By PETER WARD
Simple Betacam Camerawork deals a whole advent to either the analogue and electronic beta digicam codecs: Betacam, electronic Beta, Betacam SX and DV & DVCAM. step by step directions are given overlaying every little thing from pre-recording checklists, to technical digicam standards, guide on publicity and lights, composition, modifying and sound and methods for various programme kinds. geared toward television digicam operators simply beginning out and movie cameramen and ladies changing to video this ebook also will entice scholars on movie and tv construction courses.Peter Ward is a contract cameraman and coach operating with the overseas tv education Consultancy and ex-Chairman of the Guild of tv Cameramen. He spent a long time engaged on quite a few programmes on the BBC prior to turning into Head of Cameras at tv South West. Peter is writer of the subsequent books for Focal Press: electronic Video Camerawork, photo Composition for movie and Video , Studio & outdoors Broadcast Camerawork, television Technical Operations and co-author of Multiskilling for television Production.Basic Betacam Camerawork bargains a whole advent to either the analogue and electronic beta digicam codecs. an exceptional beginner's advisor and crucial `on-the-job' toola very important reference for operational controls and digicam beneficial properties additionally contains basic recording, sound, lighting fixtures and modifying innovations
Read or Download Basic Betacam Camerawork, Third Edition (Media Manuals) (Media Manuals) PDF
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Additional resources for Basic Betacam Camerawork, Third Edition (Media Manuals) (Media Manuals)
Check in the viewfinder that the frame is divided into 8 equal vertical sections of varying contrast. Each section in the monochrome viewfinder represents a different colour which are from left to right – white; yellow; cyan; green; magenta; red; blue; black. Colour bars are customarily recorded at the start of a new tape (usually 30 seconds) as a reference signal in editing. Some cameras will also allow a message to be inserted into the bars for easy identification of the tape and contents. The bars may also be available on the BNC Video Out connector and can be used to adjust an external monitor and the viewfinder.
Where the audience’s belief that they are watching a truthful representation unmediated by technical manipulation or distortion is essential to the credibility of the programme. But many decisions concerning exposure involve some degree of compromise as to what can be depicted even in ‘factual’ programmes. In productions that seek to interpret rather than to record an event, manipulating the exposure to control the look of a shot is an important technique. As we have discussed in Colour temperature (page 52), human perception is more complex and adaptable than a video camera.
Can be made to appear for about 3 seconds. g. ‘lens extender warning’). Aspect ratios and safety zones With the introduction of widescreen digital TV and the use of dual format cameras, productions may be shot in 16:9 aspect ratio but transmitted and viewed on 4:3 television receiver. To ease the transition between the two aspect ratios, many broadcasters use a compromise 14:9 aspect ratio for nominally 4:3 sets, but transmit the whole of the 16:9 frame to widescreen sets. This requires the cameraman to frame up a 16:9 picture with these competing requirements in mind.