How to Shoot with a Studio Television Camera
The difference between shooting with a studio television camera and a portable amateur camcorder is like going from a moped to a Harley Davidson. If you are shooting in a studio, you are probably working on a talk show or news broadcast, so these pointers apply primarily to people.
- Difficulty:
- Easy
Instructions
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First understand what you don't have to do. Exposure is controlled by your video engineer, who is also responsible for making sure that the cameras are in phase so that the hues match. A good engineer should periodically match color saturation and insure that back focus is consistent.
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As a studio cameraman, you are responsible for focus, framing and composition. Some directors are open to having you show them a suggested shot. Others rule with an iron fist and only want what they expect. As you work with different directors, you'll get to know what they want.
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3
Understand the parts of your camera and what they do. You'll have a studio style viewfinder that displays an image in black and white. You will see the entire video image so when framing, recognize that after broadcast most televisions will not see the edges you do, so add a margin around your ideal picture. Always begin by setting up your monitor to bars. Unlike a camera in news configuration, ENG, you have no chance to make a diopter adjustment so it's critical that if you need glasses you wear them. Choose either reading glasses, long distance cheaters or even bifocals to insure clear focus.
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4
Make sure that your headset works in both directions so that you can both hear your director and communicate with her. Since you'll be working in a cut live environment, remember that you will listen far more than you respond. I've shot many a show without a word offered to the control room. While directing cut live, I have had no time for anything except the most vital observations from cameramen.
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5
From the top of your camera pedestal you'll have two arms extend like motorcycle handle bars. On the left, you'll find your focus controller, a manual tube that attached to a cable that is inserted into the front of your lens. When you turn it you change focus. On your right side, you'll find the zoom control which is motorized. Pedestals vary in configuration. Learn where the locks and drags are on yours. Undo the locks, and make sure that your camera head is perfectly balanced front to rear. If it isn't, you could frame up on a shot and watch it drift downward or up. Adjust the drag controls so that you apply equal force in both panning and tilting.
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As soon as you've adjusted your viewfinde and pedestal, ask your engineer to take your camera off bars. Familiarize yourself with how much force it takes on the motorized zoom control to achieve the speed of zoom that you want. Know which direction to push the zoom to zoom in and which way to go out. On the focus, learn which direction to use the controls to change to focus away or closer. You should know your controls instinctively so that you don't think when given a command. Practice moving the peds wheels in a truck or dolly. Ped up and down to learn how much force you need.
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7
Understand the commands. Some are implied. If you are told to zoom in on a person, you have to automatically tilt up to give your subject head room. Don't forget to tilt down as you zoom out. In a studio setting you are generally designated to favor one subject, maybe two. Directors expect you to keep these people framed properly after you've been given a command. "Ped up" or "Pedestal up" is a vertical move of your camera pedestal. Down is the reverse. Dolly in or out refers to rolling your camera toward or away from somebody. Trucking is rolling the camera left or right. Arcing is creating a curve with your camera by rolling it. Zoom in is getting tighter with zoom alone. Out is the reverse. Panning is a left to right pivot of your camera's head. Tilt is simply pivoting the head up or down. Be sure to leave lead space, so that a person is slightly off center. If he is talking to a subject leave more space on that side. By far the strangest command I've been given in a studio is "Woof." For some bizarre reason it means stop. Do so if you hear the word.
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Tips & Warnings
As mentioned earlier, you should have good back focus. Be sure to zoom in on your subject's eyes, before zooming out for your ultimate framing.
