Chapter 6: Camera Operation & Picture Composition - PowerPoint PPT Presentation

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Chapter 6: Camera Operation & Picture Composition

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Chapter 6: Camera Operation & Picture Composition
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Chapter 6: Camera Operation & Picture Composition

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  1. Chapter 6: Camera Operation & Picture Composition Chapter 6

  2. Working with the Studio Camera • Studio camera is always mounted on a camera support • Usually studio pedestal • All electronic adjustments are made by you • Adjustments made at the CCU Chapter 6

  3. Steps to perform • Before the Show • Headsets • Put on the headset • Check intercom system is functioning. • Should hear the director • Camera • Unlock pan-and-tilt mechanism on camera • Adjust the drag • Check camera is balanced • Unlock the pedestal. Work on pedestal up and down Chapter 6

  4. Steps to Perform • Before the Show • Camera Cable • How much do you have • Any obstacles • Remember: Move cable out of the way. Don’t run over it • Zoom lens • Check lens • Zoom in and out • Any problems? Full range? • Preset a few zoom positions. • Is the lens clean? Chapter 6

  5. Steps to Perform • Before the show • Rack focus • Move from one extreme to the next. • Can you do so easily? Smoothly? • Calibrate the zoom • Zoom all the way in on the target object in zoom range • Focus on far object • Zoom all the way back to the widest-angle setting • Should now remain in focus Chapter 6

  6. Steps to Perform • Before the Show • If have a shot sheet, practice • If teleprompter, if it functional? • If you leave your camera – LOCK IT DOWN • Do not leave camera unlocked and walk away. • Consider locking “parking brake” too • Cap camera if leaving for substantial periods Chapter 6

  7. During the Show • Put on headset • Do you hear the director • Unlock the camera • Recheck pan and tilt • Focus: • If on a person, focus on the hairline – determine the sharpest focus. • Or focus on the eyes. Chapter 6

  8. During the Show • If you will dolly with a zoom, • Set lens at the wide angle position • Preset focus midpoint of dolly distance • Dollying the camera • Start slowly to overcome inertia • Slow down just before the end of the dolly or truck • If you have a difficult truck or arc, get the floor director or P.A. to assist. • Concentrate on camera operation • Keep both hands on panning handles. • Keep your had on the focus control. Steer with other hand. Chapter 6

  9. During the Show • If you pedestal up or down, brake the camera before it hits the highest or lowest level • Generally keep shots at talents eye level. • Before a dolly, determine the approximate reach of the camera cable. • If moving, put the extra cable over your shoulder or on the pedestal. Don’t hold it in your hands. • Avoid dragging cable. Sound may be picked up on camera. Chapter 6

  10. During the Show • During shoot, be aware of all movemet around you: • Where are the other cameras? • Where are the microphones? • Where is the floor monitor? • Where are classmates? Talent? • Watch scenery, props, lights, rugs Chapter 6

  11. During the Show • In general, keep eyes on the viewfinder. • When your camera is not HOT, look for the next shot. • Ad-lib the shot sheet, unless told otherwise by the director • Watch your tally light. When your camera is hot, DO NOT refocus zoom or change shot unless told to by director. Chapter 6

  12. During the Show • During rehearsal, notice any problems. • Focus • Camera shadow • Remember the type and sequence of shots director has requested. • Make a not of the shot sheet for the other camera. • When one shot is done, move to the next, unless told otherwise by the director. Chapter 6

  13. During the Show • Work with talent, director and floor director to mark critical camera positions and talent positions on the floor. • From this position, set the zoom • Listen to what the director calls for all camera operators, not just you. Chapter 6

  14. After the Show • Wait for all clear signal • Move camera to a safe location in studio • Lock the camera • Coil cable in a figure 8 Chapter 6