Camera Placement

One camera is all that is needed to cover a sports event, all of the other cameras (Steadicam, slo-mo, etc.) are for ambience.

Pedro Rozas, Head of Production, multiple Olympics

A number of factors should be taken into consideration when placing cameras. For example, all cameras should be placed on the same side of the field of play. Usually the only exception for a camera to be placed on the opposite side is for isolation (ISO) cameras that are used for replays.

Other questions that should be asked when determining camera placement include:

• Where can cameras be placed that provide the best coverage for both action and isolation coverage? Make sure that you can provide the necessary wide shot of the event.
• What locations provide the best lighting?
• Where is the sun located during your outdoor event? The angle of the sun will be a factor when determining the angle from which to capture the event. Cameras should be positioned with the sun behind them.
• Are there signs or billboards in the background of the shot that could be distracting? Will anything be changed on the day of the event that could become a distraction?
• Will cameras block the spectators’ view?
• What locations are available that are not in view of the other cameras?
• Does anything obscure the camera shot required by the director? If so, can anything be done about it?

Figure 7.4 Parts of a hard or stationary camera.

Veteran sports director Lee Henry has this advice about determining camera placement: “In planning where to place cameras at an event, there comes a point where the basics are covered and you have to consider where the niche cameras will go. The best pro ducers go for camera angles that better cover their storylines. The best directors want this plus the ability to place cameras in locations that provide additional options/angles for a higher percentage of use. A balanced approach lets you consider both issues. Here is a formula that can be used to determine where to place the camera: Balanced Approach = (Storyline need) × (Percentage of time the shot is used).” (Note: A variety of camera diagrams may be found in Appendix II)

Figure 7.5 Handheld camera that is connected to the remote production truck.

Figure 7.6 This handheld cameraperson is dressed in white in order to blend as much as possible into the surroundings in order to not distract from the sport.

Types of Cameras

A variety of cameras are used in remote sports productions. While some cameras are used only at the highest level of sports production, the following list gives an overview of some of the types of cameras that are available.

Fixed or Hard Camera: A camera that is mounted on a camera mount in a fixed position. These are generally large, heavy cameras that can be equipped with long telephoto lenses and require extremely stable built-up platforms to prevent shaky shots. The larger cameras provide the operator with a larger monitor as well as more control on the camera head. The camera mount may be stationary or it may have wheels (see Figure 7.3).

Handheld Camera: A camera held by the camera operator (see Figures 7.5 and 7.6). These cameras are much smaller than hard cameras, making them more portable and easy to reposition. They can be used as part of a multi-camera production or docked with a recorder so that they become an ENG camera. Generally, this camera would include an RF transmitter that would be handled by an RF assistant.

Electronic Field Production Camera (EFP): An EFP camera is a lightweight camcorder that is not connected to the mobile unit. These cameras are used for the production of news stories or short reports. They are used for immediate postproduction and editing, but the pictures could also be transmitted live from the field (see Figure 7.8).

Figure 7.7 Parts of a handheld camera.

Tracking or Rail Camera: A camera that follows the motion of the object it is shooting. These can be automated or manually controlled. They are mounted on rails or other devices allowing them to synchronize movement with the subject. It is easier to repeat shots accurately using a tracking camera because the track does not move. These cameras are extremely stable, silent, and can be moved safely at slow or fast speeds. Tracks and rails can be curved or straight (see Figure 7.9).

Figure 7.8 An EFP camera is a lightweight camcorder that is not connected to the mobile unit.

Figure 7.9 This tracking camera follows skaters around the oval, giving the audience a feel for the speed of the skaters.

Figure 7.10 The MobyCam is a type of underwater tracking camera.

Figure 7.11 Image from a MobyCam.

Figure 7.12 Cranes usually have the camera operator riding with the camera.

Figure 7.13 Jibs usually have the operator at the bottom of the jib.

MobyCam: The MobyCam is a type of underwater tracking camera. It is a remote-controlled camera that can move underwater along the length of a swimming pool (see Figures 7.10 and 7.11).

Camera Jib/Crane: A camera jib or crane is used to move a camera (and sometimes operator) to high, medium, and low shots. Cranes generally refer to a jib that includes a camera operator riding with the camera (see Figure 7.12) compared to a standard jib that only has a camera at the end with the operator at the bottom (see Figure 7.13). A jib/crane movement is when the camera is moved up, down, or side to side. They have become very popular for their ability to give a production a special vantage point at an affordable price. Jibs and cranes are also transportable when broken down into cases.

Figure 7.14 The first photo shows a POV “lipstick” camera being placed into the bull’s eye of an archery target to capture the incoming arrows. A POV camera attached to a referee’s helmet is shown in the second photo. The third photo shows an American football helmet, designed by SchuttVision, that incorporates a built-in POV camera. Used by ESPN and CBS, the images are recorded on an SD card or transmitted via a signal broadcast.

Mini Point-of-View (POV) Camera: This camera is used when space is limited, restricted, or when it is not essential to use a camera operator. According to Phil Orlins, a coordinating producer for ESPN, “miniature wireless cameras are rapidly transforming the way the audience views an event.” These miniature cameras “are giving viewers unbelievable proximity in sports coverage. The cameras put viewers into the action and take them just about any place on the field or court.” The POV camera is often placed in unusual positions to give the effect of being part of the action or competition. These cameras can be set in a fixed position or remote pan/tilt controlled. POV cameras provide a unique vantage point for the viewer, such as attached to football goal posts or underwater for swimming competitions. These cameras are usually reasonably inexpensive (often placed in hazardous positions where they may be damaged), rugged, very small, and have average technical specifications. They are sometimes called “lipstick” cameras due to their shape and size (see Figures 7.14–7.16).

POV cameras come in a variety of shapes and sizes. One of the new forms is a camera that is part of a pair of glasses. There are multiple manufacturers, but some of the most popular are from Pivothead and Google Glass. While these glasses have not been used extensively, some networks have used them in a limited way since they cannot broadcast live.

Figure 7.15 This POV “Q-Ball” camera has the ability to turn 360 degrees in any direction, includes a 10× zoom, is waterproof, and has four embedded channels of audio.

Slow Motion/Super Slow Motion Camera: These television cameras have special capabilities that capture high-quality slow motion images with reduced blurring. “Standard” slow motion is 25 frames per second. “Super” slow motion records 75 or more frames per second, which further reduces the speed of the action with less blurring.

Steadicam: A device designed to stabilize a camera. The camera is attached to a special vest and stabilizing arm, which is worn by the camera operator. An accomplished Steadicam operator has the freedom to walk or run and still provide fluid shots. Steadicams at large events generally are attached to an RF transmitter allowing totally wireless operation. While “Steadicam” is the brand name of the most popular body-stabilized camera support, there are other brands available as well (see Figures 7.17 and 7.18).

Figure 7.16 A POV used in a hockey net is shown in the first photo and an actual scene from a net POV is shown in the second photo.

Figure 7.17 The Steadicam uses a vest and stabilizing arm to create smooth shots when moving.

Figure 7.18 Steadicams are often added to other vehicles in order to provide camera stability. The first photo shows a steadicam attached to a Segway and the second photo shows a Steadicam used with a snowmobile.

Skycam/Cablecam/Spidercam: Manufacturer names for cameras that hang from a system of cables over a venue. The camera is then remote controlled to cover different locations within the venue. The controls for the camera also include remote pan and tilt (see Figures 7.19 and 7.20).

Figure 7.19 This camera attached to cables allows the camera to move back and forth in one direction.

Pole Camera: A small camera attached to a long pole. The pole can be attached to a camera support or to a belt/strap on the camera operator. The advantage of this camera is that it has a very portable jib arm that can obtain high or low angle shots, while quickly moving out of the way. It can also be used to obtain above and underwater shots (see Figure 7.21).

Stabilized Camera: A camera that is equipped with a stabilization system such as a gyro, optical stabilizer, digital stabilizer, or counterbalance of some type. These cameras are often used with helicopters, boats, or other moving camera mounts.

Vehicle Cameras: As mentioned above, with the advent of stabilizing rigs, cameras can be attached to any vehicle. Here are just a few of them being used in the broadcast industry:

Motocam: A motorcycle equipped with a stabil ized television camera and RF transmitter.

Figure 7.20 This more sophisticated hanging camera, attached by wires from multiple directions, allows the camera to move anywhere on the field of play.

Figure 7.21 Pole camera.

Car Camera: A vehicle equipped with a stabilized camera and RF transmitter (see Figure 7.22).

Boatcam: A boat that is equipped with a stabilized television camera and RF transmitter (see Figure 7.23).

Helicam: A helicopter that is outfitted with a stabilized, remote-controlled television cam era. Generally, the helicopter is also equipped with a microwave transmitter. These cameras can be mounted on full-size helicopters or can be carried by small remote-controlled helicopters (see Figure 7.24).

There has been a surge in the use of Wi-Fi-controlled small drones with cameras. However, in some areas there are laws that limit their use at productions. While they cost less than full-size helicopters, they do require a skilled operator. Other issues that must be con sidered are safety, battery life and weight, and flight times. Operating a drone in a highly populated area poses some risk due to the poten tial failure of guidance systems (see Figure 7.25).

Figure 7.22 This car was outfitted with stabilized cameras and transmitters especially for Olympic Broadcasting Services.

Figure 7.23 Boatcam.

Figure 7.24 Helicopter equipped with a stabilizer remote-controlled camera.

Figure 7.25 Drones equipped with cameras are increasingly being used as a less expensive method of obtaining aerial shots.

Car Racing Cameras

A number of companies have created different types of cameras that can be installed into a racetrack. Some of these miniature cameras are mounted in spring assemblies over a hole in the ground. When a car runs over the camera, the camera is pushed into the ground. Other systems, such as the “GopherCam,” is a camera set in the track. The camera was created by Inertia Unlimited. Company President Jeff Silverman says that “the reason the camera works so well is that it is an extremely unnatural angle. In real life, you are just not used to watching a car come at you at 200 miles per hour and go right over the top of you. It’s a jarring shot that, in my opinion, offers a truly show-stopping angle of the race.” (Photo by Jeff Silverman)

The above photos are of the GopherCam and then a track-installed GopherCam. (Photos by Inertia Unlimited)

Why POV/Robotic Cameras?

Many of the cameras previously mentioned are robotically controlled. These cameras have become increasingly popular in the production of sporting events (see Figure 7.15). They are used when:

• it is impossible to fit a camera and operator into a location;
• it may not be physically safe to have a camera operator present—for example, a POV used under a jump at an equestrian event; and
• a unique perspective contributes to a viewer’s overall understanding of an event—for example, a POV camera in a hockey net.

Interview: Designing a Specialty Camera

Mike Hampton has created specialty cameras for a number of sports events, including the Olympics. He was interviewed about the process of designing some of these unique cameras used for the Olympics.

What were some of the interesting cameras that you created for the Winter Games?

I had to design a come-and-go gate camera (two cameras in one pole) that was created to fit inside an official World Cup ski gate pole (34 mm in diameter) for the downhill slalom competition. The other camera that was a challenge was designing a camera, power supply, and video transmitter that would fit inside a (23 cm) high orange cone used in speed skating.

What did you first think about in the design process?

What is its function? Where is it going to be? Does it have to be in the field of play? Does it have to be a specific size? Does the camera need to be protected? What kind of shot is required (wide or close-up)? All these things need to be considered as you begin the project.

What kind of limitations were you given for the cone camera?

Everything required to capture the image and get it back to the remote truck had to be contained in the cone. We had to design it so that anyone could look at the cone and not know that there was a camera in there. It could not be distracting to the athletes and it had to be approved by the appropriate sport governing body. The camera had to be able to handle very cold weather and had to be durable enough to be able to be hit occasionally by an athlete.

How did you know where to start and where did you get the parts?

We try not to reinvent everything. The key is to keep it simple. Try to use something that already exists and then adapt it to work for you. This saves time and money. I generally look through automotive supply catalogues and surplus stores. During the Opening and Closing Ceremonies, I used a headlight lifter from a car to lift a camera out of the ground for a shot that the director wanted.

How did you choose a camera?

The camera had to be small enough to fit inside the cone and it had to have adjustable settings. I chose the highest resolution camera for the physical size that I needed.

What are the design stages that you normally work through?

First, you have to gather all of the parts. For the cone camera, we started with an official cone that had already been approved by the skating authorities. Second, we build a working prototype and then test it. Generally, multiple prototypes have to be created until we get one that does what we want. Then the design is refined. This refining would include “cleaning up” the look and design, or it may even include something like adding an additional small exhaust fan. Third, a blueprint is created.

What were some of the difficulties you had to deal with?

We originally built the inside of the cone camera from aluminum but found it was just too heavy and transmitted heat, melting some of the ice. I had to go back and design it out of a rigid foam. The foam insulated the ice and helped cushion and protect the camera and video transmitter from damage when it was kicked by a skater (see Figure 7.26 for examples).

Divecam

Invented by Garratt Brown, the divecam allows viewers to follow the twists and turns of the dive. The camera falls at the same rate as the diver and then follows the diver underwater. Divecam is a high quality camera encased in a glass tube (the black line down the middle of the diving board in the photo), which rides on six wheels on a track mounted inside the tube. The tube is attached to the aquatic center roof and runs 2.5 m under the water, mounted to the floor with a platform and weights.

Divecam’s view of the diver both in the air and underwater is through a 10 cm window of smoked glass that runs the entire length of the tube. Attached to a rope, the camera is released by a technician who watches the dive on a monitor. The one-way pulley lets the camera drop at the acceleration of gravity—the same forces that rule the diver. A second technician, the pilot, moves the camera and stays with the dive. The picture remains clear underwater because the tube keeps the camera from hitting the surface.

A cord providing the signal and power to the camera follows the camera down the tube and returns to its position when the camera returns to the start position. During the course of the dive, a scant few seconds, a joystick remote control tilts the camera to follow the dive.

Figure 7.26 The first photo shows the inside of the cone camera, which includes a camera, battery, and transmitter. The second photo shows the camera placed on the ice. The third photo shows the shot obtained by the camera.

Divecam gives the viewers a different angle that shows each intricate element of the dive. In addition, the use of slow motion further enhances the ability to highlight or critique the technique. As the camera falls at the same rate as the diver, viewers get a sense of the split-second accuracy and precision of the diver’s complicated moves.

NBC’s coverage of the Games of the XXVI Olympiad

Product Innovations

The Olympics have a rich heritage of testing new technology for covering the sports action. In 1984 the American Broadcasting Company (ABC Sports) created three types of specialty camera vehicles (see Figures 7.27–7.29).

James Hay, Olympics Television Production

Figure 7.27 Two of these electrically powered motorcycles were designed and built for use in the marathon coverage. Fuel-powered vehicles could not be used because of fumes. The RF camera and the operator were positioned in the sidecar.

Figure 7.28 The electrically powered camera car was specially designed for use in the marathon. The car was equipped with two cameras on specially designed gyro mounts and a handheld, with positions for a commentator.

Figure 7.29 This was one of two specially designed camera boats used for coverage of canoeing and rowing. The boat was actually two rowing shells (eights) uniquely married in a catamaran effect with the camera platform raised 3 m above the boat. The design effectively reduced the amount of wake that could have affected the competition and provided a steady platform for the two cameras. The power was provided by two 50 HP outboard engines. The two cameras were mounted on gyro platforms for stabilization.

Figure 7.30 Tripods are the most common camera support due to their ease in portability and setup.

Camera Setup Checklist

• Set up the tripod or other type of camera support (see Figure 7.30).
• Check that the pan/tilt head is firmly attached to the mount.
• Level the tripod and pan/tilt head and then make sure that the pan/tilt head is locked.
• Attach the camera to the tripod head.
• Adjust the center of gravity of the camera on the tripod.
• Check the friction adjustments for the pan and tilt. These should be set at your comfort level.
• Make sure that the lens is tightly mounted on the head.
• Set the zoom controls at the right speed.
• Test the focus control to make sure that it is working.
• Attach the camera to the CCU cable and power up the camera.
• Check the monitor and adjust the contrast and brightness.
• Check the back focus to ensure that the image stays in focus from long shots to close-ups.
• Attach the intercom headset and test to make sure that it is working.
• If everything appears to be working on your end, wait for further instructions from the mobile unit.

Camera Shots

Camera shots are relative to what you are shooting and must be defined by the director. Camera shot categories are loosely defined. A long shot for one director in a stadium may be a medium shot for a studio director. See Figures 7.31–7.35 for illustrations of the general shot composition categories.

The long shot (LS) establishes the scene. This shot shows the audience and director the overall context in which the action is taking place. The distance from the camera to the subject is relative to what you are shooting. For example, a long shot of a person would show the entire person from head to toe. A long shot of the field of play may show the entire field of play.

Figure 7.31 The extreme long shot helps establish the location by showing the field of play and its surroundings.

Figure 7.32 The long shot established the players’ relationship to one another.

Figure 7.33 The medium shot shows a player or players and gives you contextual information about them. In this instance, you see the goalie’s net and gear.

The extreme long shot (XLS or ELS) is further away than the long shot. Using the examples under long shot, an XLS shot of a person would show the person and their immediate surroundings. An extreme long shot of the field of play may be a blimp shot capturing the entire stadium.

The medium shot (MS) generally tells the story. This is the main shot that shows the subject, as well as some of the context. A medium shot of a person may capture them from the waist up. A medium shot at a stadium may include the whole person or even a couple of people.

The close-up shot (CU) adds drama. It is a close shot of the subject being discussed in the program or a person’s face. In a large stadium, the close-up may be a shot of a person from the waist up.

The extreme close-up shot (XCU or ECU) intensifies the drama by showing the viewer details of the object being discussed or capturing the emotion on a person’s face. ECUs dramatically increase the communication of the emotion.

Camera Movement

We have discussed a variety of moving cameras, such as a rail camera, boatcam, helicopter, Steadicam, and jib. It is the director’s responsibility to decide if and when these specialty cameras should be used. Generally, specialty cameras are used when they contribute to the viewer’s understanding of an event. The following are the primary reasons why camera movement is used during an event:

• It gives a unique perspective of the action that cannot be seen any other way. For example, a helicopter or blimp shot puts the field of play into perspective geographically. A camera mounted on a motorcycle allows the director to stay with the leader throughout a marathon.
• It provides the viewer a feel for the motion of the action. A tracking camera can move alongside sprinters, enhancing the viewer’s perception of their pace, or a dive camera can drop with a diver, capturing impact into the water and the speed of descent.
• Camera movement can pull the spectator into the event. A crane shot can continuously move from a wide shot, with the camera showing the audience, to a close-up of action occurring on the field of play. A Steadicam, moving with an athlete from the locker room to the field of play gives the viewer an intimate view of the athlete’s perspective of an event.

Figure 7.34 The close-up gets you close enough to start seeing emotion on the face but still includes contextual surroundings.

Figure 7.35 The extreme close-up adds drama and emotion by emphasizing the face.

Figure 7.36 Whenever a camera pivots right or left on the camera support’s axis, it is called a pan shot. The director’s command to the camera operator would be to “pan left” or “pan right.”

Camera/Lens Moves

A variety of camera and lens moves are used by camera operators to capture the desired coverage.

Zoom: A variable focal length lens. This lens has the ability to continuously go from wide angle to close-up. Directors will sometimes use the word “tighten” to zoom in and “loosen” to zoom out to a wide shot.

Pan: Refers to moving the camera left or right on the camera support’s axis; for example, pan right, pan left (see Figure 7.36).

Tilt: Refers to moving the camera up or down on the camera support’s axis; for example, tilt up, tilt down (see Figure 7.37).

Arc: Refers to the movement of a camera on a curved path. Arcs can occur on a dolly track, handheld, or Steadicam; for example, arc left, arc right (see Figure 7.38).

Tracking or Truck Shot: A camera and mount movement to the left or right; for example, truck left, truck right (see Figure 7.39).

Dolly: A camera support that allows a camera to move in different directions. It can also refer to an actual camera move (dolly-in or dolly-out). Dolly-in refers to moving the cam era and support forward. Dolly-out is when the camera and support moves backward (see Figure 7.40).

Jib/Crane Up or Down: A crane/pedestal movement is when the camera is moved up or down utilizing a crane or pedestal. Cranes have become an accepted and even expected part of sports coverage. The crane allows continuous movement from a close-up to a high, wide angle, giving an entirely different perspective of the event (see Figure 7.41).

Figure 7.37 A tilt shot refers to moving the camera up or down on the camera’s support axis. The director would ask for a “tilt up” or “tilt down.”

Figure 7.38 When a camera operator moves around the subject in a curved path, the camera move is referred to an arc shot. The director would call for an “arc left” or “arc right.”

Figure 7.39 The tracking shot, or truck shot, is used when the camera shot includes moving the entire camera to the left or right. The director would ask the camera operator to “truck left” or “truck right.”

Figure 7.40 A dolly shot is when the camera moves toward or away from the subject.

Figure 7.41 Whenever the director needs the camera jib to move up or down, they would ask for a “jib up” or “jib down.”

“Matrix” Style

“Matrix” style computer/camera systems give the viewer a look at the action from multiple vantage points. Although there are multiple systems using different technology, all of the systems could potentially provide a 360-degree view of a sports image. Robotically controlled cameras, placed 5–12 degrees apart, are used to capture the images. Some of the systems have software that fills in some of the missing information between the camera’s images, actually providing moving images as well as still images. A server channel records each individual camera, allowing the system’s operator to provide a replay and cut between the multiple digital disc recorders. This provides the capability to rotate the viewer perspective around an image of a play before resuming action. A camera operator will control one of the cameras as a master camera. The other cameras will synchronize, following the cue of the master camera, focusing on the same action, such as a golfer. Each camera interacts with the master camera, constantly adjusting its zoom and focus to keep the image of the golfer the same size as in the images of all the other cameras. “This shared center of focus is what creates the illusion that the player can be seen in three dimensions,” said Takeo Kanade, director of the Robotics Institute and a computer vision expert. When images taken at the same time by each camera are viewed sequentially, the effect is of walking or flying around the player. The system has been used for all types of sports. Larry Barbatsoulis, CBS Technical Director, said, “In individual sports, like gymnastics, I could do a 360 around someone doing a rings routine, or the long jump, or a pole vault. Imagine freezing a guy who’s going backwards over the high jump, then revolving around him to show his form.”

(Compiled from BUF Technology, The Wire, Newsday.com, Post-Gazette, Berkely.edu/mhonarc, Cahners Business Information)

Shooting Sports

The field cameras had only sports sights consisting of a wire frame at the front and a peepsight at the back. The cameraman had no control over focus, which was adjusted from the control truck by remote control, and the field seen in the crude sports-sight was, I’d have to assume, fairly inaccurate.

Art Smith, Sports Camera Operator, 1939

As we mentioned earlier, the director will assign the crew to specific cameras and also dictate the type of shot that the camera operators must capture. The camera’s viewfinder may not display exactly what the director is seeing in the truck. It is not uncommon for a camera operator to find that centered for their camera may not be centered in the truck. The director will instruct the camera operator on composition. The camera operator should stick with the director’s instruction, even if it looks a little off on the camera.

The wider a camera shot, the easier it is to follow the action. However, the wider the shot, the less exciting the image is. Many times, directors will ask camera operators to start tight (extreme close-up) and then widen the shot as the action proceeds. It is important to remember not to get too tight, making it impossible to follow the play.

Another advantage of the wide shot is that it is easier to shoot steady handheld images. Telephoto lenses amplify camera movement; movement is less noticeable with a wide shot. Handheld camera operators should get as close to the action as possible while still using the wide angle shot. Of course, in sports, it is not always possible to get close to the action. For this reason, cameras are equipped with long lenses and always placed on heavy-duty tripods to ensure steadiness.

A tripod substantially increases the stability of the camera and allows more accessibility to the camera’s remote controls, even on an ENG-type camera. Without a tripod, it is difficult to focus, zoom, tilt, and pan at the same time (see Figure 7.30).

For beginners, keeping the subject in focus can be incredibly difficult. However, with experience, it becomes second nature. There are primarily two methods of focusing in sports—follow focusing and zone focusing.

Follow Focus: Follow focus, also known as critical focus or tracking focus, means that the camera operator is continually adjusting the focus in order to keep the subject in focus. This is particularly critical when using a telephoto lens.

Zone Focus: The zone method of focusing means that the camera operator pre-focuses on the field of play, knowing that anything that comes into a specific area will be in focus. There are a number of variables that determine the effectiveness of zone focusing. First of all, if a wide-angle lens is being used on a bright day, the zone of focus, or depth of field, may be from 1.2 m to infinity. The longer the lens, the less depth of field it can cover. Many times, there are not enough cameras to allow cameras to focus only on one zone.

Composition

Anticipation is the key to composing shots for sports. The camera operator must anticipate where the competitors are going next in order to capture an image that means something to the viewer. Although good composition is relative to a person’s perspective, there are certain composition standards. Good shot composition allows the viewer to have a better understanding of what is going on, makes the viewing experience more enjoyable, and can significantly improve the entire production quality (see Figure 7.42).

Figure 7.42 Composition examples.

Caring for the Camera

Cameras are very fragile and it is essential to treat them with the utmost care. When working remotes, camera operators and assistants must be especially mindful of the following conditions, which could damage the equipment.

Figure 7.43 Cameras must be protected from the weather. Umbrellas can protect them from rain and possibly heat. They are also helpful in shading the camera operator and the video monitor, making it easier to see.

Figure 7.44 Camera “coats” can protect them from extreme cold, snow, and rain.

Weather: Cameras must be protected from extreme heat, rain, and snow.

Heat: Cameras can easily overheat when operating in extremely hot conditions. Umbrellas can give some protection from heat (see Figure 7.43).

Cold Weather: Extremely cold temperatures reduce the life of equipment and batteries. Condensation can form when moving equipment from cold temperatures into a warm room, rendering the equipment useless. Insulated camera coats can provide limited protection from the cold.

Rain and Snow: A camera “rain coat” can be used to protect cameras from the moisture from rain and snow (see Figure 7.44).

Water: Cameras cannot be submerged in water without the appropriate underwater gear. If a camera does become submerged, it is generally irreparable.

Dust/Sand: Dusty situations wreak havoc on equipment, especially record/playback heads. When the heads become dirty, recording and playback is impossible. It is generally impossible to repair a lens or camera that has been dropped into sand.

Drops/Vibrations: Equipment must be carefully packed in shock-absorbent material (foam or a padded case) when traveling. Airplanes, cars, and all other types of transportation will vibrate the camera, often loosening boards and screws. Cameras cannot handle the jolts from being dropped, which can cause video/audio heads and CCDs to go out of alignment.