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Video Camera Technique. Creating the illusion Of 3 dimensions In a 2-D medium. FOCUS . zoom in on object/subject as far as possible find area of contrast focus zoom out and frame (COMPOSE) your shot ... this works for stationary objects only. ZOOM.
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Video Camera Technique Creating the illusion Of 3 dimensions In a 2-D medium
FOCUS • zoom in on object/subject as far as possible find area of contrast • focus • zoom out and frame (COMPOSE) your shot • ... this works for stationary objects only
ZOOM • Lengthening and shortening the lens "in" - longer, closer "out" - shorter, farther away make sure the zoom is 'motivated,’ has purpose • Avoid the tendency to 'overzoom.' • Well-composed start and finish • Usually requires a pan and tilt with the zoom
ZOOM • Digital zoom - selects and expands ("blows up") an increasingly smaller part of the image. • This leads to very close shots from far away but also produces digital noise in the form of pixels and grain.
ZOOM • Useful for far away shots where importance of image overrides concern for quality - that is, if you can live with a grainy image, use the digital zoom. • Can function as an artistic choice
ZOOM IN • pulls the viewer into the shot, into situation • more intimate and emotional (lines on the face, tension, sweat)
ZOOM IN • narrows the angle of view which eliminates visual information at the sides of the frame Longer lens narrows the angle of view
ZOOM IN • longer lens yields shallower depth of field, throws the background out of focus • good for depth - narrows the angle of view which eliminates visual information at the sides of the frame • "forces" audience to view fewer items in the frame
ZOOM OUT • reveals information to the viewer that they couldn't see with the tighter shot, allows space, reveals other characters or objects in the scene • allows more space for actor movement
ZOOM OUT • Short lens widens the angle of view
DOLLY • DOLLY - movement of entire cam toward or away from the subject • Similar to a zoom but with a different effect - keeps the same 'angle of view' throughout the camera move • "participant" or POV orientation as camera moves through the scene
PAN • Left/right movement of camera head on stationary cam. mount (either tripod or on the shoulder of videographer) • Suggests 'observer' role (compared to a 'truck') - action 'passes by' the camera
TRUCK • Left/right movement of entire camera • Usually mounted on a rolling platform (dolly) but may be handheld • As cam follows along-side the action, allows viewer to participate in the moving scene (Indiana Jones fighting on a moving truck, Olympic sprinters)
TILT, ARC • Tilt - up/down movement of camera head on stationary cam. mount tilt - up/down movement of camera head on stationary cam mount • Arc - left/right arching movement of camera
Basic shot descriptions • Extreme long shot (XLS, ELS ) • cam very far away from the subject (often an "establishing" shot) • sets overall context, shows location of action • exterior" on drama or sitcom, blimp shot at sporting event • Long shots - dramatic, landscape, don't translate well to TV
Basic shot descriptions • Long shot (LS) • camera far from the subject, may include all talent and props in the shot • sets context, shows relationships • all players in a basketball game, shot from back of Letterman's studio
Basic shot descriptions • Medium shot (MS) • fairly close, "interpersonal" distance • shows most of a person or people • may be more specific - 2S, 3S • shows relationships, close-enough to feel "in the action"
Basic shot descriptions • Close-up (CU) • close shot, framed tightly, only part of subject seen • variations: bust shot, tight shot • emotional, necessary on TV (small screen)
Basic shot descriptions • Extreme close-up ( ECU, XCU) • very close, extreme detail • The tighter the shot, the more "emotional"
Composition • Balance - strive for visual balance in most shots • ***Rule of thirds - divide the screen into vertical and horizontal thirds • Place key objects on those thirds • Follow rule of thirds on every shot!
Composition • Headroom - room above talent's head • Leadroom - space in frame in front of talent into which talent moves (e.g., pan) • Lookspace - space in frame IN FRONT of talent into which talent looks
Composition • Visual "weight" (and therefore balance) determined by size, color and placement of objects in the frame. • LARGER objects carry more "weight • - also, foreground increases size • BRIGHTER objects carry more "weight” • white, yellow, etc...
Composition • CLOSER TO THE EDGE equals more "weight” • - small, but near edge = "weight”
Other composition considerations • Symmetrical balance not required • Nonsymmetrical framing acceptable in limited situations • Landscapes, large horizontal objects look better off-center • Background clutter - avoid it, distracts from the foreground • Limit camera motion - smooth, steady, avoid tendency to over zoom
Composition • Psychological Closure - frame shots so that viewers can "mentally" fill-in the parts that extend off-screen • Entire object does NOT need to be on-screen • Framing can "suggest" continuation
Composition • Framing people - avoid cutting people off at natural "cut points” • knees, waist, ankles, elbows, bust • frame to suggest "closure," continuation off-screen
Composition • Foreground framing - use objects in the foreground to frame the subject • adds depth, more interesting • Over the shoulder (O/S, OTS) • Shot of one person framed over the other's shoulder (good for interviews)
Composition • Rack focus - "move" the depth of field from one object to another by adjusting focus ring • Aspect ratio • U.S. TV = 4 x 3 (1.33:1) • Film, HDTV = 16 x 9 (1.78:1) • But shot with 4x3 in mind for TV