CHAPTER 7

Using the Camera

“In the hands of even a moderately skilled photographer who knows the capabilities of the camera, even a cell phone can produce reasonable pictures. Unfortunately, owning a camera and knowing which button to push doesn’t make you a photographer, any more than owning an automobile makes you a Formula One racecar driver.”

Andy Ciddor, TV Technology

CU: Close-up shot

ECU/XCU: Extreme close-up shot

ELS/XLS: Extreme long shot

f-stop: Regulates how much light is allowed to pass through the camera lens by varying the size of the hole the light comes through.

I-mag (image magnification): I-mag is a technique used when you are shooting for large video screens positioned near a stage to allow the viewers to get a better view of the action on the stage.

LS: Long shot

MS: Medium shot

Tally light: Cameras, or their viewfinders, usually have a tally light on the front. The front light is to let the talent know that the camera is recording. There is also a tally on the back that lets the camera operator know when his or her camera has been chosen to be recorded by the director.

 

Now that we have examined the camera’s features, let’s take a look at the techniques that are the foundation of good camera work.

STANDARD SHOTS

As filmmaking developed, a fairly universal system for classifying shots evolved. The system provides convenient quick reference points for all members of the production crew, especially the director and the camera operator.

This series of shot terms are defined relative to the size of the subject. However, the overall concept works for any subject. Figure 7.1 demonstrates the various terms with each shot. Terminology does vary from place to place, but the most widely recognized ones are included here. When framing, it is important to avoid shots that cut through the body at natural joints.

FIGURE 7.1
When shooting any subject, shots are classified by the amount of the subject taken in. The following are the shots of a person:

 Extreme close-up (ECU or XCU) or big close-up (BCU) is a detail shot.

 Close-up (CU) is generally framed just above the head to the upper chest.

 Medium shot or mid-shot (MS) cuts the body just below or above the waist.

 Long shot (LS) or wide shot (WS) generally features the entire person in the frame, just above and below the body. The European term for a long shot of a person is a full shot (FS).

 Extreme (or extra) long shot (ELS or XLS) or very long shot (VLS) shows significant space above and/or below the subject.

Exactly how you get a specific shot does not affect the term used. For instance, you can take a close-up shot with a camera that is close to the subject with a wide-angle lens or it can be shot with a camera that is quite a long distance from the subject using a telephoto lens. Of course, there will be differences in perspective distortion and camera handling depending on which method you use.

Selecting the Shot

Part of the issue when selecting a shot is knowing where that shot is going to end up. For example, if your final project will primarily be seen on a home television, a variety of shots from extreme long shots to extreme close-ups are appropriate. If you are shooting for large video screens positioned near a stage to allow the viewers to get a better view of the stage action (also known as image magnification or I-mag; see Figure 7.2), medium shots and close-ups are used, as the viewer can already look at the stage and get their long shot. If the main use is for something like a mobile phone or a small video area on the Internet, the small viewing screen requires more close-ups, so the viewer can really understand the nuances of what is going on.

FIGURE 7.2
Image magnification (I-mag) requires a different type of shot sequence than a standard television. Note the screen on the right side of the stage that is used to help the audience get a better view of the stage action.

Checking the Shot

Once a shot has been established, a review of the overall scene can be very helpful.

FIGURE 7.3
Note the tree growing out of this person’s head. Background objects like the tree can be distracting.

FIGURE 7.4
Camera operators need to be careful not to include a boom mic into the frame. Boom operators have to be careful not to allow the mic to drift downward into the frame.

FIGURE 7.5
When accurately focused (A), the most important part of the subject should be the sharpest. The specific focus point (as represented by the darker blue line in the illustrations), should have a large enough depth of field (represented by the light blue field) to keep the subject in focus as she moves a little forward or backward. Note that the incorrect focus points, as demonstrated in B and C, would make it easier for the subject to move out of focus. (Camera photo courtesy of JVC)

 Check for potential problems such as a bright light that will come into the shot if you pan right. Checking the overall scene will let you know if someone or something is going to move into the shot and that you may need to recompose the picture to include that person.

 Check the composition of the shot (framing, headroom, etc.), subtly correcting for changes that develop such as people moving to different positions in the shot. Composition is discussed in a Chapter 9.

 Watch for the unexpected, such as objects “growing out” of subjects (Figure 7.3). Are microphones, cameras, lamps, or their shadows appearing in the shot? You can often reframe the shot slightly to avoid them (Figure 7.4).

CAMERA OPERATION

Focusing

Focusing is not always as straightforward as it looks. When the subject has well-defined patterns, it is fairly easy to detect maximum sharpness. However, with less well-defined subjects, you can rock the focus to either side of optimum, and somehow, they may still look soft-focused.

The exact point at which you focus can matter. There is usually more focused depth beyond the actual focused plane than there is in front of it. So in closer shots there can be advantages in focusing a little forward of the true focusing point (nearer the camera), to allow for subject movement (Figure 7.5). If you are focused too far back (away from the camera), the problem worsens. When shooting people, the eyes are a favorite focusing point.

Depth of field continually changes as you focus at different distances, select different lenses, or zoom in or out. This is something you quickly become accustomed to, but it can’t be ignored. Focusing is much easier in longer shots and more complicated with close-up shots. You shoot two people speaking, yet can get a sharp image of only one of them at a time. In very large close-ups, focusing can be so critical that only part of a subject is sharp, while the rest is completely defocused. Figure 7.6 illustrates some of the solutions to this dilemma.

Camera Moves

There are a number of things that you need to think about as a camera operator when moving the camera:

 Always check around you to make sure that you don’t run over cables, bump into the set or props, move in front of other cameras, or run into people.

 Always make sure that you have enough cable by ensuring that you have sufficient slack before the move begins. Never pull a cable that has a tight loop in it. Cables can be easily damaged.

PRODUCTION FORMAT STYLES

Camera operators working on a single-camera production usually have different responsibilities than those working on a multicamera shoot. Multicamera camera operators usually have someone in the control room adjusting their camera’s aperture (so that the image quality is the same as the other cameras involved in the production) and a director telling them exactly what he or she wants, in real time. Single-camera production camera operators have to adjust their own cameras, as they are usually not being monitored from a control room or production truck. The single-camera operator has more individual control over the image, making shot decisions on a continual basis.

The Single-Camera Shoot

If you are on a shoot for a documentary or a news story, there will always be quite a bit of improvisation (Figure 7.7). You need to make the most of any opportunity that presents itself. Clearly, a lot depends on whether you are working indoors or in the open, and whether you are on your own, or backed by a team. The weather, audio, and light conditions will affect the shoot. It is very important to ensure that your camera is fault-free in any situation. Single-camera productions usually use ENG or EFP equipment. See Table 7.1 for suggestions of things to look at when checking out ENG/EFP equipment.

FIGURE 7.7
ENG/EFP productions require the camera operator to improvise in many situations. (Photo courtesy of Sony)

Some people on a single-camera shoot prefer to travel light, setting off with just a camera, spare batteries, and recording media. However, for peace of mind, there’s a lot to be said for using a systematic checklist routine. This list can be as brief or comprehensive as you like, including whatever gear you personally find invaluable on that kind of project. (The item that you’ll need in an emergency is sure to be the one you’ve left behind!) Lists also help to avoid losses when hurriedly repacking equipment after a shoot (Table 7.2).

FIGURE 7.8
The ENG viewfinder is specifically designed for handheld cameras. (Courtesy of Panasonic)

The Multicamera Shoot

Whether you are working out on a remote location or in a television studio, you will find that all multicamera setups have a common theme. Unlike a single-camera unit, which often relies on a spontaneous and improvised approach, a multicamera team is essentially a closely coordinated group, working to a planned pattern. We will look at the ways in which these teams are organized and managed (Figure 7.9).

FIGURE 7.9
Multicamera productions may utilize a camera operator for each camera or, as shown in this image, they may be robotically controlled by one remote operator. (Photo by Jon Greenhoe)

FIGURE 7.10
Remote multicamera productions include their own set of problems once they move out of the controlled studio.

OPERATOR IN A MULTICAMERA PRODUCTION

Productions vary considerably in their complexity. Some follow a familiar routine, with cameras taking standard shots from limited angles. In other shows, cameras are mobile and follow very complicated action, such as sports productions (Figure 7.10). These action productions can require the skilled, highly controlled camera work that comes only with experience.

Each camera operator is required to get the best shots possible, despite having to possibly work around obstacles such as players, the audience, referees, and so on. At the same time, the operator is part of a crew, working together to achieve a coordinated, excellent program for the viewing audience. In some productions, the camera operator can help the director by offering potential shots; in others, this would be a distraction from a planned treatment, as you don’t really know what shots other cameras have.

If the production has been planned in meticulous detail, the camera operator’s role may be to reproduce exactly what the director drew in storyboard sketches weeks before. On the other hand, the entire show may be improvised, with the director relying on the camera crew to find the best shots of the action.

Usually directors will have a camera meeting before the production to explain the types of shots that are needed from each camera. During the breaks, the director may discuss specific shot problems or new shots. Many times directors will use a shot sheet that lists the shots that will be needed throughout the production (Figure 7.11). From then on, the camera crew relies on intercom instructions to guide their camera work.

FIGURE 7.11
Shot sheets help the camera operators know how the director needs them to compose specific shots. Some sheets, like the photo sheets shown here, help the camera operator identify specific people.

PREPARING FOR REHEARSALS

It is possible to simply move your camera into the opening position, focus, and wait for the director’s instructions. However, if you did that, you would probably get burned. The camera must be checked before the production, or even the rehearsal, begins. Table 7.3 lists the majority of the issues that need to be considered in advance and tested. Once this checkout becomes routine, it can be quickly accomplished (Figure 7.12).

THE CAMERA OPERATOR DURING THE PRODUCTION

There are some basic guidelines that not only make life a lot easier for a camera operator, but they produce more consistent results.

You can tell an inexperienced camera person at a glance—rigid, tense, eyes glued to the viewfinder, gripping controls tightly. Relax! The best posture is an alert, watchful readiness; you should be very aware of what is going on around you—not so relaxed that you are not paying attention, but continually waiting to react.

FIGURE 7.12
It is important that camera operators check out their cameras before the production begins.

FIGURE 7.13
Viewfinders usually have a tally light on the front and the back. The front one is to let talent know that the camera is on-air. The back tally lets the camera operator when his or her camera is on-air.

In a multicamera show, you need to keep a watchful eye on the tally light on the camera. It shows that your camera has been selected on the production switcher, which means that your camera is on-air. When the light is out, you can move to new positions, adjust zooming or focus, check composition, and so on (Figure 7.13). It is important not to move the camera until the tally light goes off. It is also useful to check other cameras’ lights when moving around, to ensure that you are not going to get into their shots.

Make sure that the viewfinder is at a comfortable angle and easy to see. The viewfinder must be adjusted to give optimum detail in both the shadows and the lightest tones.

Always prefocus the lens whenever you move to a new position. Zoom in, focus sharply, and then zoom out to the shot that was requested by the director. You will then be ready to zoom in from a wide shot to closer detail if needed.

For most shots utilizing talent, the lens should be around the talent’s eye level—unless the director wants higher or lower angles for some reason (Figure 7.14). If the camera is slightly lower, at chest height, this tends to give the talent a more authoritative look. A higher camera can make the talent look a bit inferior.

If you have received a shot sheet, be ready to move to the next position once each shot is completed.

Listen to all intercom instructions, including those for other cameras.

Problems generally occur during rehearsals that only the director can solve by making changes or reorganizing the camera shots. These problems may include situations in which one camera blocks another’s shot, there is insufficient time for camera moves, compositional problems arise, focusing difficulties crop up, and so on. Let the director know the issues—it may even mean stopping the rehearsal to work things out. Don’t assume that it will be all right the next time. It may be worse.

Occasionally, an experienced camera operator can help the director by suggesting slight changes in the camera angle that would improve a sequence or simplify a complicated situation. What is obvious on the floor may not be evident on monitors in the control room. However, you must avoid appearing to “subdirect” the show.

Things go wrong during a busy production. When that happens, you have to quickly determine whether someone will handle it quickly or whether you need to inform others (such as about a lamp knocked out of position by moving scenery). In most cases, the floor manager is your on-the-spot contact. Teamwork is the essence of good production.

FIGURE 7.14
The camera operator shooting this NBC cooking segment has his camera at the talent’s eye level.

PRODUCTION TECHNIQUES THAT AFFECT THE CAMERA OPERATOR

Directors can tackle productions in a variety of ways. The techniques vary with the personality and experience of the director and with the content and the intended audience. These techniques may include the following:

 An improvised spontaneous approach

 An outlined shooting plan that cannot be rehearsed before taping or transmission, such as a dance group who are arriving during air-time

 A rehearsal with stand-ins in place of the actual performers; this allows you to check the shots in advance

 A closely planned show in which the director explains the action/shots to camera and sound crew before beginning rehearsals

 A “stop and start” approach in which the action is rehearsed on camera while the director guides shots, stopping and correcting errors/problems as they arise; after a complete run-through rehearsal, the show is usually recorded or transmitted from beginning to end

 A “rehearse and record” approach, in which each shot, segment, or scene is rehearsed and recorded before going on to the next; shots will not necessarily be in the final program order, because they will be edited together later

As you will see, the problems and opportunities for the production crew can be very different with each method, ranging from a “one-chance-only” situation to the “retake-until-we-get-it-right” approach.

AFTER THE SHOW

At the end of a production, when any retakes have been completed and checks made, the director and the technical director will announce on intercom that the crew is cleared (released to shut down). The floor manager should repeat this for everyone, including performers.

Once the crew has been cleared, camera operators should lock off the camera’s pan and tilt heads, arrange the cable in a neat pattern so that it will not tangle the next time, and place the lens cap on the camera. Nonstudio camera operators usually need to tear down and put away their camera equipment. On remote productions, their job also may include rolling up long cables and then loading all of the gear into a truck. Once you have been released for the day by your supervisor, you are done.

REVIEW QUESTIONS

1. How do you select the right shots?

2. Why does the medium (such as an iPod vs. an I-mag screen) make a difference in the shots that are used?

3. What significance does the tally light have?

4. Why is it important to look around the scene (away from the viewfinder) before recording?

5. What are some ways of dealing with a limited depth of field?

6. How does a shot sheet help the camera operator?

INTERVIEW WITH A PROFESSIONAL: THOMAS CRESCENZO

Briefly define your job: I operate a Steadicam and cameras on a freelance basis.

What do you like about your job? As a freelancer I have the privilege of working on variety of projects with all different types of gear. I work in a lot of different locations so the scenery is always changing.

What are the types of challenges that you face in your position? Being a freelancer in this economy is challenging, work can be uncertain and hard to find. With limited projects taking place many pros are cutting their rates. Employers, knowing that work is limited, often push for lower rates because someone will still fill the positions.

How do you prepare for a production? I prepare for a production by checking over all the equipment I will be using to make sure it is in top operating condition and charged up before packing it. Beyond that I just get a good night’s rest and set redundant alarms to make sure I’m on time.

What suggestions or advice do you have for someone interested in a position like yours? The best advice I can give to someone interested in a position like mine is to build a solid reel. If you want to work on a camera crew your reel will define you as much or more than your resume. If you are in school studying media, now is the best time to tailor your reel to the type of projects you want.

FIGURE 7.15
Thomas Crescenzo, Steadicam Operator

Thomas Crescenzo is a freelance Steadicam owner/operator and camera operator.

INTERVIEW WITH A PROFESSIONAL: JON LORD

Briefly define your job: My role is to deliver all aspects of camera work for a program, from single operator ENG to large multicamera productions, live or recorded. The job description is probably best summed up as planning, support, and delivery to any customer camera needs. Interpersonal skills, thinking quickly, and reacting to issues are a cameraman’s qualities.

What do you like about your job? I love achieving a shot which others struggle with. I enjoy building a team and having a crew who I know will deliver terrific results and have fun doing it. Even when things go completely off script, a great team still delivers, remembering the viewer’s passion.

What are the types of challenges that you face in your position? I need to know enough about the equipment & techniques so that I can answer production questions and save the company time and money. Safety concerns are always very high on my list. There is always a safe way to achieve any shot. At the end of the shoot I am ultimately responsible for equipment breakages or losses.

How do you prepare for a production? Preparation is the key to a good production. Find out as much about the event, the production, your crew, and the budget as possible. Then find out about what the audience needs to see, what are the program’s key points, and what is the “must see” action. (You may miss shooting the ballerina’s entry if you don’t know which side of the stage she enters.)

What suggestions or advice do you have for someone interested in a position like yours? For me, its about passion and respect. You must want to put in the effort, the financial reward isn’t great but the life experiences are. Unless you are willing enough to listen and respect the guidance of others, you probably will not be invited to join a team.

FIGURE 7.16
Jon Lord, Senior Cameraman, SIS Live, London

Jon Lord is Senior Cameraman and Lighting Camera Supervisor at Satellite Information Services in London. He previously worked in the same position with the BBC.