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Lenses Zoom Range from 10:1 (called 10x) studio up to 70:1 (called 70x) sports detachable Consumer camcorders let you increase the zoom range digitally.

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Presentation on theme: "Lenses Zoom Range from 10:1 (called 10x) studio up to 70:1 (called 70x) sports detachable Consumer camcorders let you increase the zoom range digitally."— Presentation transcript:

1 Lenses Zoom Range from 10:1 (called 10x) studio up to 70:1 (called 70x) sports detachable Consumer camcorders let you increase the zoom range digitally (really just enlarged pixels)

2 ENG/EFP lenses Range from 13x to 17x Wide angle adapter Range extender usually 2x reduces the light into lens by half

3 Optical Characteristics Focal length Focus Light transmission iris and f-stop Depth of field

4 Focal Length Distance from optical center of lens to the imaging device how wide or narrow the vista will be zoom lenses are variable-focal-length Minimum object distance (MOD) usually 2 to 3 feet Macro allows next to lens focus

5 Focus Accomplished Zoomed All the Way In! stays focused all through zoom range Studio configuration left hand panning handle Field camera focus ring farthest out on the lens

6 Light: Iris and f-stop Aperture from all-open to completely closed Settings called f-stops f/16nearly closed, very bright light f/1.7--almost completely open, low light Sharpest images between f/5.6 and f/8

7 Lens Speed Fast lenses go down to very small f-stop number betas are f/1.8 Slower lenses have lowest f-stops in the range of f/2.8

8 Remote Iris control Adjusted by CCU shading

9 Auto-Iris Switch Field camerascamera adjusts itself however, does poorly in high-contrast scenes Can check by pressing button on lens but keep in manual

10 Depth of Field Area of scene in focus greater behind object Focus on foreground object- background is out of focus

11 Depth of Field Shallow if movement, requires constant refocusing Great nearly everything is on focus, no need for constant refocusing

12 Operational Controls Zoom control servo motor makes smooth manualcan be disabled for very quick changes in zoom level On right panning handle of studio camera right-hand rocker on ENG lens (W-T) Digital Zoom presetscamera must be fixed

13 Focus Control Studio Camera left panning handletwist grip Field Camera front of lens Auto Focus (should always be OFF) chooses center object only

14 Camera Mounts/Movement Handheld/Shoulder-mount can introduce lots of movement quickly adaptable --but TIRING! Tripod three independent, collapsible legs spreaderkeeps from collapse

15 Tripods Must be level leveling bowlair bubble can be placed on dolly (wheels)

16 Pan and Tilt Heads Pan - horizontal movement Tilt - vertical movement Fluid Heads spring-loaded counterbalance encased in oil, provides drag for smoothness tilt/pan drag tilt/pan lock

17 Camera Operation Do Not: leave in a car expose to extreme weather rain, hot sun, extreme cold point lens at sun drop batteries leave batteries in sun lay camera on side

18 Before The Shoot Check all your equipment camera, mics, cables, lights, tripod, batteries Check tripod pan/tilt locks, camera adapter (betas have red tab) Do a test recording to make sure it all works

19 Before the Shoot Check shotgun and external mics do you have enough cable? or is it wireless? Check lights cords and extensions (3-prong adapter) Be sure you have tape in-camera and extra

20 During the Shoot Keep camera steady/Use tripod bend knees elbows against body within reason, hold your breath lean against a sturdy support

21 During the Shoot Movement: Zoom all the way out more forgiving of focus, wobbly movement Panning move whole torso, not just arms before move, point knees towards end of pan

22 Movement People walking get in front of them and move backward that way you get faces

23 ENG/EFP Camera Hold on right shoulder, slip right hand through strap on zoon lens Focus with left hand Keep camera as steady as possible Keep zoom out wide Preset knees for pans

24 ENG/EFP Camera Walk backward in front of moving people White balance! for every new light situation Be sure youre getting good audio Check exposure with auto iris-but keep it in manual Preset zooms if possible

25 ENG/EFP Camera If you dont preset zoom: you will have to follow-focus focus more critical in low-light Keep shotgun audio in auto Pay attention to warning lights red dot steadyrecording (tally)

26 After the Shoot Remove the videotape and replace it with another one in the camera LABEL your tape Turn all the switches off Turn the iris to C Replace the lens cap

27 After the Shoot Roll up and secure mic cables Return all equipment to its proper storage space Put all batteries on charger Let anything wet dry out

28 During the Show Put on headset, unlock camera Rack the focus to make sure you have the sharpest setting (when not hot) hairline and eyes are good spots For dolly-set focus on midpoint Start dollys slowly, end smoothly Try to brake camera before extreme pedestal positions

29 During the Show Generally keep shots at eye level Make sure you have enough cable Be aware of whats around you Keep your eyes on viewfinder Look for other shots to sell director Dont move or focus when tally light is on

30 During the Show Mark camera positions on the floor with tape Listen to all director comments Avoid chatter on the intercom

31 Framing Shots =Show images as clearly as possible so they convey meaning and energy You are clarifying and intensifying the event

32 Screen Size and Field of View TVs much smaller than movie screens Close-in shots best Therefore field of view is tighter than movies

33 Field of View How close the object appears relative to the camera (viewer) Extreme long shot Long shot Medium shot Close-up Extreme close-up

34 Conventional Shots Bust shot Knee shot Two-shot Three-shot Over-the-shoulder shot Cross Shot (like reaction)

35 Framing Shots Dealing with Height and Width 4x3 well-suited to both 16x9 best suited to width/horizontal cant camera for height or use other objects to mask sides

36 Close Ups Close-up Allow headroom Framed below the shoulders sides look empty in 16x9 Extreme close-up cuts off top of the head framed just below top of shoulders looks squeezed in 16x9

37 Headroom Leave headroom in all types of shots Too much headroom is bad though

38 Noseroom/Leadroom Person looking/pointing creates index vector leave extra room to compensate Screen motion creates motion vector leave leadroom to compensate

39 Closure Mentally filling in missing areas of shot To form sensible patterns Positive Closure Negative Closure close-up just of face pole coming out of a mans head

40 Depth Lens choice Positioning of objects z-axis (foreground, middleground, background) Depth of field shallow shows depth and distance because background is out of focus

41 Depth Lighting and Color bright and strong/saturated seems closer than dim and washed-out Try to establish foreground middleground background

42 Screen Motion Movement towards lens is strongest Leadroom for lateral motion Where theyre going….. If one person leaves a two-shot, follow her…you cant keep both people in shot

43 Screen Motion Must be SMOOTH Excessive camera movement is the hallmark of an amateur photographer

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