unit 2
Section
1.4
field of view
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LESSON:
4
Get to know your camera’s true
field of view. The viewfinder on the
camera can display a slightly different framing than you might see
when you look at the image in a
monitor later. Images usually
appear smaller in the camera’s
viewfinder than they will when
you play them back on a monitor
or TV. The reason for this is that
the camera viewfinder shows
everything that it is in the frame
(so you will not mistakenly include
a microphone or some crew member). This requires the viewfinder
to slightly compress the image so
you can see all four edges of the
frame. When played back on a television set, the image is seen at its
normal size and will appear larger.
4
good
too little
too much
©2000 ParkerVision, Inc.
camera
RULE OF THIRDS
There’s still more to learn about shooting composition.
Since parts of your assignments will involve taping
interviews, you’ll need to know not only how to correctly frame your subject, but also how to provide an
interesting variety of shots so as not to bore viewers.
One important guideline for proper composition has
been used since ancient Greece. This is the “Rule of
Thirds.” This rule helps you create shots that look
different from one another yet always feel pleasing to
your audience.
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LESSON:
5
unit 2
Section
1.5
5
RULE OF THIRDS
The
divides the screen into an imaginary grid three equal parts down
and three equal parts across,
something like a tick-tack-toe
board. Place an image wherever
the lines intersect, and you’ll have
an interesting picture. You can use
this rule with almost any type of
shot; just be sure to keep the eyes
in the upper third of the screen
when shooting a close-up!
camera
unit 2
Section
1.6
QUICK RELEASE
WEDGE MOUNT
Camera head
horizontal balance
Tilt drag
Tilt lock
Pan drag
Tilt lock
Pan lock
Tilt drag
Pan lock
Level bubble
Tripod
moving shot such as a pan or tilt.
A
almost always
assures you of the smoothest camera moves.
A tripod also has a
, which is used to pan
and tilt the camera. Tripods may
have a couple of other controls in
addition to the handles you use for
movements. These are called locks
and drags. Pan and tilt locks hold
the camera firmly in position and
There are various kinds of specialallow no movement in a particular
ized tripods with funny names like direction. Drags use friction on the
“low boys” and “high hats.” Howpan and tilt movements to make
ever, the basic news tripod usually them smoother. A tripod may also
has one of two types of attachments have an extension pole and crank
to hold the camera in place. Most
handle that give you additional
popular is a quick-release shoe or
flexibility in adjusting for height.
wedge plate. The camera clicks in
Sometimes called a
,
and out to be quickly and securely
this attachment may also have a
mounted to the top of the tripod or
ball and claw adjustment to help in
removed fast to catch a handheld
leveling the tripod.
shot. The alternative is a simple
When setting up a tripod
screw-in bolt that connects the
always fully spread out the legs, or
camera to the head of the tripod.
. Make sure that the
The part of the tripod the camera whole unit is level and balanced.
mounts to is called the
.
The legs may or may not have feet
There are a number of different
attached for a sturdier base or a
head designs, including spring
spreader device that slides down to
loaded, friction and fluid-type
open the legs and retracts when
heads. All work fine for static shots. they close.
The primary difference is how
Always lock down the camera
smoothly they allow you to control when you are done with a shot or if
the camera when performing a
you step a few feet away from it.
Before we leave this section, there’s one more very important item we need to mention: the TRIPOD. The tripod is a
three-legged stand used to hold your camera steady. The
legs extend, or “telescope,” so you can set up the camera
at the height you want. A good tripod will help you with a
static shot as well as with camera moves. Tripods are
vital, especially when you’re shooting a close-up during
an interview. The closer in you go, the more noticeable
any shaking or unsteadiness will be. So the rule is, if a tripod is available, use it!
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LESSON:
6
FLUID HEAD
PAN
HANDLE
PEDESTAL
STICKS
HEAD
©2000 ParkerVision, Inc.
6
camera
wrong
One rule you will always want to remember is never,
never, ever leave a camera unattended while
mounted on a tripod. This is an accident waiting to
happen. If there’s an emergency and you must leave
the camera, designate someone to supervise it until
you can return.
Tripod head
Handles
Collapsible legs
Spreader
When it is time to move, remove
the camera. Fold up the tripod,
holding it by the legs. Once you’ve
retracted the legs, lock down all
the parts before attempting to
carry it. (Some tripods even come
with cases.) Never carry a tripod
by the head.
But what if you don’t have a
tripod? Several techniques will
help you steady your shots. Widen
your stance so that your feet are
parallel with your shoulders. In
this way, you become the tripod,
solid and flexible, able to turn at
the waist to pan almost 360
unit 2
Section
1.7
right
degrees. Brace your support arm
against your body and keep your
elbows in close to your chest for
added stability.
Another adaptation is to find a
wall and lean against it.
You can also try sitting down
with your arms braced on your
knees, or simply using objects like
tables and chairs to help support
the camera. When caught without
a tripod, try to keep your shots in
the medium range instead of
shooting close-ups. Close-ups
emphasize shakiness. If you want
a closer shot, zoom out and move
physically closer to the subject
rather than zooming in.
Breathe as shallowly as
possible so that the camera on
your shoulder won’t rise and fall
with each breath.
6
camera
unit 2
Section
1.8
<<<rewind
1. What is a long shot?
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LESSONS:
1-6
2. List three characteristics of a medium shot.
3. What is the most important shot in television? Explain why.
4. Define headroom.
5. Identify the parts of a tripod.
6. Who is sometimes asked to carry the tripod on an ENG
assignment?
7. List three ways to brace yourself when shooting without
a tripod.
8. What is the correct way to carry a tripod?
9. What is the rule about leaving a camera set up on a tripod?
©2000 ParkerVision, Inc.
camera
unit 2
Section
2.1
Camera Moves
shot. The movement should be slow
and smooth, not jerky or bumpy.
There are times when you may
want to pan quickly to heighten
the sense of excitement and action.
A rapid, blurry pan is called a
or a
. Sometimes these pans are
Certain terminology is used to describe each specific type also referred to as “spraying.”
of camera move. The most common physical camera Swish pans go from left to right
and then quickly back right to left.
,
,
and
.
moves are
They can be used as transitional
A
is a smooth left-to-right or
shots in editing to create a sense
right-to-left camera movement.
of movement or action. Too much
The camera stays fixed on the horLESSON
of this effect may give your viewizontal axis.
ers motion sickness, so use it
The pan is probably the most
sparingly!
misused of all camera moves. It
The commands to
should only be used when there is
or
some reason to pan, such as
refer to screen direction, not the
following the action when a subject
way you move the handle. In fact, it
moves or revealing more of a scene
is reversed. To pan left, you push
After completing this
a bit at a time. A good pan has a
the tripod handle to the right; to
section you will be able
distinct beginning and end. Make
to:
pan right, you push the tripod hansure that you begin and end your
• Identify basic camera
dle to the left.
pan with a static, well-composed
moves
Camera movement adds interest and excitement to
shots. Each move should be done smoothly and should
start and end with a static, well-composed shot.
Camera moves should be motivated, which is to say
they should be done for a specific reason, such as to
reveal information or to follow the action.
PANS TILTS DOLLIES
PAN
WHIP PAN
PAN
SWISH
TRUCKS
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:
7
7
“pan
left” “pan right”
Objectives:
• Describe how each
move is used
• Explain why a zoom is
not a true camera
move
camera
unit 2
Section
2.2
TILT
A second basic camera move is the TILT. A tilt is simply
an upward or downward camera movement. The camera
remains stationary and changes only its vertical axis.
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LESSON:
8
When would you use a tilt movement? Tilting the camera changes
the dynamics of a shot. Once the
viewers understand what they are
seeing, you can use the tilt to
reveal a different perspective or
to surprise viewers with the unexpected. For example, you can
tilt up from a shot of a classroom
to reveal a shot of a clock. Tilts
are also a useful way to reveal
the height of an object, such as a
tall building.
8
©2000 ParkerVision, Inc.
camera
unit 2
Section
2.3
DOLLY SHOT
The words “pan” and “tilt” specify changing what’s in a
shot by pointing the camera in a different direction.
You can also move the entire camera (and tripod) to
create a sense of depth, space and immediacy. When
you push the whole camera forward or backwards in a
straight line, we call it a DOLLY SHOT.
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LESSON:
9
Dollies should be performed with
the camera lens zoomed all the
way out in the wide-angle lens
position where the focus is less
critical. Remember: as you move
the camera you have to pay attention to the framing and focus
throughout the entire dolly move.
9
camera
unit 2
Section
2.4
Trucking
Trucking is the lateral or side-to-side movement of a
camera. Camera and tripod can “truck right” or “truck
left.” Trucking lets the camera follow lateral action.
The distance usually remains constant between
camera and subject.
10
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LESSON:
10
©2000 ParkerVision, Inc.
camera
Variable speed zoom control
Tight
unit 2
Section
2.5
Wide
ZOOM
zooming out allows you to expand
the area where action can be seen
in the frame or to reveal more
information about a particular
location. Try to avoid using “unmotivated” zooms simply because you
are bored with a shot. Also avoid
A zoom can be performed automati- zooming in and out on a subject
unless you are doing so to achieve
cally at a preset speed by some
a special effect.
cameras, giving a smooth, gliding
Zooming in makes it appear as
effect, or manually by means of a
if
the
subject has moved closer to
pressure-sensitive rocker switch
for variable control. Manual zoom- the camera. We refer to this as the
telephoto or narrow-angle persing gives you greater control over
pective. Zooming out ”moves” the
the shot, but automatic zooming
subject away from the viewer. We
may be helpful for beginners. The
refer to this as the wide-angle lens
zoom lengths are represented on
perspective. Again, we are not talkthe camera by the letters W for
ing about the physical position of
wide and T for Tight (telephoto), or
by “+” for wide and “-” for tight. The the camera, only a change in the
perspective created by zooming.
zoom setting on your camera is
Later on in this course we will
called the zoom position.
explore more about focal length
Use a zoom when you want to
and lens perspective.
follow action, give emphasis or
The zoom feature on a camera
lead a viewer in a certain direcmay
either be completely autotion. Zooming in on a subject
matic or allow for manual focus.
provides drama and emphasis;
What camera feature looks like a move but really isn’t a
move? The answer is a ZOOM. A zoom is the manipulation of a variable focal length lens. Zooming in makes
objects in the frame appear to move closer and get
larger; zooming out makes objects appear smaller and
farther away.
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LESSON:
11
11
Wide angle – zoomed out
Zooming out
Zooming in
Narrow angle – zoomed in
camera
unit 2
Section
2.6
LEAD ROOM
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LESSON:
12
Even when you move the camera
you have to remember the rules of
good composition. When following
action, always frame your shot
with some space in front of the
subject. This is called
. The amount of lead room
you give a moving subject
increases with the speed of the
subject. As the subject moves
across the screen, keep it in the
first third of the frame and leave
the remaining two-thirds of the
LEAD
ROOM
correct
screen as lead room. The ratio
should not change as the subject
moves. By placing your subject in
either the left or right third of the
screen, depending on the direction
of your subject, you will automatically have the correct framing. This is important to remember
when shooting any action,
especially sports. The audience is
more interested in where the subject
is going than in where it has been.
12
incorrect
©2000 ParkerVision, Inc.
camera
unit 2
Section
2.7
<<<rewind
1. Define the term “pan.”
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LESSONS:
7 - 12
2. How can a tilt enhance a shot?
3. What direction does the camera move when dollying in?
4. When trucking left, in which direction would the camera and
tripod be moving?
5. How does the viewer perceive a zoom out? What happens to the
subject?
camera
unit 2
Section
2.8
©2000 ParkerVision, Inc.
camera
Magnetic Tape
(N/S Polarity)
Signal
Coil
Head
gap
Tape direction
Magnetism
Videotape
Record Head Magnet
Videotape provides a magnetic memory for storing
picture and sound information. All of the images
and sounds you record and work with can be stored
on videotape.
Once the video signal has been generated by the
camera, it can be sent directly to a display device or saved
and stored (recorded) for later viewing or editing. For example, a news camera crew may record an event on location as
it takes place on a portable videotape recorder (VTR). The
recorded videotape can then be broadcast later, from the television station, during a news program.
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LESSON:
13
Objectives:
After completing this
section you will be
able to
• Identify different tape
formats
• Define the different
tracks on a videotape
and give their purpose
• Select the best videotape for the recording
purpose
• Prepare a new tape for
recording
• Correctly handle and
store a videotape
unit 2
Section
3.1
Magnetic tape
(N/S polarity)
Signal
Coil
Head
gap
Tape direction
Magnetism
Playback Head Magnet
tape format determines the potential quality of the final recording.
Physically, videotape is a plasticThe most common videocassette
based film-like material onto
format type is the Video Home
which a fine coating of magnetic
System (VHS). Other common
particles is layered over a base.
consumer formats include VHS-C
Signals are recorded onto video(the C stands for compact), 8-millitape by magnetizing those partimeter and Hi-8. Professionals and
cles as the tape passes by the
broadcasters also select from a
in the videotape variety of formats that offer
various
recorder. The process is referred to increased potential quality. The
as “magnetic recording.”
sizes of the actual tapes are pretty
Different sizes and types of
much the same, but the recording
videotape are referred to as differ- methods and tape speeds differ.
ent
. The width of the There are a lot of different profestape, the speed at which it turns
sional formats, but the most
(or moves past the video recording common ones include BetacamSP,
heads), the tape formulation and
DVCPRO and a wide range of
the recording method used to store digital-recording technologies
the information are the primary
(D1, D2, D5).
distinguishing factors among the
videotape formats available. The
HEADS
FORMATS
13
camera
unit 2
Section
3.2
CONTROL TRACK
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LESSON:
13
When you record onto a videotape,
the sound (audio signal) and
pictures (video signal) are put in
separate places, or tracks, on the
tape. Depending on the format, the
number and types of tracks will
differ. There will be one track for
video information, and anywhere
from one to four separate tracks
for audio. A single piece of
recorded videotape may also have
any of several other types of signal information recorded on it.
Additional signal information may
include time code and/or special
digital information hidden in the
video signal for use in closed captioning or any of the emerging
technologies.
One signal that is on all recorded
videotape is a control signal to tell
the machine where a frame (or
picture) begins and ends. (If you
look at a piece of videotape, it’s a
solid brown strip, unlike a piece of
film on which you can see individual pictures.) That’s why all tapes
are coded with a special electronic
signal that serves as a timing
reference, telling a videotape player
where the start and end of a video
frame are. The most common of
these tracks is called
. The camera marks the
tape with electrical pulses as it
records, so control track works
electronically in the same way that
sprocket holes work mechanically
in film. Some formats use a PCM, or
pulse code modulation, track to
perform the same function.
CONTROL
TRACK
Cue
Audio 3/Audio 4
Video
©2000 ParkerVision, Inc.
Audio 2
Audio 1/Control
Time code
camera
unit 2
Section
3.3
Packing & Heads
Which is the best tape to buy? Good advice is to buy a
quality-grade tape made by a recognizable, name-brand
manufacturer. It doesn’t have to be the most expensive,
but if you’re doing a project you want to keep, then
investing a few extra cents will be worthwhile.
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LESSONS:
14 · 15
Second, packing helps reduce
potential dropouts (those tiny white
spots or streaky white lines you
sometimes see when playing back a
tape). Dropout occurs when particles of the magnetic oxide flake off.
Many people don’t realize that
Dropouts occur with greater
videotape is a high-end medium
frequency when a tape is used over
that can reproduce CD-quality
and over again, or when it passes
sound, but picture quality may
through a dirty VTR tape path.
vary. There are a few things you
It’s important that the video
can do while handling and working tape path and video
with a videotape to be sure you get (recording devices in your VTR
the best possible performance. One that actually touch the tape) are
practice many people use is called clean and in good working order.
“packing” a tape. Packing a tape
If the heads have dust or a smoke
means putting it into the VTR, fast
film on them, this can cause
forwarding to the end of the tape,
dropouts to appear on your tapes.
then rewinding back to the beginEven a tiny particle can cause
ning before you start recording.
dropouts, so it’s very important to
This does two things. First, by
keep your tapes and video heads
packing your tape, you adjust how clean and free of dust and other
tightly the tape was wound by the
residue. Keep the tape transport
manufacturer. Variations in
system clean and tuned up. The
tension can cause recording and,
rubber rollers that pull the tape
later, playback problems. Tapes can through the mechanism often need
unravel through the tape transport repair. If your VCR or camcorder
system if wound too loosely, or pull experiences heavy use, have a
on the mechanism if wound too
technician clean and service it at
tightly. To save wear and tear on
least once a year. You can also
either your camcorder or your VCR, minimize tape and head wear by
you may want to use a good-qualusing the pause button sparingly
ity rewinder and save your camon both VCR and camcorder. When
corder for recording only.
in pause, the tape is pulled
15
14
HEADS
camera
unit 2
Section
3.4
Heads, continued, & Speed
online
LESSON:
16
slightly away from the video
heads, but the heads are still
brushing against the tape somewhat. This results in excessive
rubbing against the oxide particles that comprise your video and
audio signals. It damages both
tape and machine.
The next thing you can do to
assure the best-quality recording
is to record the tape at the fastest
possible speed. There are three
recording speeds for VHS format
tape from which you can select.
Standard Play (SP) records in
real time, so if you have a 60minute tape, it will record 60 minutes of footage and no more. SP is
the highest-quality recording
speed. Use it for tapes you want to
keep. Long Play (LP) and Extended
Play (EP) record at a slower speed
than SP. They can add more recording time, but you will lose some
signal quality. Super Long Play
(SLP) records at the slowest speed
of all. You can triple the recording
capacity of your tape on an SLP
setting, but the signal will have
definite quality loss. Use the SLP
setting for recording things that
you’ll watch only once or infrequently. Some other tape formats
also offer a choice in recording
speed, and the same principle
applies – always try to select the
fastest possible tape speed.
16
©2000 ParkerVision, Inc.
camera
unit 2
Section
3.5
SPO
R
Fal TSl/G
irls
Protecting your tape
Fast forward and rewind tapes
that are seldom used at least once
a year to allow them to breathe, to
readjust the tension, and to make
sure moisture and dust do not
accumulate on the tape itself. After
about seven years, even tapes
stored under the best conditions
will begin to deteriorate, so you
may want to transfer the contents
onto a new tape.
What’s the best way to travel
with a tape? Put it in a sealed plastic case. Dropping, dust, extreme
Remove the erase
temperatures and moisture are all
if the tape will not be
enemies of tape. Tapes are easily
recorded on again. If you decide
broken if dropped. A sealed case
later that you do want to use the
will help protect the tape and keep
tape to record again, apply a small the dust out. At the very least use
piece of tape where the erase prothe paper sleeve that comes with
tect tab was removed.
most consumer tapes: it offers
Store tapes in an upright
some protection and is better than
position, completely rewound.
nothing.
Avoid storing tapes near sources of
A car’s temperature in summer
heat and strong magnetic fields
can easily reach over 150 degrees
(i.e., television sets, stereo speakand will destroy a tape. Best
ers). These will damage your tapes. advice? Don’t leave tapes in your
Ideal temperature range for tape
car! Winter temperatures can also
storage is between 60 and 72
cause problems. It is possible to
degrees Fahrenheit, with low
thaw out frozen tapes gradually
humidity. Depending on where you over a 24-hour period, but tapes
live, that may not be typical of
that have been exposed to freezing
your climate. Try to find the coolest temperatures become fragile, and
and least humid storage space.
any moisture that condenses during thawing can cause dropouts.
Label your tape. Label your tape. Label your tape.
Get the point? It’s your first line of defense when
protecting your tape. You may not think of a label as
protecting your tape, but it’s almost guaranteed that if
you don’t label your tape it will get lost. Videotapes
have a way of “growing legs and disappearing.” When
they are finally found, if they aren’t labeled, they run
the risk of either being discarded or becoming communal property. Make sure the label has a recognizable
name and any other pertinent information, as well as a
clearly designated storage place.
PROTECT
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LESSONS:
17 · 18
TAB
17
18
camera
unit 2
Section
3.6
<<<rewind
1. What is meant by “format” when referring to videotape?
online
LESSONS:
13 - 18
2. Describe the process of “packing” a tape and the reasons for it.
3. What are dropouts?
4. Name the different taping speeds. Which speed records in real
time, and which is the slowest? Which speed gives the best
recording quality?
5. List three things that will damage a videotape.
6. Describe the best way to store tapes.
©2000 ParkerVision, Inc.
LCD screen
Power button
camera
unit 2
Section
4.1
Upper buttons
Auto iris
Focus control
Joystick
Manual iris
Slider bars
Lower buttons
Studio Cameras/SHOT Director
In television studios around the nation, the robotic
cameras are quickly replacing cameras operated by
people. Fewer studio personnel are needed to do tasks
that can be done more effectively with automation.
The device used to control a robotic camera is called
the SHOT Director. Instead of waiting in the studio
to make a few camera moves, you can use SHOT
Director to compose your camera shots and save them
until they are needed.
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LESSON:
19
Objectives:
After completing this
section, you will be
able to
• Identify basic shots
and camera movements
• Identify and describe
the parts of a studio
camera/SHOT Director
• Compose basic shots
using a studio camera
and SHOT Director
• Demonstrate basic
camera movements
using SHOT Director
• Store, save and recall
shots using SHOT
Director
SHOT Director
The
console
can be divided into sections, each
one having a specific function. The
functions on the left side of the
console include the focus control,
the power switch and the automatic and manual iris.
The SHOT Director is activated
by pressing, then releasing the
.
Once the Power button has been
pressed, SHOT Director begins a
startup sequence. Do not attempt
any other operations until the
panel gives the ready message.
19
POWER BUTTON
LCD
camera
unit 2
Section
4.2
online
LESSONS:
20 · 21
To focus a zoom lens, zoom all the
way in to the subject and adjust
the focus knob. If your subject is a
person, focus on the eyes. When
you zoom out, the subject will
remain in focus.
On the SHOT Director, the focus
control knob is used to manually
adjust the sharpness of the image.
Turning the knob either clockwise
or counterclockwise allows you to
precision-focus your camera lens
to obtain the sharpest image. Turn
clockwise to focus on distant items
and counterclockwise to focus on
objects close by.
20
auto iris
The iris in a camera is a metal
device (a series of overlapping
blades) inside the camera that can
be adjusted to regulate the
, or opening of the
camera lens, and the amount of
light that strikes the imager.
A proper adjustment of the iris
insures that you get a technically
sound and properly exposed
picture.
When the auto iris is activated,
the CameraMan automatically
adjusts the camera’s iris for the
best possible exposure.
Although auto iris will usually
be sufficient, it does have its drawbacks. It may overcompensate
between a lighter background and
a darker subject, leaving the subject shadowy.
The manual iris control lets you
override the auto iris presets and
customize your adjustments to
create various moods and effects.
APERTURE
21
manual iris
©2000 ParkerVision, Inc.
camera
23
22 24
In the center of the SHOT Director, below the LCD
screen, are the upper and lower buttons. The upper section of buttons is used to navigate through the LCD displays to check presets and do advanced camera setup.
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LESSONS:
22 - 24
unit 2
Section
4.3
The lower-section buttons are used
to store and recall location presets
as well as to select cameras.
SHOT
The right side of
contains the speed
control slides and the joystick. The
speed control slides are used to
manually adjust the speed of the
camera’s pan, tilt and zoom.
The slide controls are used to
manually adjust the maximum
speed of the camera’s pan, tilt and
zoom. When the slide controls are
completely down, the control is off.
Raising the controls increases the
maximum speed of the pan, tilt or
zoom. The left slider sets the maximum pan/tilt speed; the right slider
sets the maximum zoom speed.
Director
camera
unit 2
Section
4.4
The joystick is used to manually control the camera’s
pan and tilt. Moving the joystick from left to right controls the pan movement, while moving the joystick
toward or away from you controls the camera’s tilt
movement. The maximum speed of the pan, tilt and
zoom is controlled by the slide controls.
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LESSONS:
25 · 26
25
26
SHOT
The joystick on
is also used to
manually control the camera’s
zoom function. Turning the joystick in a clockwise direction
zooms the camera in. Turning the
joystick in a counterclockwise
direction zooms the camera back
out. You can control how far you
zoom in or out in this way. It can
be completely zoomed in, completely zoomed out or anywhere in
between. The speed of the zoom is
controlled by the right slider.
Director
©2000 ParkerVision, Inc.
camera
Now that you’re familiar with SHOT Director controls,
it’s time to use them to compose and save a shot. Your
first automated task is to create a camera preset, then
save it as a Preset HotKey. Camera presets let you
compose and save many different shots. Preset
HotKeys let you move the camera to a preset location
without having to recompose the shot each time you
need it.
<<ACTION>>
Follow these simple steps to create your first camera preset and Preset HotKey:
1. Left click on the Camera Preset Configure HotKey button on the Control Monitor, then click on a
blank Preset HotKey button. A preset dialog box opens.
2. Left click to select the camera you are using (be sure the selected camera is highlighted in blue),
then enter your preset number. Type in a brief description of your shot and left click OK.
Descriptions should be short but understandable. Example: Camera 1—Wide shot can be abbreviated to CAM1 WS.
3. Use the SHOT Director keypad to enter the desired camera number, then the Camera button to activate that camera. The LCD should display the selected camera’s number.
4. Use the SHOT Director joystick to compose the shot. If you want to see a larger image of the shot,
left click on the corresponding camera icon on the Preview buss of the switcher (Control screen),
and the image appears on the Preview monitor.
5. Press the number of your preset on the SHOT Director keypad, then press the Preset button.
Remember, it must be the same preset number you assigned to the shot when you saved it as a
HotKey! Hold the button down until you hear the beep, approximately 3 seconds. The beep tells you
the preset was saved, as does the saved message on the SHOT Director LCD panel.
6. To check your preset, use the SHOT Director joystick to move the camera out of position; then left
click on your Preset HotKey. The camera will move to the position you set.
unit 2
Section
4.5
camera
switcher
unit 2
Section
4.6
The
function,
located on the Control monitor
screen, changes (switches)
between video inputs. (You were
first introduced to the switcher in
Unit 1.) Changing video inputs on
the switcher is very simple. Use
the mouse and left click on an icon
on the program buss. The icon you
selected appears instantly on the
program monitor. Click a different
input and it appears, replacing the
previous input. You can do the
same thing with an input on the
Preview buss; the only difference
is that the input selected appears
on the Preview monitor instead of
the Program monitor.
An image that is replaced
instantly with another image is
called a cut. The cut is the most
basic transition in television.
While you can perform cuts manually with the mouse, you’ll need to
know how to change inputs in the
automation mode as well. These
automated changes between video
inputs are called digital video
effects, or DVEs for short. The DVE
creates an extensive array of different visual effects, but for now
we’ll start with the basics. The
other basic effects you’ll need to
know are fades and dissolves, or
cross fades. The fade starts as an
input that has no visible picture
but is a completely black screen.
The black image is replaced, either
slowly or quickly (your choice), to
reveal an image from a different
input. It also works in reverse,
beginning with an image, then fading until the entire screen is black.
In the dissolve, or cross fade, a new
image fades onto the screen while
the current image fades off the
screen. To create these effects,
you’ll work with the DVE, located
on the Control Monitor just to the
right of the camera Preset
HotKeys. The DVE Preset HotKeys
are arranged from left to right; the
upper left HotKey is number one,
and the bottom right is number 27.
©2000 ParkerVision, Inc.
camera
<<ACTION>>
Follow these steps to create your first DVE, a cut:
1. Left click on a blank DVE HotKey (blue icon) to select.
2. Go to Transition List. Effects are listed in alphabetical order. Scroll to Fade and left
click to select. Fade will be highlighted in blue.
3. Left click on the + icon, then look at the Automation Monitor (left screen). A Wipe/Fade
box appears. There should be a check in the box next to Background. If Background is
not checked, left click to select it now. A check now appears in the box. (A check in the
background box [bg] indicates that your background will change during your effect,
which is what you want if you’re transitioning from one video element to another. You
would not check bg if, for example, you simply want to bring a lower third in and out.)
5. On the lower right corner of the Wipe/Fade box, left click on the check mark icon to
save. (If you forget this step and use the X to close the box, your effect will not be
saved!)
6. Double left click on the black area next to the DVE icon you selected and type CUT for
the description. Left click OK.
7. Below the Take bar on the DVE is the Take Duration window. Place your cursor on the
window, left click and change the duration to 0 indicating a cut.
8. Left click on the input you want to appear next on the Program monitor, on the Preview
buss. For example, be sure your Cut DVE icon is highlighted (selected)
9. To test your cut, left click on the Take button. The video you selected appears on the
Program monitor.
To create a fade, follow steps 1–6, changing the label CUT to FADE. Next, set the Take
duration at 15 if you want a fast fade or 30 if you want a slower fade. If you want to fade to
black, click the black icon on the Preview buss, then left click on the Take button. When
black is already displayed on the Program buss, select your desired input on the Preview
buss and left click on the TAKE button.
For a cross fade (or dissolve), simply select the desired input to appear on the Preview
buss and left click on the Take button. The selected input will cross fade.
To delete a DVE HotKey setting, select the effect you wish to remove by left clicking on
it. Then left click the delete (-) button on the DVE interface.
unit 2
Section
4.7
camera
unit 2
Section
4.8
number shots
You should observe proper framing principles
described in the section about wide, medium and closeup shots when shooting in the studio. However, a few
other shots are also considered studio standards. A
TWO-SHOT usually means a medium shot including
two subjects, most often at an anchor desk or on some
type of a set. A THREE-SHOT is the same as a two-shot,
only there are three people in the shot. A FOUR-SHOT
means four people will be in the shot. These are also
called “number shots.”
27
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LESSON:
27
<<ACTION>>
©2000 ParkerVision, Inc.
Students are to work with a peer tutor to compose one shot, then configure,
save and recall a HotKey.
camera
unit 2
Section
4.9
<<<rewind
1. Describe the functions of
SHOT Director.
online
LESSONS:
19 · 27
2. What is the iris and how does it relate to gain?
3. List the steps in storing a camera preset.
4. What are the different functions of the joystick?
5. What controls the maximum speed of pans, tilts and zooms?
camera
unit 2
Section
5.0
©2000 ParkerVision, Inc.
camera
Power zoom button
White balance sensor
Videotape operation
Cassette
eject switch
controls
unit 2
Section
5.1
Electronic viewfinder
Accessory
shoe
Viewfinder
adjustment keys
Cassette compartment
Built-in microphone
Lens
ENG Cameras
Battery
Battery eject switch
Macro set button
Lens hood
Data display
What is an ENG camera? ENG stands for Electronic
News Gathering. When reporting news outside the
studio, it’s called going on an “ENG assignment.“
Typical equipment for an ENG assignment is a camera,
a videotape recorder and a microphone. ENG assignments are referred to as being “in the field,” although
the field could be in the middle of a large city rather
than a literal field.
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LESSON:
28
Smaller, more portable cameras
are used in ENG work, rather than
traditional studio cameras.
Professional ENG cameras usually
weigh between twenty and thirtyfive pounds, not including the battery packs. “Smaller” and
Edit/search buttons
Shooting adjustment
keys
“portable” are relative terms. In
addition to automatic controls,
there are manual settings that
give the photographer, or “videographer,” greater flexibility to
adjust and set up the camera.
Consumer camcorders are lowerpriced models with mostly automatic functions. The average
weight of a consumer camcorder is
about six pounds, and the newest
models weigh two pounds or less. A
working knowledge of the equipment you will use is essential.
Invest a few hours in reviewing
your camera’s manual.
Objectives:
After completing this
section you will be
able to
• Identify and describe
the parts of a camcorder
• Correctly use the
following camera
functions: auto focus,
manual focus, macro
focus
• Identify, compose and
record basic shots
Viewfinder, adjustable
Eyepiece
Viewfinder controls
Microphone
28
Snap-on
battery pack
Power zoom switch
Auto-iris on/off
Focus control
Lens hood
Power selection, intercom,
audio monitoring jack
Lens aperture
Manual
zoom control
Color compensation
filter
Video gain
Aperture
control White balance adjust
Black adjust
camera
unit 2
Section
5.2
<<ACTION>>
Tape a pan, tilt, zoom in and zoom out.
Review basic moves. Each student will
record a pan, tilt, zoom in and out on
his/her own tape.
<<ACTION>>
Tape three basic shots using class members as
subjects. Review the three basic shots. Review
the concept of pre-roll. Pre-roll is the amount of
time it takes for the camera to actually begin
recording after the Record button is pressed.
Most modern decks require two to three seconds.
Many systems require five seconds of pre-roll.
Pre-roll will be essential for editing.
©2000 ParkerVision, Inc.
camera
Camera Position
There’s more to shooting than just basic shots and
moves. Angles make your work more interesting. The
old adage that “the camera doesn’t lie” may not be so
accurate. By changing the camera angle you can make
something appear different than it actually is.
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LESSON:
28
How we position the camera is
very important. Camera height
should be chosen based on the
subject-and-camera relationship,
not just on how high and where
the tripod happens to be set up.
The high angle camera shot
Objectives:
After completing this
section, you will be
able to
• Describe the characteristics of a high
angle, low angle, and
canted shot
• Record a high and low
angle shot, and a shot
demonstrating the
canting technique
• Define a neutral angle
• Compose and record a
neutral angle
28
places the camera above the subject, shooting downward. This shot
makes the subject look small, weak
or vulnerable. The angle does not
have to be extreme; even a slight
angle can create this impression.
The low angle shot places the
camera below the subject, looking
up. This angle implies power,
respect or strength. It can make
the subject appear intimidating.
Again, the angle does not need to
be extreme.
Overhead
Very high angle
High angle
unit 2
Section
6.1
camera
unit 2
Section
6.2
Level shot
Low level shot
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LESSONS:
2 8 · 29
Camera placement can create a
type of bias in the mind of the
viewer. Positioning a camera at an
unflattering angle can detract
from a verbal message. Be careful
of how you use angled shots, as
they can make the subject appear
to be something it is not. Although
not an angle, the neutral shot
keeps the camera level and
remains at eye level with the
subject. This is an appropriate way
to shoot an interview.
28
A shot that has gained popularity in the past few years is a type
of angle shot called “canting.”
Canting tilts the camera on the
diagonal left or right.
Canting demands the viewer’s
attention and participation. As the
angle tilts, often the viewer’s gaze
and head follow – somewhat reminiscent of watching a tennis
match. Canting gives an unusual
effect and adds visual excitement
but is a specialty shot to be used
sparingly. The technique is often
found in music videos and programs geared to young audiences.
29
Low angle
©2000 ParkerVision, Inc.
Very low angle
camera
Objectives:
After completing this
section you will be
able to
• Define a variety of
shots used in ENG
reporting
• Correctly compose and
record shots
30
ject’s comment, we begin to doubt
that person’s credibility as well.
One type of reaction shot is
.
called a
A lead-the-look shot is a close-up
with your subject framed in the
right third or left third of the
screen (remember the Rule of
Thirds?) and looking toward the
One of the most common shots you
opposite edge of the frame. Also
will use is the
called “look room” or “nose room,”
. This is a visual of somethe technique provides an empty
one or something reacting to
area in front of where the subject
someone or something else in the
is looking.
primary scene or another shot: for
The lead-the-look shot is usuexample, a shot of a reporter nodally used as a close-up shot with
ding while the subject is speaking.
the subject looking in the direction
Reaction shots are almost essenof an unseen reporter. This is one of
tial in any scene with more than
the standard shots used for interone talking subject. On-camera
views. It is also used to show the
interviewers often cue the audience
reaction of the person listening.
on how to respond. If the interviewer squints skeptically at a sub-
One of the things you must also consider as you begin
composing shots is how they will fit together with
other shots. Like words, shots need to be put together
in an organized and coherent form to get your
message across. In this section we will talk about
individual shots that will provide you some visual variety and help you create better sequences.
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LESSON:
30
unit 2
Section
7.1
REACTION
SHOT
LEAD-THE-LOOK
camera
unit 2
Section
7.2
In the TWO SHOT, the reporter stands next to the subject
with their shoulders angled to form a V. For this
exercise, the two shot should be a mid shot (MS). After the
two shot is established, the photographer slowly zooms in
on the subject to a lead-the-look shot. The photographer
stays on the lead-the-look shot until the reporter gives
the photographer the cue to begin zooming back out to a
two shot. The camera cue is usually a predesignated word,
phrase or sentence. Try to avoid letting mysterious body
parts (i.e., hands and arms holding microphones) protrude into the shot. Frame it so that only the top of the
mic is showing in the shot, if anything.
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LESSON:
31
<ACTION>
Each student will record a
two-shot, zooming in to
lead-the-look, holding until
the reporter signals to
zoom out to the original
two-shot.
Good cropping
Bad cropping
of the subject’s head is not shown
but is framed so that the viewer
mentally “fills in” the missing part.
Cropping adds to the intensity of a
shot and demands a viewer’s attention.
The compositional guideline for
cropping in a very close shot of a
person is to avoid cropping the
chin, or “sacrifice forehead and
favor the chin.” You want to leave
When setting up shots you also
room at the bottom of the frame for
want to make sure that you focus
the mouth to move. If cropping as a
viewer attention on the subject
close-up, include part of the
and not the background. This
shoulder and neck. From an
means that you want to “crop” or
extreme close-up, show only facial
frame a shot so as not to distract
details and crop the head and just
the viewer, and that you select
slightly above the chin.
appropriate backgrounds.
When framing a person in a
When the entire subject is not
wider shot, avoid cropping dead-on
shown, framing becomes very
important. If a subject is framed cor- the body’s natural cutoff points,
rectly, the viewer can mentally fill in such as the neck, elbows, waist,
knees and ankles. Instead, frame
the missing areas, and the image
your shot slightly above or below
will not seem odd or out of balance.
these points to keep a more natCropping involves framing the
ural look to your composition.
picture in such a way that the top
31
©2000 ParkerVision, Inc.
camera
unit 2
Section
7.3
Background
desired background, zoom out to a
wide shot, and physically move in
close to the subject. This technique
will allow you to keep both objects in
Many a camera operator has played back footage and focus. Don’t try to place your subject
said “I didn’t see that when I was taping.” The back- directly under a large object. The
result will be unflattering.
ground might make the difference between a good shot
Be aware of contrast levels
and an unusable one. Whenever possible, interview between your subject and the
your subject against an appropriate background. background. Try to keep the
Always watch out for the mysterious plant or pole that relationship between subject and
background one of moderate conappears to “grow out of the subject’s head.”
trast, and always try to make sure
For news purposes, try to keep backthe subject is brighter than the
grounds as neutral as possible; but
background. A dark-complected
on the other hand, don’t place subsubject wearing dark clothes
LESSON
jects directly in front of a wall. Move
against a light background, or a
them out at least four feet from the
light-complected subject wearing
wall to give your shot more depth
very light clothes against a very
and to avoid throwing distracting
dark background, would lose all
shadows on the wall that will be visfacial detail. White walls and winible in the shot.
dows may cause contrast problems
When trying to include a subject
because they will be brighter than
and a larger object in the shot, i.e., a
the subject.
scoreboard, sign, etc., place your
subject at a distance in front of the
Sometimes we’re so busy framing our subject in the
viewfinder that we focus only on the subject and lose
perspective of what else is going on in the shot.
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:
32
Right
Wrong
32
camera
unit 2
Section
7.4
180˚
OVER-THE-SHOULDER
Sometimes just showing the person talking in front of a
background is not interesting enough visually. One way
to create exciting visual composition is to use an OVERTHE-SHOULDER shot (sometimes abbreviated as OSS or
as OTS). The over-the-shoulder shot is typically a
medium shot of a subject in front of and facing the
reporter, with the reporter’s shoulder in the foreground
of the frame. It can also be a close-up or a medium shot
as the camera shoots just over the reporter’s shoulder to
get a clear shot of the subject.
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LESSON:
33
When you start varying the angle
from which you are shooting the
subject and shooting over-theshoulder shots, you need to be
aware of what is called the
or the shooting axis. Draw an imaginary line
through the scene you are shooting, and imagine a semicircle of
180-
DEGREE RULE
<<ACTION>>
180º drawn around it like half a
pie. All your camera positions
should be on this axis. People and
objects will stay in the same
screen relationship as long as this
rule is observed. A cut (or edit)
across the imaginary shooting line
will make a subject appear to
change direction. A person walking screen left to screen right will
appear to be walking back in the
opposite direction if the 180º axis
is crossed! A football team shot
from one side of the field with a cut
to the other side of the field will
look as if they are running toward
their own goal. In sports when this
rule is broken, a caption saying
“Reverse Angle” is usually keyed
over the shot to orient the viewer.
33
©2000 ParkerVision, Inc.
Each student will record on his or her own tape demonstrating
correct composition of three over-the-shoulder shots.
camera
REVERSE
After you’ve shot an over-the-shoulder shot and have
finished the interview, you may want to shoot a
REVERSE of the reporter to go with it. (Reverses are
shot for later use in the editing process.) Reverses
include the subject – in this case the reporter – listening, nodding or reacting in some way. (Reverses are a
type of reaction shot.) Try to match the “eye lines” of
the subject and the interviewer so that they seem to be
looking at each other.
online
LESSON:
34
In shooting over-the-shoulder
shots for interviews and dialogue,
or for use as reverses, it is important to remember screen direction.
Always shoot over opposite shoulders to maintain your subjects’
screen relationship.
Once you’ve become familiar
with these shots, practice them
until they become second nature.
While you’re shooting, try to hold
each shot you take for at least ten
seconds. When it’s time to edit,
you’ll be glad you did.
34
unit 2
Section
7.5
camera
unit 2
Section
7.6
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