VIDEO CAMERA

•The video camera is the single most important

piece of production equipment.

•Other production equipment and techniques are

greatly influenced by the camera’s technical
and performance characteristics.
• Although the electronics of the television
camera have become increasingly complex; its
new systems make it much simpler to operate.

• To produce an optimal image, there is no need

to be a skilled electronics engineer- all you
need to do is press the right camera buttons.
 PARTS OF THE CAMERA
• All video cameras consist of three main parts.

• The first is the lens, which selects a certain field of view

and produces a small optical image of it.

• The second part is the camera itself, with its imaging

device or pick up device that converts the optical image
as delivered by the lens into electrical signals.

• The third is the viewfinder, which shows a small video

image of what the lens is seeing
 HOW VIDEO CAMERA WORKS
(FROM LIGHT TO VIDEO)
• All video cameras, work on the same basic principle, the
conversion of an optical image into electrical signals that are
reconverted by a television set into visible screen images.

• Specifically the light that is reflected from an object is gathered

by a lens and focused on the imaging or pick up device. The
imaging device is the principal camera element that converts the
light in to electrical energy.

• The imaging or pick up device consists of a small solid state

device normally called CCD, (Charged coupled device).
• The CCD contains hundred of thousands of image
sensing elements, called pixels (a word made up of
pix, for picture and els, for elements), that are
arranged in horizontal and vertical rows.

• Each pixel translates the light to an electrical current.

• These electrical signal travels to the recording

section. The current creates a small magnetic field
which is recorded on the magnetic coating of the tape.
To view the image the process is reversed. The
magnetic field on the tape creates an electrical current
which is used to generate the picture in the viewfinder
or in television or monitor.
TYPES OF TELEVISION CAMERA
• Only a few years ago, comparatively few camera models
were manufactured, and those were either top quality
broadcast models or “industrial” cameras which were
developed for non broadcast, closed-circuit use.

• Today there is a wide variety of cameras for every price

and performance range, and what is even more
significant is that every one produces an excellent
picture within its respective price level.

• The basic differences among the cameras of various

price ranges are the additional features which offer
greater production flexibility and better picture quality.
 • All cameras, regardless of model or
manufacturer, operate pretty much the same
way. Once you have learned how to use one
camera, learning to operate another is easy.

• It usually takes only brief orientations to a new

camera before you feel perfectly comfortable
operating it.

• Broadly television cameras are divided into two

categories:

✔ Studio Cameras
✔ Portable Cameras
 STUDIO CAMERAS
• The studio camera is the workhorse of the television
industry. Although it is most commonly found inside the
studio, it is also used outside in the field, where it is
mounted is a relatively fixed position.

• All studio cameras utilize a camera-control unit where

the video levels are regulated by a video engineer during
production. Studio cameras are mounted on heavy-duty
wheeled dollies-pedestals or rolling tripods- on a panning
head which enables it to turn and tilt. Its focus and zoom
controls are usually fixed to the panning handles of the
tripod.
 PORTABLE CAMERAS
• The development of a lightweight, portable television camera
has literally revolutionized television production.

• Portable cameras are used so often today that it is hard to

realize that only few years ago most television productions
were confined inside the walls of a studio because it was too
expensive and time consuming to haul tons of heavy studio
cameras and support equipments into the field for a location
shoot.

• Not only have portable cameras completely changed the way

we cover news, but they have also affected almost every kind
of television production by providing the producer and director
with the ability to leave the studio and shoot in the field when
the production warrants it.
• Although there are a variety of portable cameras currently
available, they all have certain operational characteristics in
common.

• They are powered by a battery pack for complete mobility,

they do not require a camera control unit but feed the video
signal directly to a video cassette or video tape recorder, and
most have automatic gain controls which enable the camera
operator to cover the action without riding video levels and
still produce a technically acceptable picture.

• Since they are commonly used with a video tape or a video

cassette recorder, most portable cameras have controls for
stopping and starting the tape machine and the ability to view
previously recorded material through the cameras electronic
viewfinder.
• Further we can divide portable cameras in to
three categories:
• ENG (Electronic News Gathering)/
EFP (Electronic Field Production) Cameras
• Convertible Cameras
• Consumer Grade Cameras
 ENG/EFP Cameras
• The primary reason for the development of the
portable camera was to replace 16-mm motion
picture film for television news production.

• Electronic news gathering (ENG) employs a

battery-powered camera and video cassette
recorder to record both sound and picture in the
field.

• There are generally dozens of ENG cameras

currently available, and they range in price from
relatively inexpensive single CCD cameras to
sophisticated 3-CCD cameras which can
produce a picture that rivals the most expensive
studio cameras.
• EFP Cameras: Shooting away from the studio
for program inserts, documentaries, magazine
features, commercials etc., higher grade
portable cameras may be used in various
configurations.

• Most productions shoot with a single camcorder,

but some times (e.g. drama or a sports event) a
multi camera shoot is controlled at a central
point (CCU, CPU), and recorded on a separate
VTR.
• The cameras may be set up on mountings
ranging from a tripod to a portable pedestals or a
jib-arm.

• Most ENG Cameras offer automatic operation to

enable the camera operator to maintain his or
her attention on covering the story without
having to worry about the camera’s video level.
 Convertible Cameras
• A number of high end ENG / EFP cameras are
capable of being converted from a portable
configuration into a studio-type camera head
complete with a large viewfinder and sophisticated
zoom lens system.

• The advantage of the convertible camera is basically

getting two cameras for the price of one. On a remote
production, the camera can be used in its portable
configuration, and back in the studio it can be
converted into a studio camera, hooked up to its
camera-control unit and operated like any studio
camera.
• Many production facilities which do a great
many remotes requiring multiple cameras,
such as covering sports events or special
entertainment events, use the convertible
camera in its studio configuration.

• The convertible camera is much lighter in

weight than a studio camera, which makes
setting and striking a number of cameras much
easier.
 Consumer Grade Cameras
• Certain equipment formats found in the low budget
non professional market are now increasingly used in
a more refined form for local station and corporate
TV / Video programme making.

• The Hi-8, Mini DV, VHS, S-VHS and DVC Video

tape recorder formats in hand-held camcorders, and
the various desktop video facilities based on the
personal computer, reflect the high technical
standards that are now achievable in modestly priced
compact equipment.
 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:
• 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).

• 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.
 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.
• 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 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, and 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.
 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, and then zoom out to the required
framing.
 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.

• Make sure the camera is set to manual focus.

• Zoom in as tight as you can on the subject you

wish to focus on.

• Adjust the focus ring until the picture is sharp.

Turn the ring clockwise for closer focus, anti-
clockwise for more distant focus.
• Zoom out to the required framing — the picture
should stay nice and sharp.

• If the picture loses focus when zoomed out,

check the back-focus and make sure the macro
focus is not engaged.
 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.
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:

• Make sure your shutter is turned off.

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

• If your camera has a digital gain function, try

adding a little gain (note: this compromises
picture quality).

• Stay zoomed as wide as possible. If your lens

has a 2X extender, make sure it's on 1X.
 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.

• 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.
 The Correct Exposure

• Before using your manual iris, you need to know

what the correct exposure looks like in your
viewfinder. 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.
 Gain
• Gain is used to
amplify signal
strength in
low-light
conditions at the
cost of picture
quality. It
creates picture
noise. The unit
is dB.0db, 3db,
6 db. Etc.
 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.

• Remember, the rule of thumb for iris control is: Set your
exposure for the subject. Everything else is secondary.
 How to adjust Video Camera
Viewfinder
• This page deals with black and white electronic
viewfinders (EVFs), although colour viewfinders
work in basically the same way.
• Different cameras have various options for
adjusting the EVF. Consumer camcorders are
usually limited to making focus/sharpness
adjustments, whereas professional cameras
have numerous options. Work through the
following procedures, ignoring the functions
which aren't available on your camera.
 Some notes on electronic viewfinders

• Professional cameras generally use black and white

EVFs. Colour EVFs are becoming more popular with
consumer camcorders.

• The EVF is more-or-less WYSIWYG (What You See Is

What You Get). This means that if the viewfinder image
changes brightness, then the recorded signal changes
brightness as well.

• Once your viewfinder is set up correctly, you can judge

your picture quality by what you see (ie. it's not
necessary to use the f-stop indicator to see if your
exposure is correct).

• The messages which appear in the viewfinder can give

you valuable information. Learn what they all mean.
• If your viewfinder is fogging up, hold your eye
slightly away from the eyepiece. Also, limit your
intake of fluids - this reduces perspiration, which
is what causes the fogging.

• Many viewfinder eyepieces can be flipped open,

allowing you to stand back from the camera.
This can be useful if you have the camera
mounted on a tripod, or if more than one person
wants to look at the viewfinder. It can also help
reduce eye fatigue.
 To set the brightness and contrast
• Switch the camera to colour bars.

• Adjust the viewfinder brightness and contrast

until you see a smooth greyscale from peak
white to black. You should be able to see a
dividing line between each bar.

• Switch the camera to picture.

• Check your exposure on a reliable monitor,

either by connecting a cable from the camera
output or by doing a test record.
To set the focus/sharpness (diopter
adjustment)
• The "diopter" is the EVF's eyepiece lens. Adjust this to
make the viewfinder image as sharp as possible. This
adjustment is usually made either with a ring on the EVF
or a sliding button.

• Choose a subject with plenty of contrast - this makes

focus easier.

• Zoom out wide and focus the camera lens normally.

• Adjust the diopter until you see the clearest image. If

necessary, secure the diopter.
 Zebra Stripes
• Zebra stripes, or zebras, are a feature of
professional cameras which give an
indication of exposure levels. When
activated, diagonal lines appear across
any part of the picture which is
approaching over-exposure.

• These lines appear only in the viewfinder

— they are not output from the camera or
recorded.
To Set Up the Zebra Stripes

• Turn the zebra

stripes on.
There should
be a switch or
menu item
labelled "Zebra
Stripes".
• If the camera has the option to change between
different zebra settings (eg 75% or 100%), make
sure you know which setting you're using, and
the resulting effect.

• Use the zebras to guide your iris settings. In

general, a small amount of zebras on the hottest
part of the subject is desirable. Practice and
experiment with this feature. Be aware that
zebras aren't foolproof — they should be used
as a guide only.
 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/red or blue tints, as demonstrated by the
following examples: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.
Correct colour balance Colour balance too blue

Colour balance too yellow

 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.

• 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.

• Point your camera to a pure white subject, so

that most of what you're seeing in the viewfinder
is white. The subject should be fairly matte, that
is, non-reflective.
• Set your exposure and focus.
• 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).
 ASPECT RATIO

• One of the most visible differences between

traditional (analog) and digital television (DTV)
systems is the horizontally stretched television
picture. “The width-to-height proportion of the
screen is called as aspect ratio”.

• The aspect ratio of the traditional television

screen and of computer screens is 4:3 and
HDTV is 16:9.
 RESOLUTION

• Resolution refers to measuring detail in

the picture.

• Resolution is influenced by the imaging

device, the lens, and the television set that
shows the camera picture.
 DEPTH OF FIELD
• Any lens can focus sharply of an object at one plane (i.e.
any object plane) at one time only. All object planes can
not be brought into sharp focus simultaneously.

• However, when a lens is focused on a subject, there will

be an area in front of the subject and behind the subject
in which all objects are seen in focus. This area of
acceptable focus is called the "DEPTH OF FIELD".

• "The range of distance, in which objects remain in

acceptably sharp focus, when the lens focuses to one
plane, is known as DEPTH OF FIELD".
• Depth of field is important for both technical and
aesthetic reasons.

• Technically, a shot with a wide depth of field makes it

relatively easy to follow the action. A shallow depth of
field requires you to continually change the focus - in
effect, shifting the depth of field - as either the camera or
the subject moves.

• Aesthetically the depth of field plays an important role in

creating the shot's overall visual perspective.

• Three factors determine the depth of field of a lens :

– the focal length
– the f-stop
– the camera-to-subject distance
• Focal Length : Depth of field is inversely
proportional to focal length of the lens.

• F-stop : Depth of field is directly proportional to f

number

• Camera-to-subject distance : Depth of is

directly proportional to camera to subject
distance
• Depth of field is always greater behind the
principal subject than in front of the subject,
which means that you have more range of focus
with those objects positioned behind the
principal subject than in front of it.
 Shooting Technique
• Position yourself and your camera. If you're
using a tripod, make sure it's stable and level
(unless you have a reason for it to be tilted).

• If the tripod has a spirit level, check it.

• If you're going to be panning and/or tilting, make

sure that you'll be comfortably positioned
throughout the whole move. You don't want to start
a pan, then realise you can't reach around far
enough to get the end of it.
• If it's going to be difficult, you're better off finding
the position which is most comfortable at the end
of the move, so that you start in the more
awkward position and become more comfortable
as you complete the move.

• If the tripod head doesn't have a bowl (this

includes most cheaper tripods), it's very
important to check that the framing still looks
level as you pan - it may be okay in one direction
but become horribly slanted as you pan left and
right.
• If you're not using a tripod, stabilise yourself and
your camera as best you can. Keep your arms
and elbows close to your body (you can use your
arms as "braces" against your torso). Breathe
steadily.

• For static shots, place your feet at shoulder

width (if you're standing), or try bracing yourself
against some solid object (furniture, walls, or
anything).

• Frame your shot. Then do a quick mental

check: white balance; focus; iris; framing
(vertical and horizontal lines, background, etc.).
• Think about your audio. Audio is just as important as vision, so don't
forget about it.

• Press "record". Once you're recording, make sure that you are actually
recording. There's no worse frustration than realising that you were
accidentally recording all the time you were setting the shot up, then
stopped recording when you thought you were starting.
Many cameras have a tape "roll-in time", which means that there is a delay
between the time you press record and when the camera begins recording.
Do some tests and find out what your camera's roll-in time is, so you can
then compensate for it.

• Keep checking the status displays in the viewfinder. Learn what all the
indicators mean — they can give you valuable information.

• Use both eyes. A valuable skill is the ability to use one eye to look through
the viewfinder, and the other eye to watch your surroundings. It takes a
while to get used to it, but it means that you can walk around while shooting
without tripping over, as well as keeping an eye out for where the action is
happening. It's also easier on your eyes during long shoots.

• Learn to walk backwards. Have someone place their hand in the middle of
your back and guide you. These shots can look great.
• You'll often see television presenters walking
and talking, as the camera operator walks
backwards shooting them.

• Keep thinking "Framing...Audio..." As long as

you're recording, think about how the frame
composition is changing, and what's happening
to the sound.

• Press "record stop" before moving. Just as in

still photography, you should wait until one
second after you've finished recording (or taken
the photo) before you move. Too many home
videos end every shot with a jerky movement as
the operator hits the stop button.
• That's all there is to it! Finally, here's a few more
tips to finish off with...

• Be diplomatic while shooting. Think about the

people you're shooting. Remember that people
are often uncomfortable about being filmed, so
try to be discreet and unobtrusive (for example,
you might want to position yourself some
distance from the subjects and zoom in on them,
rather than being "in their faces").

• Many people find the red recording light on the

camera intimidating, and freeze whenever they
see it. Try covering the light with a piece of tape
to alleviate this problem.
• Learn to judge when it's worth making a
nuisance of yourself for the sake of the shot, and
when it's not. If it's an important shot, it might be
necessary to inconvenience a few people to get
it right. But if you're going to make enemies over
something that doesn't matter, forget it and move
on.
• Use the "date/time stamp" feature sparingly. It's
unnecessary to have the time and date displayed
throughout your video, and it looks cheap. If you must
have it there, bring it up for a few seconds, then get rid of
it.

• Modern digital cameras have the ability to show or hide

this display at any time after recording.

• Be prepared to experiment. Think about some of the

things you'd like to try doing, then try them at a time that
doesn't matter (i.e. don't experiment while shooting a
wedding). Most new techniques take practice and
experimentation to achieve success, and good camera
work requires experience.

• If you want to be good, you'll have to invest some time.

 Common Lighting Terminology
• Ambient Light: The light already present in a scene, before any additional
lighting is added.

• Incident Light: Light seen directly from a light source (lamp, sun, etc).

• Reflected Light: Light seen after having bounced off a surface.

• Colour Temperature: A standard of measuring the characteristics of light,

measured in kelvins.

• Contrast Ratio: The difference in brightness between the brightest white

and the darkest black within an image.

• Key Light:The main light on the subject, providing most of the illumination
and contrast.

• Fill Light: A light placed to the side of the subject to fill out shadows and
balance the key light.
• Back Light: A light placed at the rear of a subject to light
from behind.

• Hard Light: Light directly from a source such as the sun,

traveling undisturbed onto the subject being lit.

• Soft Light: Light which appears to "wrap around" the

subject to some degree. Produces less shadows or
softer shadows.

• Spot: A controlled, narrowly-focused beam of light.

• Flood: A broad beam of light, less directional and

intense than a spot.
• Tungsten: Light from an ordinary light bulb containing a
thin coiled tungsten wire that becomes incandescent
(emits light) when an electric current is passed along it.
Tungsten colour temperature is around 2800K to 3400K.
Also known as incandescent light.

• Halogen: Type of lamp in which a tungsten filament is

sealed in a clear capsule filled with a halogen gas.

• Fresnel: A light which has a lens with raised circular

ridges on its outer surface. The fresnel lens is used to
focus the light beam.

• Incandescent: Incandescent lamps produce heat by

heating a wire filament until it glows. The glow is caused
by the filament's resistance to the current and is called
incandescence.
 Colour Temperature Chart

• Colour temperature is a standard method

of describing colours for use in a range of
situations and with different equipment.

• Colour temperatures are normally

expressed in units called kelvins (K). Note
that the term degrees kelvin is often used
but is not technically correct
• Technically speaking...
Colour temperature means the temperature of an ideal
black body radiator at which the colour of the light source
and the black body are identical. (A black body is a
theoretical radiator and absorber of energy at all
electromagnetic wavelengths.)

• Colour Temperature in Video

For video operations the relevant temperatures range
from around 2,000K to 8,000K — these are common
lighting conditions. In practical terms this usually means
selecting lights, gels and filters which are most
appropriate to the prevailing light or to create a particular
colour effect. For example, a camera operator will select
a "5600K filter" to use outside in the middle of a sunny
day.
 Terminology
• When referring to the unit kelvin, it is not
capitalised unless it is the first word of a
sentence. The plural is kelvins (e.g. "The light
source is approximately 3200 kelvins").

• The symbol is a capital K (e.g. "The light source

is approximately 3200K").

• When referring to the Kelvin scale, it is

capitalised (e.g. "The Kelvin scale is named after
William Thomson (1824 – 1907), also known as
Lord Kelvin".
Degrees kelvin
According to the The International System of Units (SI),
colour temperatures are stated in kelvins, not in degrees
Kelvin. The "degrees" part of the name was made
obsolete in 1967. However, the "degrees" reference has
remained in common use in media industries.

Contrast Ratio
Contrast Ratio is a measurement of the difference in
brightness between the whitest white and the darkest
black within an image. A ratio of 300:1 means the
brightest point in the image is 300 times as bright as the
darkest point. A higher contrast ratio therefore means a
larger difference in brightness.
 The Standard 3-Point Lighting
Technique
• The Three Point Lighting Technique is a standard
method used in visual media such as video, film, still
photography and computer-generated imagery. It is a
simple but versatile system which forms the basis of
most lighting. Once you understand three point lighting
you are well on the way to understanding all lighting.

• The technique uses three lights called the key light, fill
light and back light. Naturally you will need three lights
to utilise the technique fully, but the principles are still
important even if you only use one or two lights.
 • As a rule:
✔ If you only have one light, it becomes the
key.
✔ If you have 2 lights, one is the key and the
other is either the fill or the backlight.
 Key Light

✔This is the main light.

It is usually the
strongest and has
the most influence
on the look of the
scene.

✔It is placed to one

side of the
camera/subject so
that this side is well
lit and the other side
has some shadow.
 Fill Light

✔This is the secondary light

and is placed on the
opposite side of the key
light. It is used to fill the
shadows created by the key.

✔The fill will usually be softer

and less bright than the key.
To acheive this, you could
move the light further away
or use some spun. You
might also want to set the fill
light to more of a flood than
the key.
 Back Light

✔The back light is placed

behind the subject and
lights it from the rear.
Rather than providing
direct lighting (like the key
and fill), its purpose is to
provide definition and
subtle highlights around
the subject's outlines.

✔This helps separate the

subject from the
background and provide a
three-dimensional look.

If you have a fourth light, you could use it to light the background
of the entire scene.
 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:

• Perform a white balance first.

• 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.

• If you like, perform the white balance again, making a

sequence of "white - black - white".