Self Preparation

Composing

Camera Features

Camera set up and operation

Section 2
Functional Descriptions
/Illustrations:

Video Component

VCR Component

Lighting

Sound

Displays

Warning systems

COMPOSING THE SHOOT

4A Good camera person

- understands the story
- communicates and collaborates with the reporter
- has a good eye
- keeps one eye on the reporter
- is listening, watching and thinking while doing the shoot
- has general knowledge of photographic composition

4Consider the composition from a photographer’s point of view. While you might not be able to study photography in detail, you can keep a few things in mind to make your composition attractive:

4Good balance makes a pleasing composition:
Divide the viewfinder into thirds according to what is in the picture and try to frame your subject by distributing the weight in each section equally. For example, if a building is on one side, position people or objects on the other side to balance the weight. Keep some sky and ground as one of the thirds.

4Perspective is pleasing. If you can find a shot with lines of perspective toward the centre of the frame, you have composed nicely.

4Consider the horizon. Try to avoid horizon lines going through the heads of your subjects.

4Consider the sky. If people and buildings are your focus, minimise the sky and keep your subject near the centre of the frame.

4Look for the unusual. It will be interesting.

4Consider your emphasis and proportion. If you can compose in such a way as to emphasise your theme, try it. Keep proportion is mind so as not to exaggerate things beyond a particular effect.

4Shoot more than you think you think you want. You will need it later.

4If the subject is not present for the count of seven, your film editor probably cannot use it.

4In shooting close-ups, the subject is pleasing if quite close so that the camera can pick up expressive nuances. You can try to get the face in the viewfinder but you might have to cut off a bit of the top of the head in order to get the face.

4Consider the background. Try to relate the background to the foreground. Try to keep horizon lines from disecting heads.

4Depth of field is not a big consideration. However, remember that in close-up work, the depth of field is very shallow. This means that only the closest subjects will be in focus. All else will be out of focus. Another interesting effect of this is that distance is compressed. Thus, even if subjects are a distance back from each other, they will appear very close to each other. This can add emphasis if used correctly.

4Keep the above in mind but be ready to change your ideas at a moment's notice. The action will dictate your shooting style.

4Finally, keep the following in mind:

-Be ready to alter your body's position by kneeling, climbing and leaning against a wall or hugging your arms to your body to minimize camera shake.
-Be ready to shade the lens if you cannot escape direct sun, protect the camera from rain and make adjustments for dark and light conditions.
-Watch for the location of the sun. You do not want direct sunlight to shine in your subject's eyes because that person will squint and it will flood the face with too much light. Change the angle sideways, or up and down for a more pleasing slightly shaded and shadow effect.