1. AVP CAMERA MOVES 1

2. IT IS HIGHLY SUGGESTED THAT YOU… TAKE NOTES ASK QUESTIONS PAY ATTENTION THEY ARE ALL VERY STRONGLY ENCOURAGED IT IS HIGHLY SUGGESTED THAT YOU… TAKE NOTES ASK QUESTIONS PAY ATTENTION THEY ARE ALL VERY STRONGLY ENCOURAGED

4. CAMERA MOVES 1

5. The following camera movements are usually used in a studio setting but there are times and conditions where they will be used in field productions. Since they are basics you should know them whether you are doing field or studio productions.

6. CAMERA MOUNTS Any camera moves that are not hand held, whether they are studio or field, are done with the camera mounted on a tripod. This gives you the best chance (if that’s what you want) for steady shots and smooth camera moves.

7. In the studio the entire camera assembly is generally mounted on a pedestal so it can be smoothly rolled around the studio floor. There are three wheels in the base of the pedestal that can be turned using the steering ring.

8. The Studio Tripods are very heavy and stable units, they usually have a hydraulic column, which you use to raise or lower the camera height. The wheels are lockable so you will not drift off of your station, but the support will move almost effortlessly when you do have to make a move.

9. A simpler camera support than the large studio pedestal is the collapsible dolly. This type of mount is used for remote productions and in some small studios.

10. TRUCKING AND DOLLYING These are terms used with the Studio Tripods, simply you "TRUCK" in and out, and "DOLLY" side to side. Sometimes the big movements are called "TRACKING" and the small movements "CRABBING".

11. DOLLY When the entire camera is moved (rolled) toward or away from the subject it's referred to as a dolly ("dolly in for a close shot," or "dolly back for a wide shot"). Sometimes term trucking is substituted for dolly.

12. Dolly The camera's actual position changes, such as to move alongside a moving subject or to travel closer to a character during a scene.

13. Dolly in moves the camera closer to the subject. Dolly out backs the camera away from the subject. Dolly in and dolly out are sometime called "track".

14. TRUCK A lateral move (rolling the camera to the left or right on the pedestal or dolly) is referred to as trucking, as in "truck left" or "truck right." Sometimes the term "crab" or "crabbing" is substituted for truck.

15. PEDESTAL Moving the entire camera up or down on it’s pedestal or tripod while remaining on the subject (this is not to be confused with tilt or pan). The command is "pedestal up" or "pedestal down." Sometimes just "ped" is used.

17. ZOOM

18. The following moves are used in both field and studio production, all the time. These movements involve moving the camera itself. That is different from the first group of slides where you are moving what the camera is attached to (pedestal or dolly.)

19. Pans and Tilts like all movements need to make sense, have a reason for being there. The reason you pan or tilt are to give the viewer a new picture to look at. Sound simple, it is and it isn’t. You are attempting to change from one good shot to another good shot.

20. PAN The framing moves left & right, with no vertical movement. CAM Top view of camera Pans = side to side

21. Camera Moves Pan The camera rotates from side to side, so that it aims more to the left or right. The camera does not change the location.

22. Pans are used far more frequently than tilts – human life is on a horizontal line and you will discover as you look through your view finder that, looking up or down is far less interesting than looking side to side.

23. TILT The framing moves up & down, with no horizontal movement. CAM Side view of camera Tilts = up and down

24. Tilt The camera rotates to aim upward or downward without changing the location. Tilt is sometimes called "pitch".

25. We have a natural sight line, an area which we normally view the world, we are all pretty much the same and so the world we have built fits in this sight line/area.

26. FOLLOW Any sort of shot when you are holding the camera (or have it mounted on your shoulder), and you follow the action while walking. Hard to keep steady, but very effective when done well.

27. ZOOM A zoom optically achieves (by use of the lens) somewhat the same effect as a dolly without having to move the entire camera. It appears as if the camera is moving closer to or further away from the subject.

28. When a shot zooms in closer to the subject, it is said to be getting "tighter". As the shot zooms out, it is getting "looser". The command will be “zoom in” or “zoom out”, “tighten the shot up” or “loosen the shot up.”

29. Remember - you are not moving the camera. You are manipulating the camera zoom lens to give the appearance of movement and to achieve various camera shots. That’s why it is a move (even though the camera itself doesn’t move - the lens does) not a shot. You use it to get your shot.

30. Zoom The camera's lens is adjusted to increase or decrease the camera's field of view, magnifying a portion of the scene without moving the camera.

34. Note: Most camera moves are a combination of these basic moves. For example, when you're zooming in, unless your subject is in the exact center of frame, you'll have to pan and/or tilt at the same time to end up where you want to be.

35. Dolly vs. Zoom The difference between dolly and zoom is that when you dolly, you are moving the camera in space, while zoom refers to changing the camera's focal length. When you move the camera, the perspective changes.

36. Objects far from the camera change in relative size at a slower rate than objects which are close to the camera. That is what you see through your human eyes as you walk around, your perspective changes.

37. On the other hand, when you zoom (i.e., when you change the focal length of your camera), your camera does not move and perspective does not change.

38. Boom is also called or known as pedestal DOLLY TRUCK ROLL PAN BOOM OR PED TILT

41. BIBLIOGRAPHY/REFRENCES/SOURCES Millerson, Gerald (1988) Video Production Handbook, Focal Press Mitchell, Wanda (1974) Televising Your Message, NTC Company Schihl, Robert J. (1989) Single Camera Video, Focal Press Scientific American (2000) How Things Work Today, Crown Publishers Steward, Winston (2002) Digital Video Solutions, Muska & Lipman Publ Zettl, Herbert (1976) Television Production Handbook, Wadsworth Publ Wurtzel, Alan (1979) Television Production, McGraw Hill Book Company Videomaker & Computer Videomaker Magazine (various issues) www.howstuffworks,com www.mediacollege.com www.homepage.newschool.edu www.accad.osu.edu