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by Gerald Millerson
Video Camera Techniques, 2nd Edition
Cover
Half Title
Title Page
Copyright Page
Table of Contents
INTRODUCTION
ACKNOWLEDGEMENTS
VIDEO CAMERAS
Consumer camera systems
Professional camera systems
MEET YOUR CAMERA
You can always check
Successful picture making
CAMERA SYSTEMS
One-piece units
Modular systems
CREATING THE PICTURE
The CCD image sensor
THE CAMERA LENS
The zoom lens
The focus control
Adjusting the lens aperture
THE VIEWFINDER
Types of viewfinder
Viewfinder adjustments
SMALL-FORMAT CAMERAS
The video light
The camera microphone
The need for indicators
PORTABLE/LIGHTWEIGHT CAMERAS
Formats
Power flexibility
Working set-up
STUDIO CAMERAS
The camera chain
Facilities
HAND HOLDING THE CAMERA
Moving around
SUPPORTING THE CAMERA
Simple camera supports
Body supports
Stabilizers
THE MOUNTING HEAD
Balance
Drag
Types of head
THE CAMERA TRIPOD
Design details
Altering camera height
Beware!
The tripod dolly/rolling tripod
THE PEDESTAL
Types of pedestal
Counterbalancing
Operating the pedestal
JIBS AND CRANES
The jib arm
Studio cranes
ADJUSTING THE LENS APERTURE
Adjusting the iris
The effect of adjustment
CONTROLLING EXPOSURE
Light levels
Basic solutions
Tonal contrast
Selective exposure
FOCUSING – THE PRINCIPLES
What affects the depth of field?
Does this effect really matter?
Following focus
FOCUSING – THE PROBLEMS
Selective focusing
Shifting focus
DEPTH OF FIELD IN PRACTICE
Adjusting light intensity
Practical operation
FOCAL LENGTH AND LENS ANGLE
Altering the focal length
Lens angle
VARYING THE LENS ANGLE
Moving the camera
A range of angles available
LENS ANGLE AND PERSPECTIVE
Forms of distortion
Deliberate distortion
WHY CHANGE THE LENS ANGLE?
How changing the lens angle can help
LENS ANGLE PROBLEMS
The normal lens
The narrow-angle lens
The wide-angle lens
THE ZOOM LENS
Lens limitations
Zoom lens design
The shot box
ZOOM LENS PROBLEMS
Take care!
Pre-focusing the zoom lens
AUTOMATIC CONTROLS
Types of auto-control
Motorized zoom
Auto-focus
Problem subjects
Auto-exposure control (auto-iris)
CLASSIFYING SHOTS
Defining the shot
General classifications
BASIC SHOTS OF PEOPLE
General terms
Terminology
UNKIND SHOTS
Lens angle
Camera height
LONG SHOTS
Shot preferences
Camera operation
Lens flare
MEDIUM SHOTS
Camera operation
Audience interest
CLOSE SHOTS
Regular problems
Depth of field
Subject movement
Confining the subject
CALCULATING SHOTS
Measuring the shot
How to use the graph
THE PICTURE FRAME
The two-dimensional world
Tight and loose framing
Headroom
Receiver masking
FRAMING THE SHOT
Avoid routine centering
Offset framing
The rule of thirds
Framing people
REFRAMING
Reframe during movement
People enter the frame
People leave the frame
Maintaining good framing
THE BASICS OF COMPOSITION
Line
Tone
Balance
Unity
PRACTICAL COMPOSITION
Adjusting composition
COMPOSING IN DEPTH
Enhancing depth
Aim at natural effects
CONCENTRATING ATTENTION
Focusing interest
Overdoing it
Peeking through
INAPPROPRIATE SHOTS
Stylized camerawork
Dubious treatment
PROBLEM SHOTS
The wrong shape
Spread subjects
Shooting into lights
CHANGING CAMERA HEIGHT
Pedestals
Why alter camera height?
Unexpected effects
HIGH SHOTS
Working with a high camera
Problems with high shots
LOW SHOTS
The effect of low viewpoints
Operational problems
DOLLY SHOTS
Tracking lines
The effect of dollying
Focusing
Floor surface
TRUCKING AND ARCING
Methods of trucking (crabbing)
Arcing
Operating problems
DEVELOPING SHOTS
The mechanics of developing shots
CAMERA MOVEMENT
Ultra-lightweight mountings
Heavy mountings
Controls
Points to watch
IN THE FIELD – SINGLE CAMERA
Supporting the camera
Safety
Sound pickup
Using a tripod
VIDEOTAPING
Methods of shooting
Anticipating editing
LIGHT AND LIGHTING
Light intensities and contrast
Light direction
Color temperature
Light characteristics
Basic lighting equipment
REMOTES – MULTI-CAMERA TEAM
Location vehicles
Camera distribution
Initiative
Problems
STUDIO PRODUCTION
Facilities
Production techniques
Teamwork
Multi-camera shooting
READY FOR REHEARSAL
Studio camera check-out
Preparing lightweight cameras
CHECK THE STUDIO
Cable routing
Checking dollying areas
Ready to go
CAMERA GUIDES
Camera script
Information sheets
IN ACTION
During rehearsal
During the take
Be prepared
THE DIRECTOR RELIES ON YOU
Be adaptable
Using initiative
LINING UP YOUR SHOTS
Repeated shot accuracy
Why bother?
MATCHING SHOTS
Avoiding spurious effects
Matching shots and mixed feeds
SHOOTING UNREHEARSED ACTION
Preparation
Methods of approach
PROBLEMS DURING THE SHOW
HELPING THE TALENT
Advising the newcomer
Anticipation
Remember the prompter!
HELPING LIGHTING TREATMENT
Altering the camera angle
Lighting hazards
HELPING SOUND TREATMENT
Sound pickup techniques
Cooperation
THE SWITCHER AND THE CAMERA
Helping the switcher
Watch the tally light
SHOOTING GRAPHICS
Lining up graphics
Light problems
SHOOTING PEOPLE
Single shot
Two shot
Groups
Crossing the line
SHOOTING DEMONSTRATIONS
Organizing close shots
Restricted depth
SHOOTING THE PIANIST
Optimum camera treatment
Depth of field problems
Camera movement
SHOOTING INSTRUMENTALISTS
Instrumentalists
Orchestras and bands
FILTERS AND EFFECTS
Neutral density filters – ND filters
Colored filters
Effects filters
ALL DONE BY MIRRORS
The direct approach
Using mirrors
Problems with mirrors
CAMERA CARE
The camera in use
Batteries
Routine checks
PRACTICE MAKES PERFECT
Some basic exercises
Shooting people
FURTHER READING
GLOSSARY
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