3.5 camera mounts. Cameras operation and configuration spring2017.pdf

description of camera mounts

1. AV Production Technologies AV Production Technologies
35 C t C ti 3
.5 C
amera

moun
t
s.
C
ameras

opera
ti
on

and configuration
Spring 201 7
Mireya Fernández Mireya Fernández
Departament TSC / Departament EE Departament TSC / Departament EE Departament TSC / Departament EE Departament TSC / Departament EE TelecomBCN TelecomBCN ——UPCUPC

2. Tableof contents 
Cameramovements

Camera
mounts
Supporting
the
camera

Camera
mounts
.
Supporting
the
camera

Usingthecamera

3. Camera movements
If it is not possible to get a sufficiently wide s hot of the subject to show it completely, or
if the distant view does not have enough det ail, there are two general solutions:
tk
if
t
h t d th dit it t
b ild
ll
i
•
t
a
k
ea ser
ies o
f
separa
t
es
h
o
t
s an
d

th
en e
dit

it

t
o
b
u
ild
an overa
ll
image.
• move the camera carefully and systematically over the scene to relate
various parts
Th
e
r
e

a
r
e
tw
o
m
a
in m
o
v
e
m
e
nt
s
:
pa
n
a
n
d

t
il
t
eeae o a oe e s
pa
ad
tt
A pan shot is when the camera pivots left or right on a camera mount, such as a tripod,
or as a handheld camera.
A tilt shot pivots the camera up or down on a camera mount. The correct command is
“tilt up” or “tilt down

4. Supporting the camera
There are three basic ways to support a camera:
Use some type of body
support. They add a
mechanical support of some
ttith ddd
Use the camera operator’s body.
t
ype
t
o g
ive
th
e camera a
dd
e
d

stability.
Depending on the camera’s design, a handheld camera may be steadied against the camera operator
’s head or shoulder
Attach it to a camera mount. The camera can be attached to a camera
operator s

head

or

shoulder
mount of some type (monopod, tripod) with a screw socket in its base. A
quick-release plate may be fastened to the bottom of the camera, allowing it to be removed in a moment.

5. Supporting the camera
Using the camera operator’s body
When the decision is made to have the operator hold the camera by hand, it is usually
because the camera has to be mobile, able to change positions quickly. This method is
used in all of the situations where
the
camera generally
needs to move around to follow
used

in

all

of

the

situations

where

the

camera

generally

needs

to

move

around

to

follow

the action (news, documentaries, s ports events, shooting music videos…)
Some of the more lightweight consumer and lower-end professional cameras can be
held in one hand. They are not large enough to be shoulder mounted. A camera
operator can maintain steadiness fairly easily for short periods of time.
Larger cameras are designed to be shoulder
mounted. The body of the camera rests on
the camera o
p
erator’s ri
g
ht shoulde
r
.The
p
g
operator places his or her right hand through a support loop on the side of the lens. This way, the operator’s fingers are free to control the
zoom
rocker
(servo
zoom)
switch
while
the
zoom
rocker
(servo
zoom)
switch
while
the thumb presses the record/pause switch. The camera operator’s left hand adjusts the manual zoom ring, the focusing ring, and the lens aperture.

6. Supporting the camera
Attach the camera to a camera mount
•The monopod is an easily carried, lightweight mounting. It consists of a
colla
p
sible metal tube of ad
justable len
g
th that screws to the camera base.
pj
g
•The pan head (panning head or tripod head) If the camera were
mounted straight onto any mount it would be rigid, unable to move around to
follo the action
Instead
it is better to se a tripod head Tripod heads for
follo
w
the

action
.
Instead
,
it

is

better

to
u
se

a

tripod

head
.
Tripod

heads

for

video cameras usually use either friction or fluid to dampen movements.

7. Supporting the camera
Attach the camera to a camera mount
•The tri
p
od:
A
tri
p
od offers a com
p
act
,
convenient method of holdin
g
a camera stead
y,

p
pp,g y,
provided it is used properly. It has three l egs of independently adjustable length that are
spread apart to provide a stable base for the camera. There are several techniques for
improving a tripod’s stability. The simplest is to add a central weight, such as a sandbag,
h ng b rope or
chain beneath
the tripod’s center The legs can be tied to spikes in the
h
u
ng

b
y
rope

or

chain

beneath

the

tripod’s

center
.
The

legs

can

be

tied

to

spikes

in

the

ground. Or use a folding device known as a “spreader” to provide a portable base.

8. Supporting the camera
Attach the camera to a camera mount
•The rolling tripod/tripod dolly: One practical disadvantage of the tripod is that the
camera o
p
erator cannot move it around while shootin
g
. However
,
tri
p
ods can use a tri
p
od
p
g,p p
dolly, a set of wheels that fit directly on t he tripod, or a wheeled base (called a camera
dolly) to become a rolling tripod..

9. Supporting the camera
Attach the camera to a camera mount
The pedestalBasically, the pedestal consists of a three wheeled base, supporting a
central column of ad
justable hei
g
ht. A concentric steerin
g
wheel is used to
p
ush and steer
j
gg
p
the mounting around and to alter the camera ’s height. Thanks to a compensatory
pneumatic, spring, or counter- balance mechanism within the column, its height can be
adjusted easily and smoothly, even wh ile on shot. For many years, the pedestal has been
the all
p rpose
camera mo nting
sed in TV st dios thro gho t
the
orld
the

all
-
p
u
rpose

camera

mo
u
nting
u
sed

in

TV

st
u
dios

thro
u
gho
u
t

the
w
orld
.

10. Supporting the camera
Attach the camera to a camera mount
Jib armsYears ago, camera cranes were used to shot at birth’s eye. Some television
p
roduction com
p
anies still use small camera cranes
(j
ibs
),
but the
y
need skilled handlin
g

pp
(j ), y
g
and occupy a lot of floor space compared with a pedestal. Now the jib arms are used
around. The long jib arm (boom) is counterbalanced on a central column. This column is
generally supported on a tripod or camera pedesta l. The jib has a variety of operational
ad antages It can reach o er
obstr ctions that
o ld bring a rolling tripod or pedestal to
ad
v
antages
.
It

can

reach

o
v
er

obstr
u
ctions

that
w
o
u
ld

bring

a

rolling

tripod

or

pedestal

to

a halt.

11. Supporting the camera
Attach the camera to a camera mount •Camera clamps. Metal brackets or clamps of
various desi
g
ns
,
which allow the camera to be
g,
fastened to a wall, fence, rail, door, or other
structure.
•Car rig (or car mount). A car mount that attaches to the car, inside or outside of the
car, in order to capture images that would otherwise be difficult to obtain. Some mounts
use suction cups to
fit
onto
the car
, others
fit
over the side door, and some sit in a
use

suction

cups

to

fit

onto

the

car
,

others

fit

over

the

side

door,

and

some

sit

in

a

beanbag type mount.

12. Supporting the camera
Attach the camera to a camera mount

13. Supporting the camera
Using some type of body support
Standing with upraised arms supporting a shoulder-mounted camera can be very tiring,
so several body braces and shoulder harnesses
are available
that help the camera
so

several

body

braces

and

shoulder

harnesses

are

available

that

help

the

camera

operator to keep the camera steady when shooting for long periods

14. Supporting the camera
Using some type of body support : camera stabilizers

15. Supporting the camera
Using some type of body support : camera stabilizers : the steadicam
The Steadicam is a body mounted camera isolation and stabilization device. It delivers the image steadiness of
a dolly
shot but enables the camera to move
delivers

the

image

steadiness

of

a

dolly

shot

but

enables

the

camera

to

move

freely in a three dimensional space.
How
it
works
?
The
Steadicam
works in these ways.
How
it
works
?

The

Steadicam
works

in

these

ways.
1. Angular isolation. It isolates the camera from the operator so that the
o
p
erator’s motions aren’t transmitted.
p
2. It increases the camera’s inertia and spreads the mass. 3. It moves the center of gravity outside of the camera to a position where the
operator can manipulate it directly.
4. Spacial isolation. The articulated arm allows the operator to carry the additional weight. 5. Viewfinding. A monitor allows remote viewing of the camera’s image without disrupting the angular isolation

16. Supporting the camera
Using some type of body support : camera stabilizers, The steadicam

17. Steadicam
Steadicamis a brand of camera stabilizing mount for motion picture cameras
that mechanically isolates it from the operator's movement, allowing for a
smooth shot even when moving quickly over an uneven surface The original smooth

shot

even

when

moving

quickly

over

an

uneven

surface
.
The

original

handheld stabilizing system, was invented by Garrett Brown in 1972.
https://youtu.be/YpcP-6nBi5c

18. Flycam The FlyCam is a closed loop, stabilized tra cking camera system, driven by a motor/pulley
combination. The drive motor and video receiv er RF or Fiber are mounted at one end of
the run. At the opposite end of the run is a guiding relay pulley. The camera and its
functions are powered by Lithium Ion batteries while the motor that drives the FlyCam functions

are

powered

by

Lithium

Ion

batteries
,
while

the

motor

that

drives

the

FlyCam

requires 208 Three Phase 30 Amp power.
RF- The data commands that control the camera movements and setings are sent to the
camera via RF link. In this configuration, we are able to reach speeds of 100 mph and to
reach a distance of 3827 ft.Fiber Optic- FlyCam is also capable of transmitting via
specially designed fiber optic cable. In this c onfiguration, we are able to reach speeds of
55mph and limited to a distance of 1000 ft.
http://www.flycamusa.com/demobball.shtml

19. DiveCam The DiveCam is basically a small camera contained in a tube that follows the diver from
the top of the platform all the way into t he water. The camera is simply dropped at the
same time the athlete leaves the platform. same

time

the

athlete

leaves

the

platform.
The idea was originally thought up by NBC’s David Neal, but he contracted Garret Brown,
inventor of the Steadicam to make it a reality. Garret improved on the idea with
h i t f l b i th t t d t d dd d t tilt
mec
h
an
isms
t
o sa
f
e
ly
b
r
ing
th
e camera
t
o a s
t
op once un
d
erwa
t
er, an
d
a
dd
e
d
remo
t
e
tilt
-
and-pan controls so that the cameraman could always keep the diver in frame.
http://www.garrettcam.com/camsDiveCam.php

20. MobyCam
The first submarine tracking camera system . A submersible HD camera
mounted on tracks to the bottom of the pool, the MobyCam captures the
action beneath the pool
's surface Originally created for the 1992 Olympics
action

beneath

the

pools

surface
.
Originally

created

for

the

1992

Olympics

by Garret Brown
http://www.garrettcam.com/camsMobyCam.php

21. Skycam
The Skycam system is virtually a flying St eadicam®. It is a broadcast quality, robotic
camera, suspended from a cable-driven, computerized transport system.
Sk
y
cam the onl
y
stabilized camera s
y
stem in the world that can unobtrusivel
y
fl
y

y
yyyy
anywhere in a defined three-dimensional space, right in the middle of a sporting event. •Four-point cable suspension
•Image stabilization
•Fiber optic video/data transmission •Fully computer automated controls •Fully

computer

automated

controls

• Panasonic AK-HC900 2/3" IT CCD Camera • HD SDI or SD SDI Output • 4:3 and 16:9 availability
• Fuji 4 x 7.5 lens • 54 dB signal-to-noise ratio • 15 lux low light sensitivity •
Quickly
travels
to any
position
within
the
venue
•

Quickly
travels
to

any

position
within
the
venue
• Computer-automated obstacle avoidance
http://www.garrettbrown.com/camsSkyCam.php

22. Using the camera
Just point and shoot ?
Many people just point and shoot. They assume that the camera should be set
on automatic and therefore they don
’t worry about it There are times when the
on

automatic
,
and

therefore

they

don t

worry

about

it
.
There

are

times

when

the
automatic setting is the way to go. However, most of the time the results will
be disappointing. The exposure may be incorrect, the auto-iris may fluctuate,
and the subject may be blurry. Many times the shots are just plain boring
The
camera
isolates
The
camera
only
The

camera
isolates
.
The

camera
only
shows what is going on its frame of the scene. The audience does not really know what is outside the fi eld of view

23. Using the camera
How close should you get?
A closeup shot (CU)is great for revealing detail, emotion, and drama.
Si
ilhIhdi
S
omet
imes
it can even revea
l too muc
h
:
I
t encourages t
h
e au
di
ence to
concentrate on a specific feature.
A
lhtidht
hthdi idifth
A

l
ong s
h
o
t
, or w
id
e s
h
o
t
, s
h
ows
th
e au
di
ence a w
id
e v
iew o
f

th
e scene:
• It establishes the scene by showing the audience where the action is
located.
•
It lets viewers see how one thing relates to another (such as the
various
•
It

lets

viewers

see

how

one

thing

relates

to

another

(such

as

the

various

relationships between team members on a basketball team). • It can give them a good idea of space, unless the director deliberately
misleads them
by using a much wider lens angle than normal to
exaggerate
misleads

them

by

using

a

much

wider

lens

angle

than

normal

to

exaggerate

perspective.

24. Using the camera

25. Using the camera Shooting Groups
Static groups can be broken into a series of smaller individual shots. For singlecamera
shooting, this involves repositioning the cam era (or repeated action). With multicamera
shooting
the
director
can
cut
between
the
various
viewpoints
shooting
,
the
director

can
cut
between
the
various
viewpoints

26. Using the camera Direction and speed
Di ti d ff ti d
ATl t i th ikl
Di
rec
ti
on an
d
e
ff
ec
ti
ve spee
d
.
A
.
T
a
l
en
t
mov
i
ng across
th
e screen qu
i
c
kl
y
passes out of shot.

27. Using the camera Direction and speed
Di ti d ff ti d
BDi lit ti ( d
Di
rec
ti
on an
d
e
ff
ec
ti
ve spee
d
.
B
.
Di
agona
l
moves are more
i
n
t
eres
ti
ng
(
an
d

take longer

28. Using the camera Direction and speed
Di ti d ff ti
d
C
Mtd
(
f)th
Di
rec
ti
on an
d
e
ff
ec
ti
ve spee
d

C
.
M
oves
t
owar
d

(
or away
f
rom
)

th
e camera are
sustained the longest. However, they may take too long

29. Using the camera
Widely
spaced
moves
Widely
spaced
moves
.
If two people are
quite a distance apart,
you
ca
n
cut
bet
w
ee
n
you
ca
cut
bet ee
them, pan between them, or just shoot the action from a different angle.