OTHER EQUIPMENT USED

What Are Filters For?

Shooting through a filter causes our lens image of the scene to be changed in some specific way. Most filters are specially prepared discs of optically worked glass, clipped over the front of a camera lens. In some TV cameras these filters are permanently housed in a filter wheel within the camera head, ready for instant selection. NATURAL DENSITY FILTERS The simplest filters are the grey- tinted neutral density filters that enable us to cut down the overall light from the scene. Under every bright condition it would normally be necessary to considerably reduce the lens aperture in order to prevent over-exposure of the scene s highlights. But lenses seldom produce their optimum picture quality at such small tops and could present us with a greater depth of field than we require. Instead, we can shoot via a neutral density filter, which cuts down all light according to the filter value chosen CONTRAST FILTERS Coloured filters have various applications. In black and white television, used as contrast filters, they have enabled us to modify the grey scale values in which selected colours are reproduced. Thus we can use pale yellow, green, orange, or red filters to make a blue sky look progressively darker in a monochrome picture, and to reproduce cloudscapes more clearly. Similarly, we might use filters to make green grass and foliage look lighter. But filtering of this sort cannot be used in colour systems, for it would create instead a colour cast over the whole picture. CORRECTIVE FILTERS Corrective colour filters are sometimes used to improve a camera tube s overall colour response, and bring it closer to that of the eye under certain lighting conditions HAZE FILTERS Haze filters (ultra violet filters) have the property of cutting through mist and atmosphere to provide a clearer, sharper picture with exterior location cameras. THE NEUTRAL DENSITY FILTER Under extremely bright conditions, a neutral density filter can reduce light from all parts of the scene to manageable levels. Where light levels result in stops that are too small for our purpose (excess depth of field), a neutral density filter enables larger lens apertures to be used.

COLOUR FILTERS For monochrome cameras, colour filters enable the reproduced grey values of coloured objects to be lightened or darkened. (A filter lightens the tones for object s of similar colour, darkening those of complementary colour.)

CAMERA EFFECTS
Several ingenious devices have been developed that enable us to transform our picture in various ways; or glamorous, decorative, novelty or dramatic effect. PICTURE DIFFUSION Diffusion discs are of two basic kinds; those that provide an overall softening to the picture (for mist, fog, and atmospheric effects), and those that diffuse the picture progressively toward the edges. These give us a a sharp central region surrounding the subject with a delicate, dream-like mist. Sometimes a plain glass sheet over the lens, lightly smeared with oil or grease, produces a suitable effect. TRANSFORMING THE IMAGE Star filters are a popular gimmick. These create exciting multi-ray streaks around highlights. The number of rays depends on filter design, but four, six, or eight ray flters are typical. Multiple images are fun, and can be produced by special prismatic or faceted lenses, ribbed, or stepped filters, or kaleidoscopes. Picture distortion can be created by shooting through ripple glass or by shooting via a flexible mirror (surface silvered plastic, or chromium sheeting). IMAGE ROTATION Image inverter prisms enable us to turn the whole picture round. We use these to cant the shot, turn it sideways (a man on the floor seems to be climbing the wall), or invert the picture (now he is apparently ceiling-walking). Continually rotating the prism, our entire picture spins round and round.

REFLECTED IMAGES Reflection plates are simply horizontal glass sheets located before the lens, giving a water refelction effect. Reflecting tubes of metal foil, fitted round the lens housing, result in the centre of the picture being surrounded by broken-up, colourful reflections of the subject.

MULTIPLE IMAGES Shooting through a prismatic lens, 1, or a kaleidoscope, 2, gives multi-image pictures. Rotating the device moves the images round. IMAGE INVERSION Image inverter prisms or mirrors enable our subject to defy gravity, to spacewalk, or even to fly around (against a black background) should the occasion arise.

UNORTHODOX STUDIO CAMERA TREATMENT

TV cameras have by now been most places, and done most things. But the regular professional studion TV camera needs to be rugged, and is consequently relatively bulky. This bulk currently limits its flexibility. The studio camera can, within limits, be suspended or clamped in unusual places (e.g. on scaffolding pipes, on slung cradles). For the most part, though, the TV camera is only as mobile as its mounting permits. Hand-held TV cameras can be used, but these do not at present provide the highest grade broadcast quality picture. But despite physical limitations, times will come when the director wants to take a bird s eye or worm seye view of action, wishes to tilt his picture, have the camera crawl around at floor level, or shoot from vantage points that the camera cannot reach. DIRECT METHODS We can approach such production demands directly or indirectly . Sometimes the direct methos is best. If we want a low viewpoint, put the camera on a low dolly (the creeper ). But it is advisable to use this approach if we only want an odd shot or two? Rather than use such a restrictive, non-standard

facility throughout a production, indirect methods can often prove effective. Mirrors can help us out of several quandaries.

USING MIRRORS 1. Top shots of demonstration tables can be taken via an overhead slung mirror. 2. Perhaps we want a viewpoint from part-way up a wall. Fix a mirror up there, and shoot up into it. 3. Worm s-eye views are rare but a ground mirror can help us here. PROBLEMS WITH MIRRORS If mirrors are so helpful, why aren t they used more often? There are drwbacks. The picture will be reversed (laterally or vertically) unless corrected. Mirrors of any size are quite heavy, can take time and skill to adjust, and cast shadows. If the mirror is distant, the coverage can be limited. Ideally, mirrors need to be surface-silvered to avoid degraded images. Despite their weaknesses, mirrors can certainly assist the cameraman in extending the range of shots readily available.

THE CAMERA CRANE

In studios where more elaborate equipment is warranted, and there is space and opportunity to use it, we shall find the usual pedestals or rolling tripods supplemented by their larger relative, the camera crane. In TV studios, most camerawork can be carried out very satisfactorily by a complement of pedestal mountings. They are relatively compact, easily handled by one cameraman, are highly mobile on the flat, even studio floor.

So why do we need camera cranes? Well, cranes were first devised for heavy motion picture studion cameras, for hich they provided new freedom from the then static tripod. The camera could now move forward, sideways, up and down, with smooth precision, several movements being controlled simultaneously by a camera crew.

THE SMALL CRANE Television inherited the small manually-operated camera crane, enabling lens height to be adjusted progressively from about 3 ft up to 7 ft (the pedestal s range, remember, is around 3 to 5 ft in height). Because two or three operators can assist the cameraman (with all tracking and craning movements), he is free to concentrate on camera head control while guiding his assistants. Whereas the cameraman operating the pedestal has physically to do everything himself, with the crane, he requires less manual effort. Experienced camera teams become highly co-ordinated, and finger signals from the cameraman s panning-handle support hand, convey his subtler intentions. THE ACADEMY CRANE (THE MOLE) The Academy crane (devised by the Motion Picture Research Council) is a larger brother, introducing even more sophisticated movements, for now the camera is able to be repositioned at the push of a hand. Rigid safety precautions are essential, of course, for the safety of crew and equipment alike; it would be too easy for the boom or the base to overshoot its marks, with disastrous results. The really large cranes, with their giant statistics (e.g. 25 ft maximum height, 25mph maximum speed), are only rarely seen, even in network studios. MOTORISED CRANES Motorised or power-operated dollies of several designs have been built specially for TV studio work, and these aim to provide small crane movements, with only one operator assisting the cameraman. This may be achieved, for example, by the cameraman having foot-pedal controls for camera boom height movements, and for camera platform rotation (i.e. slewing action), his assistant controlling the directin and speed of the dolly s movement.

THE TELEVISION PRODUCTION PROCESS

MULTICAMERA STUDIO SYSTEM

The multicamera studio system contains quality controls (CCU ans audio console), selection controls (switcher and audi console), and monitors for previewing pictures and sound.

TECHNICAL PRODUCTION SYSTEMS

ENG SYSTEM The ENG system consists of a camcorder and a microphone. The camcorder includes all video and audio quality controls as well as video and audiorecording capabilities. A portable transmitter is necessary to send a live field pickup to the studio. EFP SYSTEM The EFP system is similar to that for ENG, but it may use more than one camera to feed the output to separate video recorders.

FISHPOLE MICROPHONE This is highly directional shotgun mic is suspended from a fishpole by the boom operator.

AUDIO CONSOLE Even a relatively simple audio console has many cntrols to adjust the volume and the quality of incoming sound signals and to mix them in various ways. AUDIO MIXER The portable mixer has a limited number of inputs and volume controls.

STUDIO LIGHTS BATTENS

SUSPENDED

FROM

MOVABLE

Typical studio lighting uses spotlights and floodlights. All instruments are suspended from battens that can be lowered close to the studio floor and raised well above the scenery.