3 Working with cameras
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Roger Singleton-Turner
Abstract
It takes time to master any kind of professional camera and there are specialist books on the subject. The information here is the basis of what anyone working in television or film production needs to know, but nothing beats working with a camera and an experienced camera crew. The process in most studio quality colour cameras entails the use of mirrors splitting the different wavelengths of light, usually into red, green and blue components. Each split needs its own CCD. This is broadly true for all current video cameras from cell-phones to the latest Red Digital Cinema equipment, where the quality of the image is close to 35 mm film. Colour control of the camera output, including colour balance and exposure, are dealt with by the Vision Operator through the CCUs. TV studio cameras should have tally lights.
Abstract
It takes time to master any kind of professional camera and there are specialist books on the subject. The information here is the basis of what anyone working in television or film production needs to know, but nothing beats working with a camera and an experienced camera crew. The process in most studio quality colour cameras entails the use of mirrors splitting the different wavelengths of light, usually into red, green and blue components. Each split needs its own CCD. This is broadly true for all current video cameras from cell-phones to the latest Red Digital Cinema equipment, where the quality of the image is close to 35 mm film. Colour control of the camera output, including colour balance and exposure, are dealt with by the Vision Operator through the CCUs. TV studio cameras should have tally lights.
Kapitel in diesem Buch
- Front matter i
- Contents v
- List of illustrations xi
- List of tables xvii
- Preface xix
- Acknowledgements xxi
- List of abbreviations xxiii
- 1 Introduction xxvii
- Part I: Safety and Good Practice 1
-
PART II: INTRODUCTION TO THE STUDIO
- 2 Basics 19
- 3 Working with cameras 29
- 4 Lenses and shooting conventions 49
- 5 The studio production team 62
- 6 Technical jobs in the studio 81
- 7 Design and sets 103
- 8 The job of Script Supervisor and multi-camera paperwork 120
- 9 Camera scripts, camera cards etc. and creating them in MS Word (with a note on Autocue) 134
- 10 In the studio 160
- 11 Lighting for video cameras 172
- 12 Microphones and sound 199
-
PART III: CONTENT
- 13 Interviews, discussion and chat 217
- 14 Demonstrations and movement 251
- 15 Having ideas 265
- Part IV: Applying the Principles 287
- 16 Getting it all together 293
- 17 Drama 325
- 18 Music 367
- 19 Shooting action 387
- 20 Afterword 398
- Appendix I 400
- Appendix II 408
- Select videography 412
- Bibliography and references 428
- Suggested further reading 433
- Index 434
Kapitel in diesem Buch
- Front matter i
- Contents v
- List of illustrations xi
- List of tables xvii
- Preface xix
- Acknowledgements xxi
- List of abbreviations xxiii
- 1 Introduction xxvii
- Part I: Safety and Good Practice 1
-
PART II: INTRODUCTION TO THE STUDIO
- 2 Basics 19
- 3 Working with cameras 29
- 4 Lenses and shooting conventions 49
- 5 The studio production team 62
- 6 Technical jobs in the studio 81
- 7 Design and sets 103
- 8 The job of Script Supervisor and multi-camera paperwork 120
- 9 Camera scripts, camera cards etc. and creating them in MS Word (with a note on Autocue) 134
- 10 In the studio 160
- 11 Lighting for video cameras 172
- 12 Microphones and sound 199
-
PART III: CONTENT
- 13 Interviews, discussion and chat 217
- 14 Demonstrations and movement 251
- 15 Having ideas 265
- Part IV: Applying the Principles 287
- 16 Getting it all together 293
- 17 Drama 325
- 18 Music 367
- 19 Shooting action 387
- 20 Afterword 398
- Appendix I 400
- Appendix II 408
- Select videography 412
- Bibliography and references 428
- Suggested further reading 433
- Index 434
