VIDEO CAMERA PARTS AND FUNCTIONS.

The video camera translates the optical light image as seen by the lens into a picture on the
screen. It captures multiple frames at a time to create a moving image or video. Each part of the
video camera directly and indirectly plays a role in fulfilling this function.

Some basic parts of a video camera are as follows:

● Viewfinder

The viewfinder is a small video monitor attached to the camera that shows an image of what the
camera sees. It allows the camera operator to focus, zoom, and frame the image.

● Lens

Lens is the tool through which light enters the camera. It brings the light to a fixed focal point so
that it hits the sensor correctly. Different lenses vary in focal length, aperture, etc., and are used
to serve different functions.

The lens itself has some important parts attached to it. Such as the aperture/iris (opening
through which the light passes), focus ring (allow users to manually focus the camera), zoom
ring in case of zoom lenses (allows you to change the focal length while shooting), and lens
shade (protects the lens elements from picking up light distortions from the sun or a bright light).

● Beam Splitter

The beam splitter consists of a series of prisms and filters locked into a prism block.

Its function is to separate the ordinary white light entering the lens into the three primary light
colors: red, green, and blue (RGB) and to direct these light beams at the corresponding imaging
devices.

● Imaging Device

The imaging device is a chip that converts the light variations of an image into electric energy i.e
the video signal. Two main types of chips are: CCD (Charged Couple Device) and CMOS
(Complementary Metal Oxide Semiconductor).

A CMOS sensor captures light though capturing each pixel one-by-one whereas the CCD
sensor captures all of it at once. CMOS sensors are cheaper and consume less power, but they
produce lower quality images as compared to CCD sensors.
 ● Filter Wheel

The filter wheel includes a number of filters that can be used to correct the color in daylight,
tungsten, and fluorescent lighting situations.

● White and black balance

This control automatically adjusts the camera circuits’ color-balance to suit the color quality of
the prevailing light and ensure that white surfaces are accurately reproduced as neutral.
Otherwise, all colors would be slightly warmer (red-orange) or colder (bluish) than normal,
depending on the light source.
 TYPES OF VIDEO CAMERA .
http://www.youngphotopreneur.com/whats-the-difference-between-analog-and-digital-
photography/

Video cameras can be categorised on the basis of their:

Electronic makeup:

● Analog

In analog cameras, the video signal remains analog throughout the processing inside the
camera and during the recording, given the videotape recorder is also analog.

All types of camera start out with an analog video signal. The light is transported through the
lens to the beam splitter and then to the imaging device staying analog throughout. The three
RGB light beams by the CCDs also result in analog video signals.

● Digital

In digital cameras, the analog RGB video signals are digitized and processed immediately after
leaving the CCDs. The digital signals are more robust than analog ones as they are less prone
to distortion.

Production function:

● Camcorder

Camcorder (camera+recorder) is a portable video camera with the recording device attached to
it or built-in.

The recording device here is either a videotape recorder (VTR) or some kind of non tape device,
such as a hard drive, optical disc, or flash memory device.

All camcorders have two audio inputs: one is normally used for the camera mic, and the other is
for an additional, external microphone.

They can further be divided into consumer, professional, and prosumer categories.

● Most consumer camcorders have a single CCD imaging device and a built-in VTR.
They have automated features, such as auto-focus, and auto-iris which regulates the
incoming light. Along with a viewfinder, they also have a foldout screen on which you
can see the picture you are taking without having to hold the camera close to your eye.
 ● Professional camcorders have three high-resolution CCDs along with larger and
sturdier recording devices. They use larger and better-quality lenses, and have smoother
mechanisms for zooming in and out, better focus controls, higher-resolution viewfinders,
and larger batteries. They also have advanced controls and audio systems that allow
you to manually adjust the camera to a variety of production conditions.

● Prosumer camcorders are high-end consumer models that incorporate many

aforementioned features of professional camcorders. Eg: High-definition video (HDV)
digital camcorders are the prosumer model for high-definition television (HDTV).

● ENG/EFP camera

The cameras for electronic news gathering (ENG) and electronic field production (EFP) are
portable and designed to produce high quality pictures.

They do not have a built-in video recorder but must feed its output via cable to a stand-alone
video recorder. Like a camcorder, the ENG/EFP cameras are self-contained which means that
the camera itself holds all the elements of the chain to produce and deliver acceptable video
images to the VTR.

They have many more buttons and switches than other cameras mainly because the camera
control unit (CCU) functions, the VTR operation, and the audio control functions must be
managed by the camera operator.

● Studio camera

The large HDTV cameras normally found in television studios are called studio cameras. They
are built to produce exceptionally good pictures under a variety of conditions. They usually
contain a high-quality (fast) zoom lens, three high-density CCDs or CMOS chips as sensors,
extensive signal-processing equipment, and a large, high-definition viewfinder.

Most studio cameras also have a teleprompter attached, which makes the whole camera head
considerably heavier than an ENG/EFP camera or camcorder. They are usually bulky due to the
lenses attached to them which makes them hard to be maneuvered without the aid of a pedestal
or some other kind of camera mount.

They are used for programs such as news, interviews, game shows, music and dance
spectaculars, and of course soap operas. They are also used in field locations such as concert
and convention halls, football stadiums, tennis courts, etc.

Wherever studio cameras may be located, they are always connected by cable to their CCUs
(camera control units) and to other essential equipment, such as the sync generator and the
power supply.
 ● Digital Cinema Cameras

Digital cinema cameras or camcorders are highly specialized super-HDTV video cameras. They
contain ultrahigh-quality imaging devices, viewfinders and flat-screen monitors with high-
resolution images, and various attachments that are adapted from standard film cameras.

One of the most useful electronic features for filmmaking with the digital cinema camera is its
variable frame rate, which permits a change from 24 fps scanning to a slower rate for fast
effects, called undercranking, or a higher rate for slow-motion effects, called overcranking.

EQUIPMENT AND ACCESSORIES .

Lighting equipment:

1. Diffusers
2. Reflectors
3. Cutters
4. Gels

Movement Equipment:

5. Monopod

A monopod or single pod is a camera support that has just one single leg. They are collapsible,
and usually come in different heights with different numbers of collapsible sections. They are
easy to carry and can be set up in less than a minute.

They are often used by people using long telephoto lenses as they take the weight of the lens
which allows for a much more stable image.

6. Tripod
A tripod is a portable three-legged frame or stand designed to securely and steadily hold a
camera. They are widely used in long exposure photography or in situations where a
photographer wants to capture the exact same image, or scene multiple times.

A tripod has two main parts: head and legs. The head is the mechanism on which the camera is
mounted and has pan and tilt controls. Legs are used to level the frame and make a balance.
The tips of the legs are equipped with spikes and/or rubber cups that keep the tripod from
slipping

7. Jib

Jibs are lightweight alternatives to the cranes that are used in smaller or more challenging
locations.

It has a camera attached to it on one end while the other end has a counterweight for balance.
It’s used to capture a variety of shots, such as overhead or long sweeping moves, and can film
a complete 360 degree shot.

8. Crane

Cranes are a large camera mount that can move the camera from very low to very high above
the set. Most cranes also move forwards, backwards, sideways, and in arcs. They are normally
used outdoors or in huge studios to capture top-angle shots.

9. Studio Pedestal

Studio pedestal is a camera mount which can support heavy studio cameras and permit
extremely smooth camera movements, such as dollies, trucks and arcs. It permits to raise and
lower the camera while on the air.

10. Robotic Pedestal

Robotic pedestal is a motor-driven studio pedestal and mounting head. It is guided by a

computerized system that can store and execute a great number of camera moves.

11. Steadicam

Steadicam is a camera mount whose built-in springs hold the camera steady while the operator
moves. It allows us to walk or run with the camera while keeping the pictures perfectly steady.

12. Track and Trolleys

This equipment has a rail track and a platform on which the camera is mounted for the
execution of tracking and dolly shots.
Accessories:

13. C-Stand

The C-stand or century stand is a versatile tool constructed of metal and consists of a
collapsible base, two riser columns, and a baby pin on top. It is primarily used to position light
modifiers, such as silks, nets, or flags, in front of light sources, and sometimes smaller light fixtures
as well.

14. Filters

Filters are transparent or translucent glass rings or gelatin elements that are attached to the
front of a lens for shooting in harsh lighting conditions, enhancing colors, reducing reflections, or
simply protecting the lenses.

15. Lens Cap

This protective plastic cover clips onto the front of the lens and prevents anything from
scratching or rubbing against the lens surface, and helps to keep out grit or moisture.

16. Lens Hood

It is an extension attached to the lens that provides shade to the lens without causing vignetting.
It eliminates lens flare and reduces unwanted glare from reflective surfaces. It comes in different
shapes such as round, petal, flower, etc.
BROADCAST STANDARDS .
1. NTSC (National Television Standards Committee)

● The first color TV broadcast system was implemented in the United States in 1940 as
the first set of standard protocols for TV. This was based on the NTSC - National
Television System Committee standard.

● NTSC runs on 525 lines of resolution & 30 frames/second.

● It is used in the USA, Canada, Japan and Latin America.

● Reduces clarity on large screens

● Contrast in picture is less compared to PAL.

2. PAL (Phase Altering Line)

● Was introduced in the early 1960's and implemented in most European countries except
for France.

● 625 lines/ 25 fps.

● The PAL standard utilizes a wider channel bandwidth than NTSC which allows for better
picture quality.
● More clarity in picture but has a flicker because of lower frame rate and signal stable
compared to NTSC.

3. SECAM (Sequential Couleur Avec Memoire)

● Sequential Color with Memory standard was introduced in the early 1960's and
implemented in France.

● 625 lines/ 25 fps

● SECAM uses the same bandwidth as PAL but transmits the color information
sequentially.

● Gives better hue but flicker problem can be seen

● Picture stability is better than NTSC.

● It is used sparingly around the world and can be found in France, parts of Greece,
Eastern Europe, Russia, Africa and a few other parts of the world.

4. ATSC (Advanced Television Systems Committee)

● (ATSC) standards are an American set of standards for digital television transmission
developed in the early 1990s

● The standard is now administered by the Advanced Television Systems Committee.

● ATSC includes two primary high definition video formats, 1080p and 720p

● It also includes standard definition formats

 LENSES & FILTERS .
LENSES

The camera lens is what focuses the light from what you see through the viewfinder.

In a film camera, the lens sends the light to the film strip, while in a digital camera (like DSLRs
or mirrorless cameras), the lens directs light to a digital sensor.

Lenses are made up of a series of convex and concave glass plates.

● Concave Lenses

- Thinner at the Center than at the edges

- Bend Light rays away from the center of the Lens.

● Convex Lenses

- Thickest at the center

- Bend light toward the center of the Lens.

Modern film and video camera lenses are composed of several concave and convex lenses and
are called compound lenses.

Lenses can be categorised on the basis of:

- FOCAL LENGTH
 PRIME ZOOM

Fixed focal length, cannot zoom. Variable focal length.

Eg: 35mm or 50 mm lens Eg: 18-55mm, 70-300mm lens

Can’t change field of view. Can change field of view.

Sharper images. Images are less sharp.

Less in weight but more cumbersome as one Bulkier but more convenient as they save
needs to physically move or change the lens time.
to change the frame.

Tend to be faster and perform better in darker Tend to be slower.

shooting situations.

- FIELD OF VIEW

It is the amount of scene being captured and can be measured vertically, horizontally or
diagonally.

1. Wide angle

Lens with a set focal length that is shorter than the length of the sensor or film (measured
diagonally).

For a full frame sensor, your wide-angle focal length would be anything below 35mm.

They have a wider perspective and are commonly used for landscape and street photography.
Angle of view > 60 degree

2. Long-focus lens

Lens with a set focal length that is significantly longer than the length of the sensor or film
(measured diagonally).

For a full frame sensor, your focal length would be anything above 55mm.

They have a narrower field of view.

3. Standard lens

Has a set (prime) focal length that is around the same length as the camera sensor or film
gauge (measured diagonally).
For a full frame sensor, your focal length would come in right around 42mm.

Often a lens with a focal length that falls between 35mm to 55mm can be categorized as
“standard” focal length.

4. Fisheye lens

A fisheye lens is any lens with a set focal length that is significantly shorter than the length of
the sensor of film (measured diagonally).

For a full frame sensor, your fisheye focal length would be anything below 23mm.

Produces a strong visual distortion intended to create a wide panoramic or hemispherical

image.

5. Telephoto

A telephoto lens has a special lens group built inside, known as a telephoto group. This is
because some lenses have a focal length that is greater than the physical length of the lens. An
example of this could be a 500mm lens, but it depends on the physical length of the lens.

6. Macro lens

A lens isn’t considered to be a true macro unless it achieves 1:1 magnification, meaning when
the camera is positioned at the closest facing distance, the image formed on the sensor will be
of the same size as the subject.

Most often used to capture a very small subject at close distances, like an insect or a coin, in
very fine detail.

FILTERS

Lens filters are transparent or translucent glass rings or gelatin elements that are attached to
the front of a lens for shooting in harsh lighting conditions, enhancing colors, reducing
reflections, or simply protecting the lenses.

There are many types of filters, and each performs a unique function.

1. Neutral Density Filter

It is a sheet of dark-colored glasses that reduces the amount of light entering into the lens
without affecting the colour of the resultant image. It is created in stops.
A stop in photography is either halving or doubling the amount of light. So for example, if you go
from a shutter speed of 1/250th of a second to 1/125th of a second (twice as long), you are
doubling the amount of light.

So, if you have an original exposure of 2 second without a filter, then you put a 1 stop ND filter
on, your new exposure time will be 4 seconds.

They are most often used for shooting in bright light with a fast aperture for shallow depth of
field, capturing video at appropriate shutter speeds in bright light, and taking long exposures
during the day.

2. Polarizing Filter

It is used to reduce reflections, reduce atmospheric haze, and make the colours pop in images.
The polarized glass blocks random light waves from passing through, creating a clearer image.

Polarizers are considered best for shooting landscapes. They darken skies and make colors
more vivid, as well as eliminate glare and reduce reflections on glassy or water surfaces.

3. UV Filter

A UV filter is a clear piece of glass that blocks UV light as it enters the lens. It was commonly
used for this purpose back in the day as some old photography films were very sensitive to UV
light so, and if you didn’t use a UV filter, you would end up with a blue haze in your photos.

Today, digital sensors are generally rather insensitive to UV so protective UV and skylight filters
are mostly used to protect the front element of a lens against moisture, dirt, and scratches,
which makes them ideal for shooting in wet, dusty, or muddy environments.

4. Color filter

It is a sheet of transparent material that modifies a light beam by selective absorption of some
colours in relation to others.

Also known as color conversion, cooling and warming, or color compensating filter, it is used to
correct and/or enhance the color of the scene.

5. Diffusion filter

It is used to create that enchanting, romantic and dream effect in images. Basically, it diffuses
strong light without affecting the sharpness and contrast of the image.

It softens the subject slightly and creates a beautiful but very subtle glow around certain parts of
the image.
 CAMERA CONTROL AND ADJUSTMENT .
APERTURE CONTROL

Aperture is the opening in the lens that lets light into the camera.

It is expressed in f-stops. The larger the number, the smaller the opening. Eg: f/1.2 has a bigger
opening and lets in more light than f/3.5 which has a narrower opening.

Aperture controls two things:

1. Amount of light entering the camera lens which in turn affects the exposure.

2. Depth of field.

Wider aperture - Shallow depth of field - Background is less in focus

Narrow aperture - Deep depth of field - Background is more in focus

DEPTH OF FIELD

It is the distance between the nearest and furthest elements in a scene that appear to be
“acceptably sharp” in an image.

It is affected by 3 factors:

1. Aperture: Wider the aperture, shallower the depth of field.

2. Focal length: The higher the focal length, the shallower the depth of field.
 3. Distance to subject: The closer the camera is to the subject it is focusing on, the
shallower the depth of field.

DEPTH OF FOCUS

Depth of focus measures the tolerance of placement of the image plane (film/sensor) in relation
to the lens inside the camera.

It is typically measured in microscopic units such as fractions of a millimeter or thousandths of

an inch.

The same factors that determine depth of field also determine depth of focus, but these factors
can have different effects than they have in depth of field.

Both depth of field and depth of focus increase with smaller apertures. For distant subjects
(beyond macro range), depth of focus is relatively insensitive to focal length and subject
distance, for a fixed f-number. In the macro region, depth of focus increases with longer focal
length or closer subject distance, while depth of field decreases.

FOCAL LENGTH

Focal length is the measurement of distance between the point of convergence in the lens and
the sensor recording the image.

It is measured in millimeters or inches. Short focal length lenses have a wide angle of view
whereas long-focal-length (telephoto) lenses have a narrow angle of view.
 ASPECT RATIO

Aspect ratio is the relationship between screen width and screen height—the shape of the
television frame. A 1:1 aspect ratio, for example, is a square.

It determines how much information can be placed into the screen and where to position it for
maximum impact. For instance: Wider ratios are popular with fantasy and adventure films as the
filmmaker wants to immerse you in the detailed world they’ve created.

Televisions have an aspect ratio of the standard 4:3 aspect ratio and the horizontally stretched
HDTV aspect ratio of 16:9. Most digital cameras allow you to switch electronically between the
two.