Basic Camera Moves
In Module 6, we introduced the basic camera moves. As you'll recall, we refer to moving (rolling) the entire camera toward or away from the subject as a dolly ("dolly in" for a close shot or "dolly back" for a wide-shot).
A lateral move (rolling the camera to the left or right on the pedestal) is trucking, as in "truck left" or "truck right."
And, finally, you'll recall that a zoom optically achieves somewhat the same effect as a dolly, but without moving the entire camera.
The photo on the right above shows a typical rocker switch (next to a camera lens) that controls the direction and speed of a zoom.
Studio Camera Mounts
In the studio the entire camera assembly is mounted on a pedestal or dolly (shown here) so that the operator can smoothly roll it around on the floor.
The three wheels in the base of the pedestal can be turned using the steering ring.
The camera is directly attached to a pan head, which enables the pan and tilt (horizontal
and vertical) camera movements to be adjusted.
Controls on the pan head allow the camera
either to move
freely, to be locked into position, or to offer
facilitate smooth pans and tilts.
Although the camera may weigh more than 100 pounds (45kg), internal counter-weights allow an operator to easily raise and lower the camera when the telescoping column in the center is unlocked.
The photo above shows some of the other key parts of a manually controlled studio camera pedestal. Most TV production facilities now use robotic cameras that are remotely controlled from the TV control room. (See below.)
Unlike the elaborate studio pedestal that can be smoothly rolled across a studio floor (even while the camera is on the air), the wheels on small dollies are only intended to move the camera from place to place between shots.
Robotic Camera Mounts
Camera operators have disappeared at many, if not most commercial production facilities (but not training facilities) -- replaced by remotely controlled, robotic camera systems. (Note photo.)
From the TV control room, technicians can
the pan, tilt, zoom and
focus, and even remotely dolly and truck these cameras
around the studio.
Although robotic cameras are not desirable
for unpredictable or fast-moving subject matter, for
programs such as newscasts and interviews (where
operating cameras can get pretty boring anyway) they
significantly reduce production expenses.
A device that's come into wide use in the last decade is the camera jib, essentially a long, highly maneuverable boom or crane-like device with a mounted camera at the end. You frequently see them in action swinging overhead at concerts and major events.
A jib allows sweeping camera movements from ground level to nine meters (thirty feet) or more in the air. This is another concept we'll revisit in more detail later.
For more mobile camera work outside the studio, handheld camera supports allow significant mobility while still offering fairly steady camera shots.
The most famous of these is the Steadicam® (shown on the right), which is used with both film and video cameras.
The camera is mounted on a flexible arm that uses a series of spring balances to hold its position. A camera operator can walk, run, and even dash up a flight of stairs and still get a reasonably steady shot.
In addition to being costly, these units are heavy and require an experienced operator.
For smaller cameras, such as the one shown below, Steadicam JR® and similar units can provide smooth camera moves at a fraction of the cost and weight. The separate viewfinder (at the bottom of the picture) allows the unit to be held away from the body, where it won't be inadvertently bumped.
With a bit of practice an operator can walk in front of or behind a moving subject without undue camera movement.
Walking around with a full cup of coffee in your hand is good practice for using one of these. When you can go up and down stairs without spilling the coffee, you'll probably do a good job with one of the smaller Steadicam™-type units.
Camera Tracks and "Copters"
For elaborate productions, installing camera tracks allows the camera to more smoothly follow talent and move through a scene. Although a camera operator can ride with the camera (as shown below), some cameras are remotely controlled.
In 2013, the BBC (British Broadcasting Corporation) put the first camera drones into service for covering news. One of the smaller versions is shown below.
Since remotely-controlled, helicopter-type drones can move into places inaccessible by individuals or fixed-wing aircraft, they can provide coverage of events otherwise unattainable.
Plus, helicopter type drones can hover above news scenes for extended periods of time.
The video signal is relayed (live) to a receiver on the ground.
In the United States, as in some other
counties, drone activities are subject to special
We'll look at specific cameras and their features in later modules, but before we do we need to look at some key elements in camera operations. We'll start with color balancing cameras, a topic in the next module.
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