Video Camera Tutorials
Tutorials and quick guides from beginner level to advanced.

Camera Work Tutorial

Part 1
These tutorials are designed to provide you with knowledge and skills to improve every aspect of your camera work. They begin at the absolute novice level and work through to professional operations.

They are also applicable to any type of camera work.  It doesn't matter whether you aspire to be an amateur movie maker or a career camera operator — the same basic principles and techniques apply to all.

To get the most out of these tutorials, you should have two things:

Access to a video camera. You should know how to turn it on, load a tape, press record, etc. If you're having trouble with these basic functions, refer to your camera manual or supplier. You can also ask questions in our video forum.

Patience. Camera work is a skill which requires lots of learning and practice.
Initially it won't really matter what sort of camera you use, but one with a good range of manual functions is preferable. You can get choosy about your camera later.

Although the only equipment you really need is a camera, if you're serious you might want to consider buying a few extra toys. To get started the best accessory you can buy is a good tripod.

Nice to be here, I already have a small camera I use to take shot for my business.
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Terminology

It's unavoidable — if you're serious, you've got to know some jargon. Fortunately, it's not too complicated. This page contains a few essential terms to get you started.

Shot:

All video is made up of shots. A shot is basically from when you press record to when you stop recording. Like the individual photos which make up an album, the shots get put together to make a video.

Framing & Composition:


The frame is the picture you see in the viewfinder (or on a monitor).Composition refers to the layout of everything within a picture frame — what the subject is, where it is in the frame, which way it's facing/looking, the background, the foreground, lighting, etc.
When you "frame" a shot, you adjust the camera position and zoom lens until your shot has the desired composition.

Transition:


Shots are linked (edited) in a sequence to tell a larger story. The way in which any two shots are joined together is called thetransition. Usually this is a simple cut, in which one shot changes instantly to the next. More complex transitions include mixing,wipes and digital effects.


A moving shot (e.g. pan) can also be thought of as a transition from one shot to a new one.

The transition is very important in camera work, and you need to think constantly about how every shot will fit in with the ones before and after it.

The key is not so much how the transition is achieved technically, but how the composition of each shot fits together.

Here are few more important terms. They will be explained in greater detail later:

PanSide-to-side camera movement.

TiltUp-and-down camera movement.

ZoomIn-and-out camera movement (i.e. closer and more distant).

Iris (Exposure) The opening which
lets light into the camera. A wider iris means more light and a brighter picture.

White balance Adjusting the colours until they look natural and consistent.

Shutter Analogous to the shutter in a still camera.

Audio Sound which is recorded to go with the pictures.

SurefireAsoOke:
Nice to be here, I already have a small camera I use to take shot for my business.
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Good then make it a proffesion..

Planning:

This is the most important step, and perhaps the most difficult to master. It should be where most of your your energy is directed.


Camera work is only one skill in a larger process — the goal of which is usually to produce a completed video, TV program, or presentation of some kind.

To be good at camera work, you must have a clear picture of the whole process, and some idea of what the finished product should look & sound like.


If there's one thing that separates the amateurs from the pros, it's that amateurs "point and shoot", whereas pros "plan and shoot".

Obviously there are times when you don't have time to prepare before having to record — sometimes the action begins unexpectedly, and you just have to go for it.

In these cases, as far as possible, you plan as you go. It can't be stressed enough — planning iseverything.


For general camera work, you can divide your plan into two parts: The "Shoot Plan" and the "Shot Plan".


Shoot Plan
In this case, the wordshootrefers to a shooting session.

If you think of everything you record as being part of a shoot, and have a plan for every shoot, then you're well on the way to having better organised footage.


First of all, be clear about the purpose of every shoot.

Generally speaking, everything you do should be working towards a larger plan.

Exactly what this is will depend on many factors.


*.If you're making a feature film, then the long-term plan is to gather all the shots required by the script/storyboard.


*.If you're making home videos, the long-term plan might be to create a historical archive for future generations (for more suggestions on this topic, see our tutorial on Home Video Production).


*.If you're making a one-off project (such as a wedding video), you still have to bear in mind the long-term implications for the shoot.


Planning means adopting an attitude in which you take control. When you get out your video camera, instead of thinking "This will look good on video" and starting to shoot whatever happens, think "What do I want this to look like on video?".

You then shoot (and if necessary, direct) the action to achieve your goal.
Plan the approximate length of the shoot:

How much footage do you need to end up with, and how long will it take you to get it?
Have a checklist of equipment, which could include: camera; tripod; tapes; batteries/power supply; microphones and audio equipment; lights and stands; pens, log sheets and other paper work.


Planning to Edit
This is critical.

If you think that this doesn't applies to you, then you're wrong. Everything you capturemustbe shot with editing in mind.

There are two basic ways to edit:Post-productionandin-camera.


*.Post-production(or just "post" editing means taking the shots you've recorded and re-assembling them later using editing equipment.

This is how the professionals work — it gives you much greater flexibility when you're shooting and much better finished results.
To do simple post editing, all you need is your camera, a VCR, and a few connecting leads.

What it means for your shooting plan is that you can collect your shots in any order, and you can get as many shots as you like.

At the editing stage, you discard unwanted shots and assemble the good ones however you like.

This can be a time-consuming task (especially if you don't have much editing gear), but it's usually worth the effort.
For more information see our editing tutorials.


*.In-Cameraediting simply means that what you shoot is what you get — there is no post-production.

The point here is that you're still editing. You still must decide which shot goes where, and which shots you don't need at all.

The difference is that you're making these edit decisions as you shoot, rather than in post.

This isn't easy, and it isn't possible to get it right all of the time. It requires planning, foresight, and experience.
Note:

There is one other situation which should be mentioned: the live multi-camera shoot.

This is where a number of cameras are linked to a central vision mixer, and a directorcuts between cameras (for example, a live sports presentation). In this case, you can think of the editing as being done in real time as the shoot happens.


Whichever method of editing you use, there are fundamental rules to follow.

Since understanding these rules requires some knowledge of shot types and framing, we'll leave them for now and come back to them later.

SHOT PLAN

Once you have a plan for your shooting session, you're ready to begin planning individual shots.

First of all, have a reason for every shot.

Ask yourself: "What am I trying to achieve with this shot? Is this shot even necessary? Have I already got a shot that's essentially the same as this one? Is my audience going to care about this subject?"
Once you're happy that you have a good reason to get the shot, think about the best way to get it.

Consider different angles, framing, etc.

The art of good composition takes time to master but with practice you will get there.

Ask yousrelf exactly what information you wish to convey to your audience through this shot, and make sure you capture it in a way that they will understand.

Take the time to get each shot right, especially if it's an important one. If necessary (and if you're editing in post), get a few different versions of the shot so you can choose the best one later.

Also, for post editing, leaveat least5 seconds of pictures at the beginning and end of each shot.

This is required by editing equipment, and also acts as a safety buffer.

Finally, one more piece of advice:

Before planning or shooting anything, imagine watching it completed.

Watching from sidelines.

I'm on full subscription to this thread!! Op carry on

Camera Functions

Most domestic camcorders can do just about everything automatically. All you have to do is turn them on, point, and press record. In most situations this is fine, but automatic functions have some serious limitations. If you want to improve your camera work, you must learn to take control of your camera. This means using manual functions. In fact, professional cameras have very few automatic functions, and professional camera operators would never normally use auto-focus or auto-iris.

This is where most beginners ask "Why not? My auto-focus works fine, and my pictures seem to look okay."
There are two answers:

1. Although auto-functions usually perform well enough, there will be some situations they can't cope with (e.g. bad lighting conditions). In these circumstances you may be faced with unusable footage unless you can take manual control. More commonly, your shots will be useable but poor quality (e.g. going in and out of focus).
2. Your camera can't know what you want. To get the best results or obtain a particular effect it is often necessary to over-ride auto-functions and go manual.
As you learn more about camera work you will begin to appreciate the better results gained through manual functions.

The most common camera operations are briefly explained below (they are covered in more detail in other tutorials). Starting at the beginning, learn and practice one at a time, leaving the others on auto-function.

Zoom

This is the function which moves your point of view closer to, or further away from, the subject. The effect is similar to moving the camera closer or further away.

Note that the further you zoom in, the more difficult it is to keep the picture steady.

In some cases you can move the camera closer to the subject and then zoom out so you have basically the same framing. For long zooms you should use a tripod.

Zooming is the function everyone loves. It's easy and you can do lots with it, which is why it's so over-used.

The most common advice we give on using the zoom is use it less. It works well in moderation but too much zooming is tiring for the audience.

Video Camera Zooming

The zoom is the function which moves your point of view closer to, or further away from, the subject.

The effect is similar to moving the camera closer or further away. (It isn't quite the same as moving the camera though. More on that later.)

The two most common zoom mechanisms are shown below:


Manual zoom (ring). This is a zoom ring on the lens housing which is rotated manually, typically by the left thumb and index finger.
Advantages: Speed (you can do super-fast zooms); doesn't require power (so no drain on your battery).

Disadvantages: More difficult to control; harder to get smooth zooms.
Servo zoom (lever).

This is a lever which sits on the lens housing. It's usually positioned so that when you slide your right hand into the grip belt, the servo zoom will be sitting under your first two fingers.

Pressing the front part of the lever zooms in, pressing the rear part zooms out.

Cheaper cameras usually have a constant zoom speed, whereas a good servo zoom will have variable speed -- the further you depress the lever, the faster the zoom.

The lever may have labels such as T and W (tele and wide).

Advantages: Easy to use in most situations; nice smooth zooms.
Disadvantages: Uses battery power; may be limited to fixed speeds.

There's an important characteristic of zoom lenses that you should be aware of:

The further you zoom in, the more difficult it is to keep the picture steady.

At very long zooms, a tripod is essential. If you're having trouble keeping your shot steady, it may be possible to move yourself closer to the subject and then zoom out.

This way you'll have essentially the same framing, but much steadier.

Zooming is the function everyone loves. It's easy and you can do lots with it, which is why it's so over-used.

The most common advice we give on using the zoom is use it less. It's a great tool in moderation, but when most of your shots are zooming in and out, your audience will feel nauseous.

As a rule, don't zoom unless there is a reason to. If you want to show both the whole scene as well as some close-up details, you don't need to have a zoom in.

Instead, shoot a wide shot, stop recording, zoom in to a close up, then start recording again.

The result is one shot which cuts cleanly and quickly to another, portraying the same information as a zoom, but more efficiently.

Digital Zoom vs Optical Zoom
There are two types of zoom on a video camera — digital zoom and optical zoom. A camera can have either or both types. The two different types are very different and the unwary buyer can get caught out badly by not understanding how they work.

Digital Zoom
This is often trumpeted as a big selling point by manufacturers. It's common to see a large "150X" emblazoned on the side of a camcorder. Video stores are full of naive customers comparing the digital zoom of different cameras.

Do not be fooled! Digital zoom is all but irrelevant. It only exists as a marketing ploy to trap unsuspecting newbies. Ignore this spec completely, and if a salesperson tries to impress you with it, find another salesperson.

Digital zoom works by magnifying a part of the captured image using digital manipulation. This is the same as how a graphics program resizes an image to a larger size.

The process involves taking a certain number of pixels and creating a larger image, but because the new image is based on the same number of pixels, the image loses quality. At small zooms (up to 20x) the loss may not be too noticeable. At large zooms (up to 100x or more) the quality becomes absolutely terrible.

Some digital zooms use interpolation, which is a way of estimating the value of the new pixels rather than simply duplicating existing pixels. In theory this should reduce the loss of quality, but no amount of interpolation will prevent loss altogether.

Remember that digital zoom can be done in post-production with any half-decent editing software, so you really gain nothing by having the camera do it.

Optical Zoom
This is the zoom spec which matters. Optical zoom is provided by the lens (i.e. the optics) and does not lose image quality. The zoom is provided by a telephoto lens.

Most consumer camcorders come with optical zooms of between 10x and 20x. 10x is adequate for most applications. More is usually better — 20x should be ample for all but the most demanding zoom users.

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Focus

Auto-focus is strictly for amateurs. Unlike still photography, there is no way auto-focus can meet the needs of a serious video camera operator. Many people find manual focus difficult, but if you want to be any good at all, good focus control is essential.

Professional cameras usually have a manual focus ring at the front of the lens housing. Turn the ring clockwise for closer focus, anti-clockwise for more distant focus. Consumer cameras have different types of focus mechanisms — usually a small dial.

To obtain the best focus, zoom in as close as you can on the subject you wish to focus on, adjust the ring until the focus is sharp, then zoom out to the required framing.
Video Camera Focus

The ability to manually focus your camera is a critical skill at any level of video production. This page shows you the basics — at the end of the page you can choose to continue and learn more advanced focus techniques.

Note: Manual focus is so important that most professional cameras don't even have an auto-focus feature.

Some Focus Jargon

Soft: Out of focus
Sharp: In focus
Depth of Field: The range of distances from the lens at which an acceptably sharp focus can be obtained
Pull focus: Adjust the focus to a different point during a shot

How to Use the Manual Focus
First of all, locate the focus control. Professional cameras usually have a manual focus ring near the front of the lens housing. Consumer-level cameras usually have a small dial (Note: you may need to select "manual focus" from the menu).

1. Make sure the camera is set to manual focus.

2. Zoom in as tight as you can on the subject you wish to focus on.

3. Adjust the focus ring until the picture is sharp. Turn the ring clockwise for closer focus, anti-clockwise for more distant focus.

4. Zoom out to the required framing — the picture should stay nice and sharp.

5. If the picture loses focus when zoomed out, check the back-focus and make sure the macro focus is not engaged.

If you need to adjust your focus on the fly (for example, you're in the middle of shooting the Prime Minister's speech when you realise her face is soft), it helps to know which way to turn the focus ring. If you go the wrong way and defocus more, even if you correct yourself quickly you've drawn attention to your camera work. Try comparing the background and foreground focus. If the background is sharper than the subject, then you need to pull focus to a closer point (and vice versa).

Note: You will usually find the sharpest focus occurs at about the middle iris position.

Difficult Focus Conditions

You'll notice that focusing is more difficult in certain conditions. Basically, the more light coming through the lens, the easier it is to focus (this is related to depth of field). Obviously it will be more difficult to focus in very low light. If you're really struggling with low-light focus, and you can't add more lighting, try these things:

1. Make sure your shutter is turned off.

2. If your camera has a filter wheel, make sure you're using the correct low-light filter. Remove any add-on filters.

3. If your camera has a digital gain function, try adding a little gain (note: this compromises picture quality).
4. Stay zoomed as wide as possible. If your lens has a 2X extender, make sure it's on 1X.

Back Focus

If you find that your focus is sharp when you are zoomed in but soft when zoomed out, your back focus needs adjusting. This normally only happens to cameras with detachable lenses — consumer-level camera users shouldn't have to worry about it.

Technical Note: Back focus refers to the "focal flange length". This is the distance between the rear lens element and the CCD.

You will need:

A camera with a back focus ring. It will be located toward the rear of the lens housing.
A back focus chart like the one pictured is helpful, but any object with sharp contrast will do.

How to Adjust the Camera Back Focus

1. Set your camera on a tripod or stable mount, with your subject (back focus chart or other contrasting object) at least 20 metres/70 feet away (or as far as possible).
 
2. Your iris should be wide open, so it's better to perform this operation in low light. Alternatively, add some shutter speed or a ND filter.
 
3. If your lens has a 2X extender, switch it to 1X.
 
4. Zoom in on your subject.
 
5. Adjust the focus normally until the picture is sharp. If you're using a back focus chart, the centre of the chart will appear blurry - your focus is sharpest when the blurred circle is smallest. (You can simulate this effect by looking at the chart above and defocusing your eyes.)
 
6. Zoom out.
 
7. Loosen the back-focus ring's locking screw, and adjust the ring until the picture is sharp.
 
8. Repeat steps 3-6 until the focus is consistently sharp.
 
9. Tighten the back-focus locking screw.

Depth of Field

"Depth of field (DOF)" refers to the range of distances from the camera at which acceptably sharp focus can be obtained. This is a very important concept in video work, for two reasons:

1. You really need to understand DOF to have full control over your focus. If you don't know how DOF works, then sooner or later you'll end up with soft footage that could otherwise have been saved.

2. Knowing how to manipulate DOF opens up a massive range of creative possibilities.
The illustration below shows how the zone of sharp focus works.

The illustration below shows how the zone of sharp focus works. Technically speaking, there is only one point in this zone which is perfectly focused, and all other points are gradually less focused the further they are form this point. However, for practical purposes, we say that any image which isn't noticeably soft counts as being in focus.

Notice that the DOF will tend to extend 1/3 in front of the focus point, and 2/3 behind it.

Controlling DOF

Now, here's the important point: Depth of field is not constant. It can be varied, using a number of tricks.

DOF is basically determined by the iris setting. The smaller the iris aperture, the greater the depth of field. This means that the more light you have on your subject, the easier it is to focus.

Naturally, in very low-light situations where the iris is open wide, depth of field is significantly reduced and focus becomes quite a challenge.

Factors which influence depth of field:

*Lighting conditions

*Camera filter

*Shutter

*Gain

*Lens angle (zoom)

There are many reasons for wanting to alter the DOF. Perhaps the simplest is to help with focus — the more DOF you have, the easier it is to maintain focus. If you need more DOF, you can:

*Add more lighting.

*Change or remove filters, to allow more light in.

*Add some digital gain (note: this compromises picture quality).

*Reduce shutter speed, or turn it off.

On the other hand, there are times when you may wish to reduce the DOF. This is often because you want the subject to be sharply focused but the background to be soft. This makes the subject stand out much more. (There will be some illustrations available soon to demonstrate this point). To reduce DOF, you can:

*Add a Neutral Density (ND) filter.

*Increase shutter speed. This will work best when there's not much movement in the shot.

*Reduce the lighting and open the iris. Be careful with this one — lighting is important and you don't want to reduce the quality of your pictures unnecessarily.

Many consumer camcorders have a feature known as "portrait effect". Activating this feature reduces DOF by adding a little shutter, forcing the auto-iris to open wider. As you might expect, you'll have more control if you select shutter speed and iris setting yourself.

The Focus Pull

The focus pull (AKA rack focus) is a creative camera technique in which you change focus during a shot. Usually this means adjusting the focus from one subject to another.

The shot below begins focused on the plant in the foreground, then adjusts focus until the girl is sharp.

The focus pull is useful for directing the viewer's attention. For example, if there are two people in shot but only one is in focus, that person is the subject of attention. If the focus changes to the other person, they become the subject.

This is often used in drama dialogues — the focus shifts backwards and forwards between the people speaking. A slightly more subtle trick is to focus on a person speaking then pull focus to another person's silent reaction.

Focus Throw / Defocus

Throwing focus usually means dropping focus completely. This can either refer to certain parts of the picture (e.g. the background) or to the entire picture.

Throwing focus on part of a picture can't normally be done during a shot — it requires making adjustments such as changing filter or adding shutter.

Throwing focus on the whole picture can be done at any time simply by turning the focus ring until focus is completely lost. This can be used as an opening/closing shot or as a transition between shots. It can also be used for various effects, such as a point of view shot from someone who is drunk or groggy.

In this age of digital editing, focus-throwing for effect is more commonly achieved in post-production. This adheres to the general guideline that it's safer to record pictures "dry" (without effects) and add effects later.

Iris

This is an adjustable opening (aperture), which controls the amount of light coming through the lens (i.e. the "exposure". As you open the iris, more light comes in and the picture appears brighter.

Professional cameras have an iris ring on the lens housing, which you turn clockwise to close and anticlockwise to open. Consumer-level cameras usually use either a dial or a set of buttons.

The rule of thumb for iris control is: Set your exposure for the subject. Other parts of the picture can be too bright or darks, as long as the subject is easy to see.

Video Camera Iris

The iris is an adjustable opening (aperture), which controls the amount of light coming through the lens (i.e. the "exposure". The video camera iris works in basically the same way as a still camera iris -- as you open the iris, more light comes in and the picture appears brighter. The difference is that with video cameras, the picture in the viewfinder changes brightness as the iris is adjusted. For this tutorial, we'll be setting exposure by eye; that is, adjusting the iris until the exposure looks right in the viewfinder (as opposed to using a light meter).

*Professional cameras have an iris ring on the lens housing, which you turn clockwise to close and anticlockwise to open.

*Consumer-level cameras usually use either a dial or a set of buttons. You will probably need to select manual iris from the menu (see your manual for details).

The Correct Exposure

Before using your manual iris, you need to know what the correct exposure looks like in your viewfinder (note: if your camera has the option to adjust viewfinder settings, you'll need to do that first). A good start is to set your camera on auto-iris and frame a shot with nice, even lighting. Notice how bright the picture is, then set the iris to manual. Most cameras will retain the same exposure as set by the auto-function, which you can adjust from there as you go. Open and close the iris, then try to set the exposure where it was before.

Always set your iris so that the subject appears correctly exposed. This may mean that other parts of the picture are too bright or too dark, but the subject is usually more important.

Professional cameras have an additional feature called zebra stripes which can help you to judge exposure.

Practice is the only way to get exposure right. Record a number of shots in different light conditions, then play them back and see how good your exposure was. Remember, if you're not sure about your exposure, try flicking the iris to auto and see what the camera thinks, then go back to manual. In time, you'll come to trust yourself more than the auto-iris.

Backlight

A common difficulty with exposure is what to do in uneven lighting situations. The "strong backlight" scenario is a headache -- this is where your subject is set against a much brighter background, as in the pictures below...


In the first example, the camera is set to auto-iris. The camera adjusts the exposure for the strong backlight, which leaves the subject as a silhouette. Some cameras have a "backlight" feature which helps with this problem, but it won't work as well as manual iris control.

Assuming that you can't change your framing or add more lighting to the subject, the only option is to open the iris until the subject is exposed correctly. This will mean the background is too bright, but it's better than the subject being too dark.


In the second example, the manual iris is opened until the subject is correctly exposed. Although this is still far from ideal exposure, it's an improvement on the silhouette effect.

In fact this situation is quite common—on television you'll often see an outside window which looks too bright, but you don't usually notice because you're watching the subject inside. (Note that there are ways around this if you have the time and budget.)

Remember, the rule of thumb for iris control is: Set your exposure for the subject. Everything else is secondary.

See First and Second Example Below•

White Balance

White balance means colour balance. It's a function which tells the camera what each colour should look like, by giving it a "true white" reference. If the camera knows what white looks like, then it will know what all other colours look like.

This function is normally done automatically by consumer-level cameras without the operator even being aware of it's existence. It actually works very well in most situations, but there will be some conditions that the auto-white won't like. In these situations the colours will seem wrong or unnatural.

To perform a white balance, point the camera at something matt (non-reflective) white in the same light as the subject, and frame it so that most or all of the picture is white. Set your focus and exposure, then press the "white balance" button (or throw the switch). There should be some indicator in the viewfinder which tells you when the white balance has completed. If it doesn't work, try adjusting the iris, changing filters, or finding something else white to balance on.

You should do white balances regularly, especially when lighting conditions change (e.g. moving between indoors and outdoors).

Video Camera White Balance

White balance basically means colour balance. It is a function which gives the camera a reference to "true white" — it tells the camera what the colour white looks like, so the camera will record it correctly. Since white light is the sum of all other colours, the camera will then display all colours correctly.

Incorrect white balance shows up as pictures with orange or blue tints, as demonstrated by the following examples:

See Example Below:

First Photo Correct Colour balance

Second Photo Colour balance too blue

Third Photo Colour balance too yellow

Most consumer-level camcorders have an "auto-white balance" feature, and this is how most amateurs operate. The camera performs it's own white balance without any input from the operator. In fact, very few home-video users are aware of it's existence. Unfortunately, the auto-white balance is not particularly reliable and it is usually preferable to perform this function manually.

Terminology

To confuse the issue, the term "automatic white balance" has two different interpretations. On consumer-level cameras, it means completely automatic. On professional-level cameras, it can mean the white balance operation as described below (which is actually quite manual). This is because in professional situations, a "manual white balance" can mean altering colours using specialised vision processing equipment.

The terminology we use at mediacollege.com is as follows:
"Auto-white" means the completely automatic function (no user input at all).
"Manual-white" means the operation described below.
"Colour correction" means any other method of adjusting colours.

How to Perform a Manual White Balance

You should perform this procedure at the beginning of every shoot, and every time the lighting conditions change. It is especially important to re-white balance when moving between indoors and outdoors, and between rooms lit by different kinds of lights. During early morning and late evening, the daylight colour changes quickly and significantly (although your eyes don't notice, your camera will). Do regular white balances during these periods.


You will need a camera with a manual white-balance function. There should be a "white balance" button or switch on your camera.

1. If your camera has a filter wheel (or if you use add-on filters), make sure you are using the correct filter for the lighting conditions.

2. Point your camera to a pure white subject, so that most of what you're seeing in the viewfinder is white. Opinions vary on just how much white needs to be in the frame - but we've found that about 50-80% of the frame should be fine (Sony recommends 80% of frame width). The subject should be fairly matte, that is, non-reflective.
3. Set your exposure and focus.

4. Activate the white balance by pressing the button or throwing the switch. The camera may take a few seconds to complete the operation, after which you should get a message (or icon) in the viewfinder. Hopefully this will be telling you that the white balance has succeeded - in this case, the camera will retain it's current colour balance until another white balance is performed.

If the viewfinder message is that the white balance has failed, then you need to find out why. A good camera will give you a clue such as "colour temperature too high" (in which case change filters). Also try opening or closing the iris a little.

Note: Advanced camera operators occasionally trick the camera into reading an inaccurate white balance, in order to make the pictures appear warmer (more orange) or cooler (more blue). We'll look at this technique in a later tutorial.

How to Perform a Black Balance

Black balance is an operation similar to white balance. As white balance gives the camera a reference to "true white", black balance gives a reference to "true black". This function is normally available only in professional cameras — home video users don't need to worry about it.

When to Black balance

There seems to be a lot of debate around the subject of black balance, and when it's necessary to perform one. Some people say you should do it every time you white balance, but we also know camera operators who hardly ever do it. Our advice is that it can't hurt to black-balance, and you should definitely do it at the beginning of a shoot, whenever you change filters or gain level, and whenever the lighting conditions change significantly.

A poor black balance usually shows as unnatural or incorrect colours in the dark areas of the picture. If you notice this happening, try performing a black balance.

You will need:

• A camera with a manual black-balance function. The "black-balance" switch should be located with the "white balance" switch.

How to Black Balance

A black balance is usually done in conjunction with a white balance. The exact sequence varies between operators but this is a common routine:

1. Perform a white balance first.

2. Throw the black-balance switch. This should shut the iris down and perform a black balance in much the same way as the white balance. Some cameras may require you to close the iris manually first, and you may need to open the iris again when the operation is complete.

3. If you like, perform the white balance again, making a sequence of "white - black - white".

Shutter

At the beginner level you don't really need to use the shutter, but it deserves a quick mention. It has various applications, most notably for sports or fast-action footage. The main advantage is that individual frames appear sharper (critical for slow-motion replays). The main disadvantage is that motion appears more jerky.

The shutter can also be used to help control exposure.

Unless you know how to use the shutter effectively, leave it off.
Video Camera Shutter
The term shutter comes from still photography, where it describes a mechanical "door" between the camera lens and the film. When a photo is taken, the door opens for an instant and the film is exposed to the incoming light. The speed at which the shutter opens and closes can be varied — the faster the speed, the shorter the period of time the shutter is open, and the less light falls on the film.

Shutter speed is measured in fractions of a second. A speed of 1/60 second means that the shutter is open for one sixtieth of a second. A speed of 1/500 is faster, and 1/10000 is very fast indeed.

Video camera shutters work quite differently from still film camera shutters but the result is basically the same. (The technical difference is that, rather than using a mechanical device, the shutter speed is adjusted by electronically varying the amount of time the CCD is allowed to build a charge. If this means nothing to you, don't worry. It really doesn't matter how the shutter works, it's the effect it has that counts.)

The shutter "opens" and "closes" once for each frame of video; that is, 25 times per second for PAL and 30 times per second for NTSC. Thus, if a camera has its shutter set to 1/60, each frame will be exposed for 1/60 second. If the speed is increased to 1/120, each frame will be exposed for 1/120 of a second. Remember, the shutter speed does not affect the frame rate, which is completely separate and in most cases always stays the same (see shutter speed vs frame rate).

The main effect of higher shutter speeds is that individual frames appear sharper, due to the minimisation of motion blur. Motion blur occurs when the subject moves within the frame while the shutter is open. The less time the shutter is open (i.e. the faster the shutter speed), the less movement will take place.

One side-effect of higher shutter speeds is that movement appears more jerky. This is because motion blur tends to smooth consecutive frames together.

The three shots below were each taken as the car travelled past a stationary camera at 100 km/hr. With the shutter off, motion blur is most pronounced. As the shutter speed is increased, the image becomes sharper.

First Photo: Shutter Off

Second Photo: 1/120 second1/500 second

Third Photo: 1/500 second

Higher shutter speeds are common in sports coverage. Watch any fast-action sport to see the "flickering" shutter effect. Notice how the slow-motion replays look, especially when they freeze the last frame.

Note: As a result of the reduced exposure time with high shutter speeds, the image may appear darker unless the iris is opened to compensate.

Effects

Many consumer cameras come with a selection of built-in digital effects, such as digital still, mix, strobe, etc. These can be very cool, or they can be very clumsy and tacky. They require dedicated experimentation to get right. Like so many things in video, moderation is the key: use them if you have a good reason to, but don't overdo it.

You should also be aware that almost every effect you can create with a camera can be done better with editing software. If at all possible, shoot your footage "dry" (without effects) and add effects later.

Remember: Although it is sometimes the more practical solution to use automatic features, as a general rule you should do as many camera operations manually as you can.

Camera Moves

This page outlines the standard types of camera movement in film and video. In the real world, many camera moves use a combination of these techniques simultaneously.

Crab:• A less-common term for tracking or trucking.

Dolly:• The camera is mounted on a cart which travels along tracks for a very smooth movement. Also known as a tracking shot or trucking shot.

Dolly Zoom:• A technique in which the camera moves closer or further from the subject while simultaneously adjusting the zoom angle to keep the subject the same size in the frame.

Follow:• The camera physically follows the subject at a more or less constant distance.

Pan:• Horizontal movement, left and right.

Pedestal (Ped):• Moving the camera position vertically with respect to the subject.

Tilt:• Vertical movement of the camera angle, i.e. pointing the camera up and down (as opposed to moving the whole camera up and down).

Track:• Roughly synonymous with the dolly shot, but often defined more specifically as movement which stays a constant distance from the action, especially side-to-side movement.

Truck:• Another term for tracking or dollying.

Zoom:• Technically this isn't a camera move, but a change in the lens focal length with gives the illusion of moving the camera closer or further away.

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Framing

Shots are all about composition. Rather than pointing the camera at the subject, you need to compose an image. As mentioned previously, framing is the process of creating composition.

Notes:

Framing technique is very subjective. What one person finds dramatic, another may find pointless. What we're looking at here are a few accepted industry guidelines which you should use as rules of thumb.
The rules of framing video images are essentially the same as those for still photography.

Basic Shot Types

There is a convention in the video industry which assigns names to the most common types of shots. The names and their exact meanings may vary, but the following examples give a rough guide to the standard descriptions. The point isn't knowing the names of the shot types (although it's very useful), as much as understanding their purposes.

Basic shots are referred to in terms relative to the subject. For example, a "close up" has to be a close up of something. A close up of a person could also be described as a wide shot of a face, or a very wide shot of a nose.
The subject in all of the following shots is a boy standing in front of a house. See Below

EWS (Extreme Wide Shot)

In the EWS, the view is so far from the subject that he isn't even visible. The point of this shot is to show the subject's surroundings. The EWS is often used as an establishing shot — the first shot of a new scene, designed to show the audience where the action is taking place.

VWS (Very Wide Shot)

The VWS is much closer to the subject. He is (just) visible here, but the emphasis is still on placing him in his environment. This also works as an establishing shot.

WS (Wide Shot)

In the WS, the subject takes up the full frame. In this case, the boy's feet are almost at the bottom of frame, and his head is almost at the top. Obviously the subject doesn't take up the whole width of the frame, since this is as close as we can get without losing any part of him. The small amount of room above and below the subject can be thought of as safety room — you don't want to be cutting the top of the head off. It would also look uncomfortable if the feet and head were exactly at the top and bottom of frame.