Sunday 23 September 2012

CAMERAMAN’S COMMUNICATION SIGNALS [Film Technology]



Cameraman’s communication signals 
[Film Technology] 

The cameraman can reply to talk back questions and convey simple messages by camera movement in studio floor to the director or CCU operator. 1) No- panning camera right to left. 2) Yes- tilting camera up or down. 3) Having Problem-A circular movement or weaving the camera and or zoom jerks shows he has a problem. 4) Focussing Problem- Rapid in/out focusing shows that he can not focus sharply on his subjects due to limited depth of field.





CAMERA LIGHT [Film Technology]



Camera light 
[Film Technology] 

A lamp attached to the camera to provide local frontal filler light for close-ups, for as a traveling key light. At light weight end of the scale powerful yet small enough to hand held camera light or camera mounted light, particularly useful where mobility is essential. Camera light is a utility light near the lens which serves variously as frontal filler light, to illuminate captions, or to supplement other illumination. Camera lights take several form :  1) single spotlight. 2) spot bar. 3) Broad source. 4) Twin head lamp. 5) Strip light. 6) spot frame circle (garland) of photo flood lights.






CAMERA LENS [Film Technology]




Camera lens 
[Film Technology] 


No lens works perfectly. It is far from simple to grind glass to the ideal shapes, a number of problems arises like chromatic aberrations and the images of object not directly in front of the lens are distorted and light from even a centrally placed object is only moderately well refocused to a point. Many of these defects can be reduced by replacing the simple convex lens by a system consisting of a number of lens elements, made of different type of glass. Such one correcting the faults in the others. A typical camera lens may consists of between four and eight such elements. The lens is as important a part of a camera as the camera body. Lenses are referred to in generic terms as wide-angle, normal, and telephoto. The three terms refer to the focal length of the lens, which is customarily measured in millimetres. Focal length is defined as the distance from the centre of the lens to the image it forms when the lens is set at infinity. In practice, focal length affects the field of view, magnification, and depth of field of a lens.  Cameras used by professional photographers and serious amateur photographers are designed to accept all three lens types inter changeably. In 35-mm photography, lenses with focal lengths from 20 to 35 mm are considered wide-angle lenses. They provide greater depth of field and encompass a larger field of view(or angle)  but provide relatively low magnification. Extreme wide-angle, or fisheye, lenses provide fields of view of 180° or more. A 6-mm fisheye lens made by Nikon has a 220° field of view that produces a circular image on film, rather than the normal rectangular or square image. Lenses with focal lengths of 45 to 55 mm are referred to as normal lenses because they produce an image that approximates the perspective perceived by the human eye. Lenses with longer focal lengths, called telephoto lenses, constrict the field of view and decrease the depth of field while greatly magnifying the image. For a 35-mm camera, lenses with focal lengths of 85 mm or more are considered telephoto. A fourth generic lens type, the zoom lens, is designed to have a variable focal length, which can be adjusted continuously between two fixed limits. Zoom lenses are especially useful in conjunction with single-lens reflex cameras, for which they allow continuous control of image scale.







CAMERA LEFT [Film Technology]





Camera left 
[Film Technology] 

Left side of the cameraman. This is a camera orientation. The description left and right side of a camera is as seen from the rear as seen by cameraman.







CAMERA INFORMATION [Film Technology]





Camera information
[Film Technology] 

The name of production company, name and number of production, name of director, the director of photography and the camera operator, the address of the location or studio, the name of the laboratory to do processing.










CAMERA HEIGHT [Film Technology]




Camera height 
[Film Technology] 

When shooting people, camera height is normally around eye-level, varying according to whether the subjects are standing or sitting[1.2-1.8m/4-5ft standing, 1.1m3.5ft sitting. The normal camera viewpoint is usually around chest height. The height of a camera’s viewpoint can affect a person’s appearance in several ways. Elevated shot or high shots tend to emphasize baldness, plumpness, bosoms, and generally make a person shorter importing and less importing. Depressed camera viewpoint or lower camera viewpoints, on the other hand, tend emphasize noses, particularly large, uptitled or dilated nostrils. Lower shot also draw attention to scrawny necks and heavy jaw lines. A person with a high forehead or receding hair may appear completely bald in the depressed shot.







CAMERA HAND LAMP [Film Technology]





Camera hand lamp 
[Film Technology] 

In video, a lamp affixed to the camera head to provide local illumination close to the camera lens axis. This is used as a `fill light’ for portraiture and as a method of illuminating captions.






CAMERA GAUGE [Film Technology]




Camera gauge 
[Film Technology] 

35 mm film, 16 mm film, Super 16 mm film, 8 mm film, super 8 mm film, 70 mm film. 35 mm is used virtually all films made for theater distribution, as it gives the picture quality for the magnification required. Camera ancillary equipment and cost are highest. 16mm is used for many documentary, Industrial production and TV productions. Smallest equipments advantages in compactness and portability relative to the smaller screen size, high picture quality. Super 8 is occasionally used professionally for low budget work or for news reel items and when a small camera is essential. Limitation in copying, editing and recording.







CAMERA ELEVATION [Film Technology]





Camera elevation
[Film Technology] 


Many shots a camera position higher than ground level is needed, Elevations to various stages of heights will be achieved by the use of rostrum, parallels, camera crane, camera boom arms, scaffolding tower, cherry picker etc.








CAMERA DOLLY [Film Technology]



Camera dolly
[Film Technology] 

Manually operated dollies or powered dollies [power dolly, manual dolly]offer the most sophisticated camera mount or camera wheels, for smooth travel forward and backward form the subject known as tracking whether or not tracks are laid for the dolly wheels. And the most sophisticated camera mounts which can be lowered or raised for high angle camera positions and tracked. Usually found in studios but also on locations for larger budget productions. Shot taken with the camera support mounted on wheels, tracking with subject. See dolly shot and track shot.   Shot taken with the camera support mounted on wheels, tracking with subject.









CAMERA CRANE [Film Technology]




Camera crane 
[Film Technology]

For many shots a camera position higher than ground level is needed. Elevation of 6 to 13 ft (2-4m) are usually achieved by the use of a rostrum or parallels. For higher position camera cranes, scaffolding towers or cherry picker’s vehicles are used. Large counted weighted camera cranes or boom arms are available, capable of giving camera lens highlights of up to 27ft(8m) above ground level.





CAMERA CHECK OUT [FILM TECHNOLOGY]




Camera check out

[Film Technology]

[1] Preliminary camera check out- Camera switched on, warmed up and lined up ? 

[2] Camera cable.  Are the camera plugs at the camera and wall socket [or equipment] tight ? Is the cable secured to the camera mounting ? Is there sufficient camera cable for camera moves and is it suitably routed ? 

[3] Camera head- Is the pan bar/ panning handle[s] firmly attached and at a comfortable angle ? Unlock the tilt secure control and check the camera head balance. Is it nose or back heavy, or needing readjstment ? Check [and adjust] vertical drag control [tilt friction control. unlock pan secure control] Is the action smooth, with just sufficient friction ? [Adjust horizontal drag control/pan friction control]. 

[4] Column- For a rolling tripod, check column height adjustment. For a pedestal unlock column and raise/lower it. Check the ease of vertical movement[balance] and adjust if necessary. 

[5] Steering [pedestal steering]- Check freedom of movement in all directions, in dolly [tracking] and truck [crab] modes. 

[6] Cable guards- Adjust guards to prevent cable over run or floor scrapping. 

[7]  Camera lens- Remove the lens cap. Switch electrical lens capping out. Check that the lens is clean. 

[8] Viewfinder- Check its focus, brightness, picture contrast, picture shape,[aspect ratio], edge cut-off, image sharpening [crispening]. Are internal indications working[for zooming, f-stop, exposure, etc.] ? Are tally light and indicator cue lamps OK ? Check mixed feeds

[9] Focus- Check focus control smoothness from nearest to furthest distance [infinity]. In a lens servo system, is there any spurious focus over run or hunting[ rhythmical changes] occurring ? Is the zooming action smooth through out ? Focus at the wide angle and narrow angle. Check that focus is contrast through out the zoom range [tracking correctly].

[10] Lens aperture- Check the f-stop number selected during camera line up with chart under standard illumination. [This indicates system’s sensitivity]. 

[11] Zooming- Check zoom meter or zoom indicator. Adjust shot- box, if any, preset angles. Check operation. 

[12] Intercom [talk back circuit]- Check intercom circuits [general and private wire], Is programme sound feed OK ? 

[13] Filters- Check filters [filter wheel], making sure that one is not accidentally left in position. 

[14] Camera cable- Do you have enough cable for the job ? Has the camera cable- compensation control been set to suit the cable length? Are cable joints firmly screwed together ? Route the cable it from feet, vehicles etc. [sling, hide, cover over]. 

[15]  Camera battery- Check that the fitted battery and stand by batteries are fully charged. 

[16] Viewfinder- Is the fitting secure ? Check camera warming lights, including tally light, exposure, low battery. VTR on, tape left etc.. 

[17] Microphone- is the mike secure and functioning ? Check connections. Cables for announcer/ commentator mike.






CAMERA CHECK AFTER SWITCH OFF [FILM TECHNOLOGY]






Camera check after switch off

[Film Technology] 


[1] Panning head- Look off and secure the pan/tilt movements[including securing chain if fitted.]. Do not tighten drag controls [friction control]. Has the head been operating smoothly ? [regular cleaning lubrication is needed.] If weighty accessories [e.g. prompter, matte box] have been removed. Check that the camera is not left ‘ back heavy’. 

[2] Pedestal/column- Lock off vertical column movement. Remember, if a prompter is removed, the column will be wrongly balanced [hard to lower] if used without one next time. 

[3] Camera lens- Before fixing its lens cover, look along its surface against the light; Is it clean of dust and finger marks ? Lenses have a very thin coating [blooming] which reduces internal reflections and improves picture contrast. This coating is easily scratched or worn, so never touch the lens surface. Use a special lens brush to dust it. or a can of compressed air. Only when these are ineffective, use lens tissue or lens cleaning fluid

[4] Camera head- Is the camera head clean? Dust and grime soon build up. Have you had any mechanical or electronic trouble that now needs attention ? Did the various controls operate correctly ? [Focus contol, zooming control, Shot box, indicators] Is the viewfinder OK ? [sharpness, brightness, linearity, mixed feeds etc.] Intercom working properly ? [communal and private lines]. 

[5] Camera mounting- Have there been any problems ? [steering, elevation, motor controls etc.] Check over the dolly’s general cleanness, including tire surfaces. Odd remnants of plastic floor-tape etc. get picked and can be bumpy dollying, an oil/grease streak can cause tire slip. Check cable guards to ensure that they are not lose, too high or too low. 

[6] Camera cable- Having made sure that the equipment is switched off, remove the camera cable. Check that its ends are not protected [capped] and store it neatly, ready for next time. Typical methods are a figure-of-eight pile on a canvas cable carrying sheet, or a cable drum. Finally, place dust covers over the equipment. 

[7]  Studio storage area- Many studios simply leave cameras grouped on the floor at the end of the working day. If, however, scenery has to be moved in and out of the studio, it is to have a nearly equipment storage room, away from the general traffic.







CAMERA CARD [FILM TECHNOLOGY]






Camera card

[Film Technology]


Another name shot card. For simpler shots an out line script may suffice, with brief camera detail and sound details, ‘in and out’ cue words for announcements, film inserts etc.. This is an individual card clipped to each camera. It shows at a glance the required camera positions in each settings, its allocated shots[shot numbers, type of shots], the camera moves, basic action etc.. This is the main [or only] reference guide used by most cameraman in the course of a busy multi-camera production, to supplement intercom [talk back] instructions.