USING A VIDEO CAMERA

A.      Focusing

Whenever you will be using a camera to zoom during the taping process, you need to set the focus range for the camera before taping starts. 

To do this, zoom in on the subject furthest away from you and focus the camera.  Once you do this, anything closer to you from that point should remain in focus. 

Keep in mind, however, that if you move the camera, the distance between the camera and the subject will change.  Therefore, the focus range will also change, so you would have to zoom in all the way again to pre-focus.

B.    Framing your subject for talk shows

Many productions in the studio are talk shows.  These shows typically have a few guiding principles for how the speakers are framed on camera.  For example, one principle is to avoid to the best of your ability any shot that resembles a profile or exposes bald spots.

Another consideration for camera operators is “headroom.”  This term refers to the space between the top of the subject’s head and the top of the television screen or frame.  This space should generally be very small, at least a finger’s width.

If the headroom is too big, the subject looks like he or she is sinking, even if the camera isn’t moving.  If there is no headroom, the subject looks boxed in, and even the smallest facial expressions will be exaggerated and distracting.

A similar concept to headroom is “look space.”  This term is also referred to as talking space or lead room.

In talk shows, look space in close-up shots should always be larger than the space on the other side of the subject.

C.    Framing your actors or characters

For documentaries, dramas, and comedies, other techniques should be considered.  In Hollywood films, for example, a director will often place a character on the edge of the screen whenever that character is feeling bad or weak.  This convention emphasizes the character’s feelings on a subliminal level.

Similarly, high angles looking down on a subject are often used to:

a)     create sympathy for a character

b)     depict a character as overwhelmed, small, insignificant, or weak

c)      create a sense of being watched

d)     make characters appear lonely and isolated, when combined with extreme wide shots

Conversely, low angles looking up at a subject tend to make the subject look towering, strong, and authoritative.

D.    Zooming with precision and finesse

The key to executing smooth zooms is to maintain the same amount of headroom throughout the length of the entire zoom.

In order to do this, you will have to pan, tilt, and zoom simultaneously.  Sometimes this is difficult, but there may be a way to make it easier.  For instance, if you normally use your thumb to move the zoom control, try using your pointer finger instead.

 

E.     Tension Controls

Camera operators should make sure they can locate and use each of the following controls:

Handlebar Screw Lock – holds handlebar in place, until loosened to allow for adjustment of the handlebar angle

Tilt Tension – affects the looseness or stiffness associated with tilting the camera up and down on the tripod

Pan Tension – affects the looseness or stiffness associated with panning the camera left and right on the tripod

Lock Lever – makes the camera head immovable from its current position, although the tripod can still be moved

If you need to leave a camera unattended, tighten the tilt tension and place the lock lever in the lock position.

During taping, make sure the pan and especially tilt tensions are loose enough to facilitate smooth movement.

F.     Trucking and Dollying

Trucking, also known as tracking, is the name that is used to describe the act of physically moving the entire camera (and tripod) to the left or right. 

This term is often confused with “dollying.”  Dollying is when you physically move the camera closer to the subject (dolly in) or away from the subject (dolly out).

You can create a weird special effect by zooming in when dollying out, or zooming out when dollying in.

G.    Headphone Etiquette

Camera operators need to wear headsets to hear instructions from the director.  Because of this, camera operators do not hear the sounds from the set as loudly as they normally would. 

Sometimes the camera operators get so used to hearing the director loud and clear that they accidentally speak just as loud when responding to the director through the headset microphone. 

If you operate a camera, you need to take extra care to make sure that you whisper or speak in a hushed tone whenever you communicate with anyone during taping.

H.    Other camera tips

If you are covering more than one person from your camera angle, be alert and watch to see who’s talking and who’s not talking so you can re-act quickly.

Try not to get the wires wound around the camera tripod.

*  *  *

AUDIO OPERATION

A.  Components of the audio system   In the studio, you should be able to identify the following pieces of equipment:   * Wireless microphone * Battery pack * Receiver * Mixer

                                                                                                           

The studio uses wireless microphones to record sound on tape.  These microphones, as well as battery packs, are attached to the guest, host, or talent. 

The transmitter in each microphone battery pack sends a signal to the corresponding receiver unit in the control room.  Each receiver then sends the audio signal to the mixer, also known as the audio board.

B. Applying microphones to talent

Crew members typically assist in applying microphones to the television personalities.  Proper microphone placement is essential for recording good quality audio.

In general, microphones should be clipped at upper-chest level.

If someone is wearing a suit, the microphone should be clipped onto the lapel that is closest to the other people. 

If there are other people on either side of the person wearing the suit, your best bet is to clip the microphone onto the person’s tie (assuming, of course, that the person will be talking to the people on both sides).

C. Setting audio record levels

Before taping a program, sound checks are done to make sure that the recording level is high enough for each microphone.  This process is best described in person.  Your technician will explain the process with the following phrases:

UNITY GAIN / TRIM KNOB / PAN KNOB / SUB MIX / MAIN MIX MASTER