Video Camera Terminology and Tips

Shot Types There is a convention in the video, film and television industries which assigns names and guidelines to common types of shots, framing and picture composition. The list below briefly describes the most common shot types (click the images for more details). Notes:

The exact terminology varies between production environments but the basic principles are the same. Shots are usually described in relation to a particular subject. In most of the examples below, the subject is the boy. See below for more information and related tutorials.

EWS (Extreme Wide Shot) The view is so far from the subject that he isn't even visible. Often used as an establishing shot.

VWS (Very Wide Shot) The subject is visible (barely), but the emphasis is still on placing him in his environment.

WS (Wide Shot) The subject takes up the full frame, or at least as much as comfortably possible. AKA: long shot, full shot.

MS (Mid Shot) Shows some part of the subject in more detail while still giving an impression of the whole subject.

MCU (Medium Close Up) Half way between a MS and a CU.

CU (Close Up) A certain feature or part of the subject takes up the whole frame.

ECU (Extreme Close Up) The ECU gets right in and shows extreme detail. Variation: Choker

Cut-In Shows some (other) part of the subject in detail.

CA (Cutaway) A shot of something other than the subject.

Two-Shot A shot of two people, framed similarly to a mid shot.

(OSS) Over-the-Shoulder Shot Looking from behind a person at the subject.

Noddy Shot Usually refers to a shot of the interviewer listening and reacting to the subject.

Point-of-View Shot (POV) Shows a view from the subject's perspective.

Weather Shot The subject is the weather. Can be used for other purposes, e.g. background for graphics. See also: Camera Angles The Rules of Framing The Rule of Thirds Crossing the Line (Reverse Cuts) Dutch Tilt Talking Head Pickup Shots 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:

Correct colour balance

Colour balance too blue

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 meanscompletely 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 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 Dolly A less-common term for tracking or trucking. 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. 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. The camera physically follows the subject at a more or less constant distance. Horizontal movement; left and right. Moving the camera position vertically with respect to the subject. Vertical movement of the camera angle, i.e. pointing the camera up and down (as opposed to moving the whole camera up and down).

Dolly Zoom

Follow Pan Pedestal (Ped) Tilt

Track

Truck Zoom

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. Another term for tracking or dollying. 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.

Camera Angles The term camera angle means slightly different things to different people but it always refers to the way a shot is composed. Some people use it to include all camera shot types, others use it to specifically mean the angle between the camera and the subject. We will concentrate on the literal interpretation of camera angles, that is, the angle of the camera relative to the subject. Eye-Level This is the most common view, being the real-world angle that we are all used to. It shows subjects as we would expect to see them in real life. It is a fairly neutral shot. High Angle A high angle shows the subject from above, i.e. the camera is angled down towards the subject. This has the effect of diminishing the subject, making them appear less powerful, less significant or even submissive. Low Angle This shows the subject from below, giving them the impression of being more powerful or dominant. Bird's Eye The scene is shown from directly above. This is a completely different and somewhat unnatural point of view which can be used for dramatic effect or for showing a different spatial perspective. In drama it can be used to show the positions and motions of different characters and objects, enabling the viewer to see things the characters can't. The bird's-eye view is also very useful in sports, documentaries, etc. Slanted Also known as a dutch tilt, this is where the camera is purposely tilted to one side so the horizon is on an angle. This creates an interesting and dramatic effect. Famous examples include Carol Reed's The Third Man, Orson Welles' Citizen Kane and the Batman series.

Dutch tilts are also popular in MTV-style video production, where unusual angles and lots of camera movement play a big part. 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.