TV Camera Operations

INTRODUCTION ACKNOWLEDGEMENTS MEET YOUR CAMERA = 10 The TV camera is easy to use Effective camerawork is an acquired skill THE PARTS OF YOUR CAMERA = 12 The camera head The panning head (friction head) The camera mounting The camera cable WHAT THE CAMERA CAN DO = 14 Familiar camera-tube shortcomings Lightweight cameras THE CAMERA VIEWFINDER = 16 Simple viewfinders Electronic viewfinders POINTING THE CAMERA = 18 The panning head Locking off CAMERA MOUNTINGS = 20 The tripod The rolling tripod The pedestal LENS APERTURE = 22 Adjusting the aperture f-numbers CONTROLLING EXPOSURE = 24 Accommodating scenic tones Adjusting exposure FOCUSING PRINCIPLES = 26 Following focus Fixed focus The value of adjustable focus DEPTH OF FIELD = 28 Accurate focusing Focusing restrictions FACTORS AFFECTING DEPTH = 30 Effect of lens aperture Effect of focused distance Effect of focal length of lens HOW LENS ANGLE IS DERIVED = 32 How to use lens angle information Focal length WHY USE DIFFERENT ANGLES = 34 Lens angle and effective subject size A change in lens angle can help THE'NORMAL'LENS = 36 The 'standard' lens Some limitations THE'NARROW ANGLE' LENS = 38 Some limitations THE'WIDE ANGLE'LENS = 40 Some limitations Operational factors Lens flares PERSPECTIVE & DISTORTION = 42 Perspective distortion Narrow angle effects Wide angle effects THE LENS TURRET = 44 Care in lens positioning Turret operation WHAT THE ZOOM LENS CAN DO = 46 Zooming Shot box ZOOM LENS PROBLEMS = 48 The focusing dilemma Indecisive choice of lens angle LONG SHOTS = 50 Camera operation Lens flares MEDIUM SHOTS = 52 Camera operation Audience interest Depth of field CLOSE SHOTS = 54 Subject movement Lens angle Extension tubes BASIC SHOTS OF PEOPLE = 56 Classification General terms CALCULATING SHOTS = 58 How to use the graph Lens angles COMPOSING—HEADROOM = 60 Appropriate headroom Receiver masking COMPOSING—FRAMING = 62 The 'rule of thirds' Avoid routine centralisation Compositional opportunity COMPOSING—PROPORTIONS = 64 Adjusting your shot COMPOSING—CONCENTRATION = 66 Selective treatment Excluding detail Emphasising detail COMPOSING—IN DEPTH = 68 Enhancing depth Aim at natural effects Obtrusive techniques RECOMPOSING THE PICTURE = 70 Recomposing during movement Maintaining good composition UNKIND SHOTS = 72 Lens angle Camera height MATCHING OTHER SHOTS = 74 Avoiding spurious effects Matched shots Mixed feeds HIGH SHOTS = 76 High-level operation Problems when using high shots Camera cranes LOW SHOTS = 78 The effect of low viewpoints Operational problems MOVING THE CAMERA UP Et DOWN = 80 Mechanics of height change Column balance Why alter camera height? Unexpected effects DOLLY SHOTS AND TRACKING = 82 Focusing Smooth movement Floor considerations CRABBING (TRUCKING) = 84 Method of crabbing Crabbing problems SPEED OF CAMERA MOVEMENT = 86 The effect of mounting weight A guide to effective operation DEVELOPING SHOTS = 88 Cautionary words FOLLOWING A MOVING SUBJECT = 90 Tell-tale signs Problems increase with proximity FRAMING THE MOVING SUBJECT = 92 Offset framing Exiting frame Delayed frame Maintaining focus PRACTICE MAKES PERFECT = 94 Exercises can help Basic operations Moving subjects THE CAMERA SCRIPT = 96 The simpler production Complex productions The shot sheet INSTRUCTIONS TO CAMERAMAN = 98 Talkback during rehearsal Talkback during 'transmission' THE DIRECTOR RELIES ON YOU = 100 Be adaptable Use initiative Be consistent PREPARING FOR REHEARSAL = 102 Checking controls Auxiliary facilities Mechanical checks CHECKS FOR REHEARSAL = 104 Camera cable checks Checking tracking areas Ready to go CHECKING CAMERA SHOTS = 106 Ready for the next shot Cable noise LINING UP YOUR SHOT = 108 Repeated shot accuracy SHOOTING UNREHEARSED ACTION = 110 Preparations Methods of approach AVOID INAPPROPRIATE SHOTS = 112 Beware of stylised camerawork Mannered treatment SHOOTING GRAPHICS - CAPTIONS = 114 Camera position Light problems Zooming SHOOTING PEOPLE = 116 Maintaining framing Lens angles SHOOTING THE DEMONSTRATOR = 118 Organising close shots Lens angles SHOOTING THE PIANIST = 120 Optimum camera treatment Depth of field problems Camera movement SHOOTING INSTRUMENTALISTS = 122 Instrumentalists Orchestras HELPING THE PERFORMER = 124 Help the newcomer Show the director Remember the prompter HELPING LIGHTING TREATMENT = 126 Camerawork interprets others creations Principal lighting hazards HELPING SOUND TREATMENT = 128 Typical sound pick up methods The sound boom CAMERAMAN AND SWITCHER = 130 The cameraman helps the switcher The switcher helps the cameraman WHAT ARE FILTERS FOR ? = 132 Neutral density filters Contrast filters Corrective filters Haze filters CAMERA EFFECTS = 134 Picture diffusion Transforming the image Image rotation Reflected images UNORTHODOXCAMERA TREATMENT = 136 Direct methods Using mirrors Problems with mirrors THE CAMERA CRANE = 138 The small crane The Academy Crane (the 'Mole') Motorised cranes THE LOCATION CAMERAMAN = 140 The cameraman's view Shot initiative Lens angles EXPECT THE UNEXPECTED = 142 Improvising The unobtrusive catastrophe The helpful warming PROBLEMS DURING THE SHOW = 144 THE SHOW GOES ON! = 146 Inform others Try to keep going CAMERA CARE IN REHEARSALS = 148 CAMERA CARE DURING STORAGE = 150 Routine checks IN CONCLUSION = 152 FURTHER READING = 152 GLOSSARY = 153

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