1. CAMERA TECHNOLOGY and KEY PRINCIPLES for ACHIEVING A QUALITY IMAGE BASIC CAMERA TECHOLOGIES AND KEY CONCEPTS Updated July 10, 2006

2. Why know technology? Understanding tools critical to producing desirable final productUnderstanding tools critical to producing desirable final product Video/film are technology intensive enterprisesVideo/film are technology intensive enterprises Great sound, visual images and editing don’t ‘just happen’Great sound, visual images and editing don’t ‘just happen’ Painters must know which brush, type of paint, sculptor must know stone and chisels - exception: video production is a team processPainters must know which brush, type of paint, sculptor must know stone and chisels - exception: video production is a team process

3. CHIPSCHIPS Pick-up device - "retina" of the camera Senses light, changes light energy into electric energy, 3 chips are better than 1 Senses light, changes light energy into electric energy, 3 chips are better than 1 ’Charged-coupled device' CCD, chip ’Charged-coupled device' CCD, chip Durable, permanently registered Durable, permanently registered

4. IRISIRIS Metal leaves which control amount of light entering the camera Metal leaves which control amount of light entering the camera Aperture is the opening Aperture is the opening Measured in "f-stops" 1.4 - 22 (1 stop open, doubles amount of light coming in) Measured in "f-stops" 1.4 - 22 (1 stop open, doubles amount of light coming in)

5. IRISIRIS f1.4 = wide open f1.4 = wide open f16 = small opening f16 = small opening If smallest f-stop 1.4 = fast lens (good low light) If smallest f-stop 1.4 = fast lens (good low light) If smallest f-stop 4.0 = slow lens (poor low light) If smallest f-stop 4.0 = slow lens (poor low light)

6. AUTO IRIS ”Auto" iris - standard setting ”Auto" iris - standard setting Camera "averages" the light reading and adjusts the iris accordingly Camera "averages" the light reading and adjusts the iris accordingly Causes problems with areas of high contrast or w/large dark or large light areas Causes problems with areas of high contrast or w/large dark or large light areas High contrast ratio (dark vs. light areas in the frame) High contrast ratio (dark vs. light areas in the frame)

7. AUTO IRIS Sports event w/harsh shadows, people shot against dark/light background Sports event w/harsh shadows, people shot against dark/light background Concert or play with extensive dark areas Concert or play with extensive dark areas Nighttime shoot Nighttime shoot

8. MANUAL IRIS ”Manual iris" - optional setting ”Manual iris" - optional setting Manually set the iris so that it won't change Manually set the iris so that it won't change Goal, setting the iris to pick up your subject accurately Goal, setting the iris to pick up your subject accurately Image through the viewfinder is best indication of iris setting Image through the viewfinder is best indication of iris setting Zebra stripes indicate overexposed areas in frame (if available on cam) Zebra stripes indicate overexposed areas in frame (if available on cam)

9. LENSLENS Lens focuses light beams on the chip Lens focuses light beams on the chip Most video lenses are variable length (zoom lenses) Most video lenses are variable length (zoom lenses) Many small format video lenses “permanent” (can’t be switched) Many small format video lenses “permanent” (can’t be switched) Several elements (concave and convex pieces of glass that slide back and forth to create lens length and focus) Several elements (concave and convex pieces of glass that slide back and forth to create lens length and focus)

10. LENSLENS Digital zoom is not part of lens. Digital zoom is not part of lens. Cam samples part of the image on the chip and ‘blows up’ image Cam samples part of the image on the chip and ‘blows up’ image Generally creates unfavorable image - grainy, pixilated Generally creates unfavorable image - grainy, pixilated

11. ViewfinderViewfinder Small TV monitor mounted on camera Small TV monitor mounted on camera.5 to 1 inch TV (studio viewfinders bigger).5 to 1 inch TV (studio viewfinders bigger) Adjust to be comfortable tilt up and down Adjust to be comfortable tilt up and down Focus is separate from cam focus Focus is separate from cam focus Slides closer and farther from camera Slides closer and farther from camera Eye-piece can be adjusted or opened to allow full view of the viewfinder from a distance Eye-piece can be adjusted or opened to allow full view of the viewfinder from a distance Check before recording, set the contrast, brightness controls Check before recording, set the contrast, brightness controls

12. ViewfinderViewfinder Pop-out screen increasingly common Pop-out screen increasingly common Very helpful for framing, and to let the team see the composition of a shot Very helpful for framing, and to let the team see the composition of a shot Useful for “playback” of recorded material Useful for “playback” of recorded material Enables “one-man” interviews with more control Enables “one-man” interviews with more control Do NOT use fold-out screen to focus - very unreliable Do NOT use fold-out screen to focus - very unreliable Limit use in bright light (hard to see) Limit use in bright light (hard to see) Drains battery more quickly Drains battery more quickly

13. Other elements of the camera... Special Controls (will vary with the camera) Special Controls (will vary with the camera) Manual/auto focus - typical on consumer models, can be problematic, use manual focus Manual/auto focus - typical on consumer models, can be problematic, use manual focus Work poorly on reflective or horizontal surfaces Work poorly on reflective or horizontal surfaces Low light tools Low light tools Gain control - boosts sensitivity of chip normal, amplifies the video signal, +3, +6, +9db, +18db Gain control - boosts sensitivity of chip normal, amplifies the video signal, +3, +6, +9db, +18db Use only when necessary, creates grainy pic Use only when necessary, creates grainy pic Some cams have a ‘low lux’ setting also Some cams have a ‘low lux’ setting also

14. Depth of Field Key to controlling and creating depth in video, film and still photography Key to controlling and creating depth in video, film and still photography By controlling several interrelated variables, shooter can manipulate depth of field to: By controlling several interrelated variables, shooter can manipulate depth of field to: Add depth to a shot Add depth to a shot Make shot more interesting Make shot more interesting Control viewer’s eyes Control viewer’s eyes Depth vs. Depth of Field - not the same Depth vs. Depth of Field - not the same Depth - having the “appearance” of 3- dimensions in two dimensional space (width & height) Depth - having the “appearance” of 3- dimensions in two dimensional space (width & height)

15. Depth of Field Area in focus in front of camera Area in focus in front of camera Variables affecting DOF: Variables affecting DOF: Lens length: shorter lens = greater DOF Lens length: shorter lens = greater DOF Aperture/iris: smaller iris = greater DOF Aperture/iris: smaller iris = greater DOF Light: more light = greater DOF Light: more light = greater DOF Shutter speed: faster speed requires more light, yields shallower DOF Shutter speed: faster speed requires more light, yields shallower DOF

16. Depth of Field Shallow DOF: only Greeny in focus Shallow DOF: only Greeny in focus Open Iris, f 1.4, 2.0 Open Iris, f 1.4, 2.0 Low lighting or Neutral Density filter on cam Low lighting or Neutral Density filter on cam Faster speed requires more light, yields shallower DOF Faster speed requires more light, yields shallower DOF DOF

17. Depth of Field

18. Great DOF: All 3 in focus Great DOF: All 3 in focus Stopped-down iris, f-12, f-16 Stopped-down iris, f-12, f-16 Well-lit scene, no ND filter Well-lit scene, no ND filter Shutter speed: slower speed requires less light, yields a greater DOF Shutter speed: slower speed requires less light, yields a greater DOF DOF

19. Depth of Field

20. Manipulate DOF to keep part of the frame out of focus Manipulate DOF to keep part of the frame out of focus Make your shot composition a conscious choice Make your shot composition a conscious choice Strive for depth in your shots Strive for depth in your shots

21. Depth of Field OTHER METHODS OF CREATING DEPTH OTHER METHODS OF CREATING DEPTH Rack focus Rack focus Foreground framing Foreground framing Positioning of objects & characters w/in frame Positioning of objects & characters w/in frame

22. Color Temperature Light temperature measured in degrees Kelvin Light temperature measured in degrees Kelvin Outdoor light (sunny day)= 5600 o Kelvin BLUE Outdoor light (sunny day)= 5600 o Kelvin BLUE Typical studio/field video light = 3200 o degrees Kelvin REDDISH/ORANGE Typical studio/field video light = 3200 o degrees Kelvin REDDISH/ORANGE Fluorescent light is 4900 o K Fluorescent light is 4900 o K

23. Color Temperature Be aware of the light situation where you are shooting Be aware of the light situation where you are shooting 1) SOURCE - sun, field lights, outside/inside, color temp? 1) SOURCE - sun, field lights, outside/inside, color temp? 2) DIRECTION - overhead, behind/from front? 2) DIRECTION - overhead, behind/from front? 3) INTENSITY - strong/intense or diffuse? 3) INTENSITY - strong/intense or diffuse? Control as many variables as possible, try to use uncontrollable variables to your advantage. Control as many variables as possible, try to use uncontrollable variables to your advantage.

24. White balancing the camera White balancing the camera Proper color temperature can be attained through adjustments to the camera (white balance settings), camera filters and lighting gels. Proper color temperature can be attained through adjustments to the camera (white balance settings), camera filters and lighting gels. Color balance - tells camera what "white" looks like under existing lighting conditions. Color balance - tells camera what "white" looks like under existing lighting conditions.

25. White Balance continued Most prosumer cameras have 4 white balance settings: Most prosumer cameras have 4 white balance settings: Automatic - camera automatically adjusts to the light temperature Automatic - camera automatically adjusts to the light temperature Inside - 'light bulb” icon indicates tungsten light balance (3200K) Inside - 'light bulb” icon indicates tungsten light balance (3200K) Outside - "sun" icon indicates outside light setting (5600K) Outside - "sun" icon indicates outside light setting (5600K)

26. White Balance continued White Balance continued Set it manually if at all possible Set it manually if at all possible Manual White Balance - Manual White Balance - 1. set master switch to 'manual' 1. set master switch to 'manual' 2. fill screen with white surface 2. fill screen with white surface 3. push white balance button, when it stops blinking, camera is balanced 3. push white balance button, when it stops blinking, camera is balanced

27. White Balance continued Hold white object under existing light MAKING SURE THAT DOMINANT LIGHT SOURCE FALLS ON white object Hold white object under existing light MAKING SURE THAT DOMINANT LIGHT SOURCE FALLS ON white object Some cams require you to hold the button down until indicator stops blinking Some cams require you to hold the button down until indicator stops blinking Others, just push button, release, wait for "OK" signal in viewfinder Others, just push button, release, wait for "OK" signal in viewfinder

28. White Balance continued Professional cameras require that the proper internal filter is selected BEFORE setting the white balance Professional cameras require that the proper internal filter is selected BEFORE setting the white balance 'Manual' is the preferred method as it guarantees proper balance 'Manual' is the preferred method as it guarantees proper balance

29. The issue of Control Know the effect you want to achieve and attempt to control as many variables a possible Know the effect you want to achieve and attempt to control as many variables a possible Take control of the production location Take control of the production location Control lighting - location, intensity, direction Control lighting - location, intensity, direction Control sound - eliminate unwanted sound, enhance desired sound Control sound - eliminate unwanted sound, enhance desired sound

30. ControlControl Purposefully decide on talent, camera and lighting location before setting up. Purposefully decide on talent, camera and lighting location before setting up. Control as many elements as possible Control as many elements as possible Control comes through professional preparation and communication Control comes through professional preparation and communication