Introduction to Television Production PDF

ACM2103 INTRODUCTION TO PUBLISHING TELEVISION PRODUCTION Basic Image Formation  The basic principle of image formation is the same for black- and-white tv, color tv, standard analog tv and HDTV.  The basic scanning process is still best explained by using a standard monochrome (bla...

ACM2103 INTRODUCTION TO PUBLISHING TELEVISION PRODUCTION Basic Image Formation  The basic principle of image formation is the same for black- and-white tv, color tv, standard analog tv and HDTV.  The basic scanning process is still best explained by using a standard monochrome (black-and-white) tv set that uses a cathode ray tube (CRT).  The back end of the monochrome picture tube houses the electron gun, which emits a tiny but sharp electron beam.  In standard tv set, this beam is guided through the long neck of the picture tube to scan the face of the tube, which is covered with thousands of tiny phosphorous dots.  The stronger the beam, the brighter the dots light up. VIDEO IMAGE FORMATION  When the beam is too weak to illuminate the dots, the screen appears to be black.  When the beam hits the pixels at full strength, the screen looks white. Basic Image Formation (cont.)  A colour set TV has three electron guns in the back of the tube that emit three separate electron beams.  The face of the color picture tube has neatly arrange groups of RGB—red, green and blue—dots or tiny rectangles, which are activated by the three beams.  One of the beam is designated to hit the red dots, the second to hit the green dots, and the third to hit the blue dots.  In digital tv these dots are called pixels.  A pixel similar to the tile of a mosaic, is the smallest element of a digital picture that can be identified by a computer. COLOUR VIDEO IMAGE FORMATION  Various combination of these three beams provide all the colour seen on video screen. SCANNING PROCESS  The electron beam, emitted by the electron gun, uses scanning to ‘read’ the television screen, much like printed page: from left to right and from top to bottom.  There are two basic scanning systems: interlaced and progressive.  All standard analog television is interlaced, digital video can be interlaced or progressive.  PROGRESSIVE SCANNING Progressive scanning scans every lines. In progressive scanning, each scanning cycle produces not fields but a complete video frame. The frame rate, or refresh rate, can vary. DIGITAL VIDEO SCANING SYSTEMS  The most prevalent digital TV(DTV) scanning systems are 480p, 720p, and 1080p.  All DTV systems produce video with higher resolution than standard analog TV, improved color, and more subtle shadings between the brightest and darkest picture areas.  HDTV uses the 720p and 1080i scanning systems but has less color information and higher compression than HDTV. VARIABLE SCANNING SYSTEMS  Some video cameras, especially high-end digital cinema cameras, have a variable scanning system that can produce the standard movie frame rate of 24 frames per second (fps) or even lower.  HDTV’s frame rate is 60fps and even a very high frame rate for slow-motion effects.  INTRODUCTION  Camera types include small and large camcoders.  Portable cameras with the recording device attached or built-in; high-definition video (HDV) camcoders, which despite their small size, produce high-resolution pictures with high colour fidelity.  Studio cameras, which with a different lens are also used in the field; ENG/EFP cameras, which are high-end, shoulder mounted field cameras.  High-definition television (HDTV) cameras, which produce the highest quality video.  Electronic cinema cameras are HDTV cameras with certain attachments carried over from film.  TYPES OF CAMERA Studio cameras  The studio camera chain consists of the camera head, the power supply, the sync generator and the camera control unit (CCU).  This type of camera contain three high-end CCDs and a variety of picture-enhancing electronic circuits.  They have a heavy lens and a large viewfinder.  Most studio cameras also have a teleprompter attached, which makes the whole camera head much heavier than an ENG/EFP camera or camcoder.  Camcoders High-end small camcoder High-end large camcoder This camera has three CCDs, a 12x This shoulder-mounted camcoder has optical zoom lens, a built in VTR that three large, high-pixel CCDs; a fast (f/1.4) records high-quality video on a mini- 15x zoom lens; and two professional cassette and two professional (XLR) (XLR) microphone inputs. It records its microphone inputs. video and audio on a flash drive.  TYPES OF CAMERA HDTV Cameras HDTV Camera Electronic Cinema Camera The HDTV electronic cinema camera This camera has high-resolution contains high-resolution CCDs, produces CCDs and HDTV lens, and a high- 16x9 images, and can adjust its frame resolution 16x9 viewfinder. rate to the film frame of 24fps. Its VTR recors high-definition signals on a DVCPRO cassette. It has various cinematographic features, such as matte box. HDV Camcoder This camcoder has a single CMOS image sensor and records video on a mini- cassette in the highest quality HDTV format: 1080i. The high-resolution flat panel colour viewfinder facilitates critical focusing.  CAMERA’S EQUIPMENT - Camera - batteries (2) - power supply unit - Tripod and Power Adaptor (Find the right adaptor) - Headphones - K7 mini-dv - Wireless Lapel microphone - Transmitter with microphone - Receiver with headphone Studio Conversion of ENG/EFP Camera Converting a high-quality ENG/EFP camera for studio use usually requires adding a large viewfinder, a faster lens with a zoom range appropriate for the studio size, cables that allow zooming and focusing from the operator’s position, and a frame and mounting devices for a tripod or studio pedestal. Standard Camera Chain The standard camera chain consists of the camera head, the power supply, the sync generator and the CCU. Camera Control Unit (CCU) The CCU has a variety of controls with which the video operator can continuously monitor and adjust picture quality. The remote version of a CCU is called RCU.. ENG/EFP camera Connected to RCU and Eternal Video Recorder This high-end ENG/EFP camera has no built-in video recorder but is connected to a remote control unit and from there to a high-capacity hard drive or studio VTR for high-quality recording.  Basic Camera Function and Elements  The video camera needs three basic elements: i. The lens ii. The imaging device iii. The viewfinder  Functions of the camera The video camera translates the optical light image as seen by the lens into a corresponding picture on the screen. The light reflected off an object is gathered and transmitted by the lens to the beam splitters, which splits the white light into red, green and blue (RGB) light beams. These beams are then transformed by CCDs into electric energy, which is amplified and processed into a video signal. It is then reconverted into video pictures by the viewfinder.  Basic Camera Function and Elements Lenses  Lenses are classified by  the focal length (short and long),  angle of view (wide and narrow)  speed (largest aperture expressed in the lowest f-stop) Wide-angle view The wide angle lens shows a wide vista, with the faraway objects looking quite small. Basic Camera Function and Elements Narrow-angle view The narrow-angle, or telephoto, lens shows only Normal view a narrow portion of the scene, with the The normal lens shows a vista and a background objects appearing much larger relative to the foreground objects than in a perspective that are similar to what wide-angle view. we actually see. Basic Camera Function and Elements Lenses (cont.)  The zoom lens has a variable focal length.  The zoom range is stated as a ratio, such a 20:1 or 20x.  A 20:1 lens can show the angle of view twenty time narrower than the extreme-wide-angle position with the background magnified.  The speed of the lens is determined by the maximum aperture, or iris opening.  A fast lens lets a relatively large amount of light pass through; a slow lens, relatively little. Maximun wide-angle and narrow-angle positions of a 10:1 zoom A 10:1 zoom lens can narrow the angle of view by ten times. It seems to bring a portion of the scene closer to the camera. Basic Camera Function and Elements Lenses (cont.)  The specific aperture is indicated by f-stops.  Te lower the f-stop number, the larger the aperture and the more light is transmitted.  A fast lens has a low minimum f-stop number (such as f/1.4).  The higher the f-stop number, the smaller the aperture and the less light is transmitted.  A slow lens has a relatively high minimum f-stop number (such as f/4.5). Iris control ring The f-stop calibration is printed on a ring that controls the iris opening, or aperture, of the lens. The C on the control ring of this lens refers to cap, which means the iris is totally closed, letting no light pass through the lens, thus acting like a physical cap on the lens. f-stop settings The higher the f-stop number, the smaller the aperture and the less light is transmitted by the lens. The lower the f-stop number the larger the aperture and the more light is transmitted by the lens. Basic Camera Function and Elements Imaging Device  These devices change the optical image produced by the lens to a video signal.  The beam splitter divides the light that comes through the lens into red, green and blue (RGB) light beams.  The imaging device—the charge-coupled device (CCD), or chip—transduces the coloured light beams into electric energy, which is processed into the video signal. Beam-splitting Prism Block The prism block contains prisms and filters that split the incoming white light into its three basic light colours—RGB—and direct these beams to their corresponding CCDs. Video camera prism block In this photo of an actual video camera prism block, the three CCDs firmly attached to the port (opening) for each RGB light beam. Picture resolution The picture on the right is composed of more pixels than the one on the left. It has a higher resolution and looks sharper. The more pixels a CCD contains, the higher the resolution of the video image.  Basic Camera Movements The principles of camera movement  Composers of films also use camera movement to shape meaning.  Camera movement is most effective when it serves the story and enhances the narrative; it requires thought and planning.  The movements include pan, tilt, cant, pedestal, dolly, truck or track, arc, crane or boom and tongue.  The zoom is also included, although the camera does not move.  Basic Camera Movements The principles of camera movement (cont.)  If blocking expresses the movement in the composition of a scene, the camera movement moves the composition—and will result in strong visual dynamics.  Just as a character needs to be motivated before they move onscreen, the camera needs to be motivated in its movement.  The camera’s movement needs to be tied to character motivations and movements, since the camera captures emotions and actions through its lens.  Camera movement includes: · Pan: left to right on the tripod axis · Tilt: up and down on the tripod axis · Push-in through space · Pull-out through space · Tracking (or dolly): lateral movement through space · Crane: up and down movement through space.  Basic Camera Movements Camera Movement 1 - What: Pan How: Move the camera horizontally left or right. Ideally, you should use a tripod for a smooth effect. To be a great "panner", practice the shot several times at several speeds before you feel comfortable with it. Why: To follow a subject or show the distance between two objects. Pan shots also work great for panoramic views such as a shot from a mountaintop to the valley below. Rule: Always start on a still shot, begin the tilt, and finish on a still shot. Practice first. Look at the scene as the tilt reaches the middle portion between top and bottom of the tilt. If there is nothing worth seeing, then the tilt isn't worth shooting.  Basic Camera Movements Camera Movement (cont.) 2 - What: Tilt How: Moving the camera up or down without raising its position. Why: Like panning, to follow a subject or to show the top and bottom of a stationary object. With a tilt, you can also show how high something is. For example, a slow tilt up a Giant Sequoia tree shows its grandness and enormity. Here's a good tip. In general, when you tilt up and shoot an object or a person they look larger and thicker. The subject looks smaller and thinner when you tilt down. Rule: Always start on a still shot, begin the tilt, and finish on a still shot. Practice first. Look at the scene as the tilt reaches the middle portion between top and bottom of the tilt. If there is nothing worth seeing, then the tilt isn't worth shooting.  Basic Camera Movements Camera Movement (cont.) 3 - What: Pedestal How: Not tilting, but physically moving the height of the camera up or down, usually on a tripod. Why: You pedestal the camera up or down to get the proper height you prefer. If you want to get "eye to eye" with a six- foot-six basketball player, you would pedestal up. While shooting a flower or a small child, you would pedestal down to their level.  Basic Camera Movements Camera Movement (cont.) 4 - What: Dolly How: The camera is set on tracks or wheels and moved towards or back from a subject. A dolly is also a noun, describing a train track contraption used for a dolly (verb) shot or a device attached to a tripod. A wheelchair, because it has large wheels, rolls smoothly, and has a seat for a videographer, works quite well as a dolly, but you can also use a rolling cart or even a skateboard. Why: To follow an object smoothly to get a unique perspective. In some movie directors combine the dolly and a zoom shot for a real sense of doom. To do this, the camera lens zooms into the subject at the same time as the camera physically dollies out, and the person in the shot remains the same size, but the background appears to move. It's difficult to master smoothly, but done right, the shot conveys a real sense of tension and feeling of vertigo. Camera Mounts and How to Use Them Cable guards Field dolly Cable guards prevent the dolly wheels The field dolly has a [platform with four from running over the camera cable. pneumatic tires that supports the tripod- They must be close enough to the studio mounted camera and the camera floor to push the cable aside. operator.  Basic Camera Movements Camera Movement (cont.) 5 - What: Floating Stabilizer Device How: The device straps to the photographer and the camera is mounted by a series of metal joints controlled by gyroscopes. These machines are quite complicated and a real Steadicam can cost several thousand dollars. But you can buy an inexpensive alternative that uses counterweights to get a Steadicam-like effect. Why: To follow an object through twists and turns. Although the dolly is great, its movements are limited. With the stabilizer, you can follow someone through hallways, doors and around rooms.  Basic Camera Movements Camera Movement (cont.) 6 - What: Crane or Boom How: This works and looks similar to a construction crane. It is used for high sweeping shots or to follow the action of your subject. Why: Gives a bird's eye view. It looks as if the camera is swooping down from above. Movie directors use this for street scenes so they can shoot from above the crowd and the traffic, and then move down to eye level.  Basic Camera Movements Camera Movement (cont.) 7 - What: Handheld How: You hold the camera without tripod, monopod or other device. Professional cameras are large and rest on the user's shoulders. This balances the camera and keeps shaking to a minimum. Because of their size, most consumer cameras can't rest on your shoulder, so you'll need a few tips to shoot steady well- executed handheld shots. Why: Due to the spontaneity of the action, many news crews and most documentaries use hand-held shooting techniques. Sometimes, it is used in TV shows and movies. Notice that in horror or action movies they often use hand held shots when something bad is about to happen. Rule: When shooting handheld, do not zoom in! The more you zoom in, the shakier the shot gets. It is better to move closer to your subject and shoot with as wide of a setting as you can. Handheld is best when you are shooting someone or something that is moving. It looks very bad when shooting landscapes, buildings, or stationary objects.  Basic Camera Movements Camera Movement (cont.) 8 - What: Zoom How: You press a lever or rocker to zoom in or out. This lever controls the lens mechanism inside the camera. Usually, the harder you press on the lever the quicker the zoom. Some camcorders have only one zoom speed whereas others allow you to zoom manually by turning a ring on the lens. A zoom lens gives you the option of having both telephoto and wide-angle lens in one camera.You use the telephoto lens when you zoom in, bringing objects closer to you. There is less visible area around your subject, and distant objects are compressed. Zooming the lens out gives you the wide-angle shot and more of your subject and surrounding areas are visible. Depth perception is also changed, and the size and distance between objects is more pronounced. Why: To bring objects at a distance closer to the lens, or to show size and perspective. Rule: Continuous zooming in and out is annoying to viewers. Don't zoom while shooting unless the scene calls for it. Use a tripod if you zoom. Start on a still shot, then zoom smoothly, and end your zoom on a still shot. Practice first. Look at the scene as the zoom reaches the middle portion between the close up and wide angle. If there is nothing worth seeing, then the zoom isn't worth shooting.  Basic Camera Movements Camera Movement (cont.) 9 - What: Rack Focus How: Focus on one object, like an actor's face, and have everything behind him out of focus. Then adjust the focus so his face becomes blurred and the actress behind him becomes clear. In this movement, you are changing the focal length so that one subject will go out of focus while the other comes into focus. The two subjects must be at a correct distance from each other and from the camera for this shot to work. Why: You are actually making a transition similar to an edit by constructing two distinct shots.You often see the rack focus in dramas and soap operas, changing focus from one actor's face to another during their conversation or tense moments. Rule: Use a tripod. A rack focus looks bad if the camera is shaky. Camera Movement (cont.) Camera Mounts and How to Use Them  Camera can be supported in four ways: i. By carrying it with your hands or on your shoulder. ii. With a tripod. iii. With special camera mounting devices iv. With a studio pedestal  These include a variety of tripods, special mounts such as the jib arm and the Steadicam and studio pedestals.  Whenever possible, put the camcoder or the ENG/EFP camera on a tripod.  Keep the handheld or shoulder-mounted camera as steady as possible and zoomed out when moving. Camera Mounts and How to Use Them Holding the small camcoder Steadying the camera operator Hold the small camcoder with both Leaning against a support will steady hands, with the elbows pressed against both camera operator and camera. the body. Camera Mounts and How to Use Them Panning the camcoder Walking backward Before panning, point your knees toward Walking backward rather than forward the end of the pan, then uncoil your makes it easier to keep the camera upper body during the pan. steady. Camera Mounts and How to Use Them The Shoulder-mounted large camcoder  Carry the large camcoder on the shoulder.  One hand slips through a strap attached to the lens, leaving the fingers free to operate the zoom control.  The other hand steadies the camera and operates the focus ring. Camera Mounts and How to Use Them Tripod with spreader Tripod dolly The tripod has three adjustable legs that The tripod can be mounted on a three- are sometimes secured by a spreader. wheel dolly, which permits quick repositioning of the camera. Camera Mounting Head Always lock the mounting head when leaving the camera unattended. Cam Head with Wedge Mount Receptacle The studio cam head is designed for heavy studio cameras and accessory equipment. It permits smooth pans and tilts despite the camera weight. Note that this mounting head has a wedge mount receptacle rather than one for a quick-release plate. Camera Mounts and How to Use Them Body-mounted Steadicam Short Jib This sturdy vest is designed to support a The counterbalanced camera support large camcoder or an ENG/EFP camera. can be clamped to just about anything; it It allows you to walk, run or jump with the can be moved up and down and tongued camera remaining steady. Part of the just like a big crane. counterweight is a large viewfinder. Camera Mounts and How to Use Them Long Jib  This camera support, designed for on-location shooting, extends several feet and allows you to operate the ENG/EFP camera attached at the tip of the boom.  It can do pretty much everything a big crane can do except carry you and the director aloft.  It can be easily disassembled and transported in a car a remote location.  OPERATIONAL FEATURES  Besides camera movements, knowledge about focusing, adjusting shutter speed, zooming and white balancing also needed in order to compose unforgettable shots with a camcoder or studio camera.  Normally, when we want all pictures on the screen sharp and clear.  You can achieve focus by manual or automatic controls.  Shutter speed reduces the blurring of bright, fast moving objects.  The higher the shutter speed, the less blurring occurs but the more lights is needed.  OPERATIONAL FEATURES  To preset a zoom, the lens must be zoomed in on the farthest target object and brought into focus.  All subsequent wider-angle zoom positions will be in focus so long as the camera-to-subject distance remains the same.  White balance is a procedure to ensure that white and all other colours look the same under different lights.  It needs to be done every time the camera operates under new lighting conditions, unless it has a fully automatic white- balance mechanism.  Focusing Manual Focus on Camcoder Manual Focus Control on and ENG/AFP Cameras Studio Camera The manual focus control on small The focus control on a studio camera is a camcoders and ENG/EFP cameras is a twist grip attached to the left panning ring at the front of the lens, which can be handle. To focus you turn it either turned by hand. clockwise or counterclockwise.  Focusing Camcoder Zoom Control Studio Zoom Control Camcoders have a rocker switch near the The zoom control of the studio camera is lens that controls the zoom-in and zoom- a rocker switch on the right panning out motion. handle that is activated by the thumb of your right hand.  OPERATING THE CAMERA  Always treat the cameras (small camcoder or studio camera) with extreme care as will all electronic equipment.  Always be mindful of safety—yours and others’.  Do not risk your safety and the equipment in order to get a spectacular shot that merely embellishes, rather than tells the story.  Do not abandon standard operational procedures for the sake of expediency.  Whatever you do, use common sense. The end.