Untitled

• The basic principle of image formation remains consistent across black-and-white TV, color TV, standard analog TV, and HDTV
• Examining a standard monochrome TV with a cathode ray tube (CRT) is valuable for understanding the fundamental scanning process

Image display

• The electron gun, located at the back of the monochrome picture tube, emits a sharp electron beam.
• In standard TVs, this beam scans the tube's face, which is coated in tiny phosphorous dots.
• The dots brighten proportionally to the strength of the electron beam
• When the beam is insufficiently strong to light the dots, the screen appears black.
• When the beam strikes pixels with maximum intensity, the screen appears white.

Color TV Image Formation

• Color TVs use three electron guns, which emit three distinct electron beams.
• The color picture tube is arranged with groups of red, green, and blue dots or rectangles, activated by the three beams.
• In digital TV, these dots are known as pixels.
• A pixel is the smallest element of a digital picture that a computer can identify, similar to a tile in a mosaic.
• Various combinations of the three beams create all the colors seen on a video screen

Scanning Process

• An electron beam scans the television screen like a printed page, moving from left to right and top to bottom.
• Interlaced and progressive are the two basic scanning systems
• Standard analog television uses interlaced scanning, while digital video can use either interlaced or progressive scanning.
• Progressive scanning covers every line.
• In progressive scanning, each cycle results in a complete video frame rather than fields
• The frame rate, or refresh rate, may vary

Digital Video Scanning

• The most common digital TV (DTV) scanning systems are 480p, 720p, and 1080p.
• All digital TV systems offer higher resolution, enhanced color, and finer shading between the brightest and darkest picture areas than standard analog TV.
• HDTV uses the 720p and 1080i scanning systems, providing less color information and higher compression compared to HDTV.
• Certain video cameras, especially high-end digital cinema cameras, have a variable scanning system which can produce the standard movie frame rate of 24 fps or lower
• HDTV frame rates are 60fps and even a very high frame rate is supported for slow-motion effects.

Introduction to Cameras

• Camera types include small and large camcorders.
• Portable cameras with the recording device built-in are high-definition video (HDV) camcorders, which offer high-resolution pictures with superior color despite their compact size.
• Studio cameras with interchangeable lenses are also used in the field; these are also known as ENG/EFP cameras
• High-definition television (HDTV) cameras produce the highest quality video.
• Electronic cinema cameras are HDTV cameras that incorporate film-derived attachments.

Types of Cameras

• The studio camera chain is comprised of camera head, power supply, sync generator, and camera control unit (CCU).
• These cameras feature three CCDs and various picture-enhancing circuits.
• Studio cameras commonly feature a heavy lens and a large viewfinder
• Most studio cameras have an attached teleprompter adding weight, more than an ENG/EFP camera or camcorder.

Camcorders

• A high-end small camcorder, features three CCDs, a 12x optical zoom lens, an integrated VTR for mini-cassette recording, and XLR microphone inputs.
• A high-end large camcorder features three large, high-pixel CCDs, a fast (f/1.4) 15x zoom lens, and XLR microphone inputs.

HDTV Cameras

• An HDTV camera features high-resolution CCDs, an HDTV lens, and a high-resolution 16x9 viewfinder.
• An HDTV electronic cinema camera contains high-resolution CCDs, provides 16x9 images, adjusts its frame rate to a film frame of 24fps, and records high-definition signals on a DVCPRO cassette.
• Electronic cinema cameras include cinematographic features, like a matte box.

HDV Camcorder

• An HDV camcorder utilizing a single CMOS image sensor, records video on mini-cassettes in the highest quality HDTV format: 1080i
• A high-resolution flat panel color viewfinder supports accurate focusing.

Camera Equipment

• Camera
• Batteries (2)
• Power supply unit
• Tripod and Power Adaptor
• Headphones
• K7 mini-dv
• Wireless Lapel microphone -Transmitter with microphone -Receiver with headphone

ENG/EFP Studio Conversion

• Converting an ENG/EFP camera for studio use typically involves a frame and mounting components for a tripod or studio pedestal
• A large viewfinder, cables for remote zoom/focus, and a faster lens are added

Camera Control Unit (CCU)

• A camera chain includes the camera head, power supply, sync generator, and CCU
• High-end ENG/EFP cameras lack integrated video recorders, connecting to RCUs for remote control and high-capacity recording on hard drives or VTRs
• The camera has a variety of controls that allow the video operator to continuously monitor and adjust picture quality
• A remote version of a CCU is called RCU

Basic Camera functions

• Basic video camera components include: lens, the imaging device, and the viewfinder
• Video cameras translate optical light images into corresponding screen pictures.
• Light reflected off an object is collected, transmitted by the lens to beam splitters, dividing white light into red, green, and blue (RGB) light beams.
• CCDs transform these beams into electric energy, which is amplified, processed into a video signal, and reconverted into video pictures by the viewfinder.

Camera Lens parameters

• the focal length (short and long)
• angle of view (wide and narrow)
• speed, referring to the largest aperture expressed in the lowest f-stop
• The zoom lens has a variable focal length.
• The zoom range is indicated by a ratio, like 20:1 or 20x.
• A 20:1 lens can make the angle of view twenty times narrower than the extreme-wide-angle position, magnifying the background.
• The lens speed is determined by the maximum aperture, or iris opening.
• Fast lenses allow a significant amount of light to pass through, while slow lenses allow relatively little.
• The aperture is indicated by f-stops
• Lower f-stop numbers indicate larger apertures and more light transmission
• A fast lens will have a low minimum f-stop number, like f/1.4
• The higher a lens' f-stop number, the less light will be transmitted due to the smaller aperture
• A slow lens has a minimum f-stop number of just f/4.5
• The f-stop calibration is printed on an iris control ring of the lens.
• The letter C on the control ring stands for "cap," which means the iris is totally closed acting as a physical cap on the lens.

Camera Lens parameters

• Imaging devices change the optical image to a video signal.
• A beam splitter divides light into red, green, and blue (RGB) light beams.
• The imaging device, such as a charge-coupled device (CCD), converts colored light beams into electric energy.
• A prism block includes prisms and filters that separate incoming white light into RGB and directed to CCDs
• The more pixels a CCD contains, the sharper and higher resolution the video image will be

Camera Movement Principles

• Filmmakers shape meaning through camera movement, which is enhanced with thought and planning.
• Camera movement should serve the story, tied to character motivations and actions
• Camera movements include: pan, tilt, cant, pedestal, dolly, truck or track, arc, crane or boom and tongue, and zoom

Basic Camera moves

• Pan: Move the camera horizontally left or right on a tripod to follow a subject or show distance between objects; use for panoramic views.
• Tilt: Move the camera up or down without changing its position to follow a subject or show height. Tilting up makes subjects appear thicker, tilting down makes them appear thinner.
• Pedestal: Physically move the camera height up or down on a tripod to get the proper height, such eye to eye with a subject.
• Dolly: Place the camera on tracks or wheels and move it toward or away from a subject for a unique perspective, or combine dolly and zoom shots for a sense of vertigo
• Floating Stabilizer Device: It is strapped to the photographer and the camera is mounted on metal joints controlled by gyroscopes to follow objects through twists and turns.
• Crane or Boom: To create high sweeping shots or follow the action of your subject and gives a bird's eye view.
• Handheld: The camera held without a tripod is used in news, documentaries, horror, or action movies when something is about to happen, more stable shots when zoomed out.
• Zoom: Press a lever or rocker to zoom in or out for a telephoto or wide-angle perspective, showing size and perspective.
• Rack Focus: Focus on one object then change focus so everything behind becomes blurred and the other coming into focus, similar to an edit in dramas.

Camera Mounts

• Cable guards prevent dolly wheels from running over the camera cable.
• A field dolly has a [platform with four pneumatic tires that supports the tripod-mounted camera and the camera operator.

Camera supports

• Camera support methods include holding it by hand, using a tripod, using special mounting devices like a jib arm or Steadicam, and using a studio pedestal.
• When possible, use a tripod or support, and keep handheld cameras steady and zoomed out.
• Hold small camcorders with both hands, elbows pressed to the body for stability. Steadiness is improved by leaning against structures like a wall.
• When panning with a camcorder, face knees toward the pan's end and uncoil the upper body during the movement, ensuring smooth rotation.
• For shoulder-mounted camcorders, position the camera on your shoulder, securing the lens with a strap
• The free hand operates the focus ring, and the the fingers remaining free to control the zoom.
• Tripods feature adjustable legs, sometimes secured by a spreader, or can mount on a three-wheel dolly.

Camera Mounting Heads

• Some heads can be tilted and locked for steady and assured position
• Studio camera heads are designed for heavy cameras and feature a wedge mount receptacle rather than a regular quick-release plate.

Steadicam and Short Jibs

• A Steadicam setup allows steady camerawork while walking or running, and distributes the camera weight evenly with a large viewfinder
• A short jib allows movement up and down to create the same effects of a big crane

Long jib

• A long job that is placed on the car for on-location shooting offers a remote area

Operational Features

• Essential camera knowledge includes focusing, adjusting shutter speed, zooming, and white balance to compose great shots.
• Sharp and clear pictures are achieved through manual or auto focus
• Shutter speed minimizes blurring of bright, quick-moving objects
• A higher shutter speed reduces blurring while increasing the need for lights.
• To set a zoom, zoom in on the farthest target and bring the image into focus
• Then all subsequent wider-angle positions stay in focus as long as camera-to-subject distance remains the same.
• White balance ensures white and all colors appear similarly across different lighting via a procedure
• It is needed with each new lighting condition UNLESS a setting is automatic

Focusing Methods

• Manual focus control for small camcorders and ENG/EFP cameras is a ring at the front of the lens.
• The focus control on a studio camera has a twist grip attached to the left panning handle, turn the grip clockwise or counterclockwise.
• Camcorders feature rocker switches for zooming, while studio cameras use rocker switches on panning handles, controlled by the thumb

Camera Care and Operation

• Cameras and electronic equipment must be handled with extreme care with personal safety in mind
• Avoid risky shots to embellish the story
• Prioritize common sense