Welcome to PVTV LEARNING, from ParkerVision. This curriculum represents the most advanced and effective way to teach high school and college students the science of modern television broadcast. Until now, most broadcast curriculums focused on methodology that evolved over 30 years ago. This curriculum, however, covers basic production techniques and equipment, and then transports the students into the advanced automation technologies that are quickly becoming the norm in today’s television broadcast industry. If you have elected to download only the PDF versions of the Teacher’s and Student’s Editions of PVTV LEARNING, feel free to jump right into teaching. Throughout the chapters, you will see references made to additional materials in the way of on-line lessons and tests, and explanatory videos and animations. This additional material is available to educators at a significantly discounted cost in electronic format (on a CD ROM). For more information on obtaining this additional material for your school, visit our LEARNING web site at www.PVTVLEARNING.com or contact us as shown below. ParkerVision, Inc. 8493 Baymeadows Way Jacksonville, Florida 32256 e-mail:
[email protected] Tel: 904-737-1367 Fax: 904-731-0958 www.parkervision.com
camera
unit 2 Section i
Introduction
To create video information, a camera is pointed at a scene. The camera converts light reflected off various objects in the scene to “values,” which are then converted into a steady flow of electronic information. We call this the VIDEO SIGNAL. Video signals are later re-created into television images.
But we are getting ahead of ourselves. For now all you need to know is how to use your video camera. You’ll use two basic types of video camera systems: a and a . A studio To convert real-world images to camera is typically a sophisticated video signals, the camera lens must capture certain properties of video camera that is used indoors in a controlled environment, such the subject - contrast, detail and as a television studio. These color - then translate and focus these properties on what we call an cameras are often equipped with camera control units that allow . (Today most imaging remote setup and operation. devices are CCDs - charge coupled Usually they can be “patched” devices - or simply “chips.”) (input) into a variety of VTRs (video The imager converts this color, tape recorders), switchers and live contrast and detail information output links, but they don’t often into an electronic signal, which come with a tape recorder directly is then processed and distributed attached. for display on monitors and television sets or is recorded by a videotape recorder.
IMAGER
STUDIO CAMERA CAMCORDER
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unit 2 Section ii
A camcorder combines a video camera and videotape recorder (VTR) in a single unit. (Abbreviate these two names and you get “cam.corder.”) Camcorders are designed with all the necessary controls in the camera and are small and flexible so they can be used in the field or “on location.” Camcorders come in a variety of types, and often you can mix and match a camera with a variety of different recording devices. The big difference between a camcorder camera and studio camera is that the camcorder is small and
Camera viewfinder
Twist-grip zoom control
portable and suitable for both indoor and outdoor use, while the studio camera is not. No matter what type of camera you use, first you must learn to set up and compose shots.
Zoom lens
TelePrompTer
Typical studio camera
ParkerVision CameraMan camera
©2000 ParkerVision, Inc.
Camera pedestal
camera MLS
LS
Basic Shots
Television programs and all visual stories are told through a series of shots. A video camera allows you to focus attention on selected pieces of action through the selection of shots. Shot names come from a broad description of the area of the subject in the frame, the angle of the shot or the movement of the camera. We often abbreviate the description of the shot into what almost sounds like a secret code. Take a look at this illustration and see if you can decipher the code:
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Objectives: After completing this section you will be able to: • Identify basic shots, including wide, medium, close-up, extreme close-up • Describe the characteristics of basic shots • Define and describe the parts of a tripod and its uses • Set up and take down a tripod correctly • Attach a camera to a tripod correctly
All of these are variations on the three most basic shots, namely, the long shot, the medium shot and the close-up. The (LS) is a wide image most often used as an establishing shot to orient the
LONG SHOT
MLS/FLS MS
CU VCU
unit 2 Section 1.1
ELS/XLS
audience. It lets the viewer know where the action is taking place, but it lacks the details that a closeup or even a medium shot can provide. There are several variations on the long shot. Here you see a medium long shot (MLS); a long shot; and an extreme long shot (ELS or XLS) If you were recording a long shot of a person, you would show your subject from head to toe. Long shots are sometimes called wide shots (WS), especially when shooting scenery. Use long shots sparingly. The television screen is very small, and it is extremely hard for a viewer to see what is happening in a long shot.
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BCU MCU 3/4 KNEE
ECU
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unit 2 Section 1.2
ECU
VCU
(extreme close-up)
(very close-up)
medium shot
A (MS) is a transitional shot. It bridges the gap between the wide and long shots and the close-up. It gives the viewer a closer look at what is on the screen but still provides a view of the background for reference and orientation. It shows the viewer any broad action that the subject may make. A medium shot refers to any shot that falls between a wide shot and a closeup. When the subject of your shot is a person, a medium shot might mean framing the subject from mid leg to the top of his/her head, or from slightly above or below the waist to the top of the head. (Cutting the person off exactly at the waist often looks “funny.”)
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MS
3
The close-up is the most important shot in television. The (CU) allows the viewer to see a subject or an action in the greatest detail.
close-up
3/4 KNEE SHOT ©2000 ParkerVision, Inc.
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unit 2 Section 1.3
the art of composition Television programs and all visual stories are told through a series of pictures or shots. Shots communicate ideas, so we select, frame and compose all shots to give maximum impact. How you put the shots together (create a sequence) tells the visual story and communicates your message. A typical sequence would start with a long shot to orient the audience, and continue with medium shots to reveal the action. In between the mid shots, close-ups can be used to vary the emotional impact, to reveal reactions and to magnify small details. In fact, close-ups are a great way to tell a story. Use a series of close-ups highlighting details in a scene rather than one long shot. Remember, television is well suited for close-ups.
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Each shot is created and selected for a specific purpose, as well as to draw the eye to a clear center of interest. Therefore, in addition to learning the three basic shots, you must also know how best to place the person or subject in the frame.
This is called “the art of composition.” Since you have seen a lot of television and films, you’re probably already a pretty sophisticated viewer when it comes to composing shots and understanding what looks good and what looks “wrong.” However, it always helps to have some guidelines, and there are quite a few when it comes to composition. These basic techniques will help you get started. The amount of space between the top of a subject’s head and the top edge of the television frame is . Too little called headroom and you cut off the subject’s forehead, or the subject appears cramped. Too much headroom and subjects appear small and out of proportion to the screen, or as if they are sinking out of the bottom of the frame.
HEADROOM
Basic shots activity: Collect and assemble three examples of each of the three basic shots. You may use pictures from magazines or newspapers, or actual photographs. Attach your “shots” to construction paper. The shots must be correctly labeled and creatively displayed. You will be graded on the following: Shots correctly identified/correct number of shots/creative display/you have met your deadline.
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unit 2 Section 1.4
field of view online LESSON: 4
Get to know your camera’s true field of view. The viewfinder on the camera can display a slightly different framing than you might see when you look at the image in a monitor later. Images usually appear smaller in the camera’s viewfinder than they will when you play them back on a monitor or TV. The reason for this is that
the camera viewfinder shows everything that it is in the frame (so you will not mistakenly include a microphone or some crew member). This requires the viewfinder to slightly compress the image so you can see all four edges of the frame. When played back on a television set, the image is seen at its normal size and will appear larger.
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good
too little
too much
©2000 ParkerVision, Inc.
camera
RULE OF THIRDS There’s still more to learn about shooting composition. Since parts of your assignments will involve taping interviews, you’ll need to know not only how to correctly frame your subject, but also how to provide an interesting variety of shots so as not to bore viewers. One important guideline for proper composition has been used since ancient Greece. This is the “Rule of Thirds.” This rule helps you create shots that look different from one another yet always feel pleasing to your audience.
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unit 2 Section 1.5
5
RULE OF THIRDS
The divides the screen into an imaginary grid three equal parts down and three equal parts across, something like a tick-tack-toe board. Place an image wherever the lines intersect, and you’ll have an interesting picture. You can use this rule with almost any type of shot; just be sure to keep the eyes in the upper third of the screen when shooting a close-up!
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unit 2 Section 1.6
QUICK RELEASE
WEDGE MOUNT
Camera head horizontal balance
Tilt drag
Tilt lock Pan drag Tilt lock
Pan lock Tilt drag
Pan lock
Level bubble
Tripod moving shot such as a pan or tilt. A almost always assures you of the smoothest camera moves. A tripod also has a , which is used to pan and tilt the camera. Tripods may have a couple of other controls in addition to the handles you use for movements. These are called locks and drags. Pan and tilt locks hold the camera firmly in position and There are various kinds of specialallow no movement in a particular ized tripods with funny names like direction. Drags use friction on the “low boys” and “high hats.” Howpan and tilt movements to make ever, the basic news tripod usually them smoother. A tripod may also has one of two types of attachments have an extension pole and crank to hold the camera in place. Most handle that give you additional popular is a quick-release shoe or flexibility in adjusting for height. wedge plate. The camera clicks in Sometimes called a , and out to be quickly and securely this attachment may also have a mounted to the top of the tripod or ball and claw adjustment to help in removed fast to catch a handheld leveling the tripod. shot. The alternative is a simple When setting up a tripod screw-in bolt that connects the always fully spread out the legs, or camera to the head of the tripod. . Make sure that the The part of the tripod the camera whole unit is level and balanced. mounts to is called the . The legs may or may not have feet There are a number of different attached for a sturdier base or a head designs, including spring spreader device that slides down to loaded, friction and fluid-type open the legs and retracts when heads. All work fine for static shots. they close. The primary difference is how Always lock down the camera smoothly they allow you to control when you are done with a shot or if the camera when performing a you step a few feet away from it.
Before we leave this section, there’s one more very important item we need to mention: the TRIPOD. The tripod is a three-legged stand used to hold your camera steady. The legs extend, or “telescope,” so you can set up the camera at the height you want. A good tripod will help you with a static shot as well as with camera moves. Tripods are vital, especially when you’re shooting a close-up during an interview. The closer in you go, the more noticeable any shaking or unsteadiness will be. So the rule is, if a tripod is available, use it!
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FLUID HEAD
PAN
HANDLE
PEDESTAL
STICKS
HEAD
©2000 ParkerVision, Inc.
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camera wrong One rule you will always want to remember is never, never, ever leave a camera unattended while mounted on a tripod. This is an accident waiting to happen. If there’s an emergency and you must leave the camera, designate someone to supervise it until you can return.
Tripod head
Handles
Collapsible legs
Spreader
When it is time to move, remove the camera. Fold up the tripod, holding it by the legs. Once you’ve retracted the legs, lock down all the parts before attempting to carry it. (Some tripods even come with cases.) Never carry a tripod by the head. But what if you don’t have a tripod? Several techniques will help you steady your shots. Widen your stance so that your feet are parallel with your shoulders. In this way, you become the tripod, solid and flexible, able to turn at the waist to pan almost 360
unit 2 Section 1.7
right
degrees. Brace your support arm against your body and keep your elbows in close to your chest for added stability. Another adaptation is to find a wall and lean against it. You can also try sitting down with your arms braced on your knees, or simply using objects like tables and chairs to help support the camera. When caught without a tripod, try to keep your shots in the medium range instead of shooting close-ups. Close-ups emphasize shakiness. If you want a closer shot, zoom out and move physically closer to the subject rather than zooming in. Breathe as shallowly as possible so that the camera on your shoulder won’t rise and fall with each breath.
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unit 2 Section 1.8
