Careers in Television and Video Production: How a Video Camera Works

Most of us are familiar with how a video camera functions. In most aspects, semi-pro or even consumer-level video cameras have the similar basic components of professional cameras. We will discuss only pro cameras in this segment, but the information can also apply to most others. One thing that separates consumer and pro cameras is the quality of their components, and more specifically the quality of their video microchips (CCD chips). Without getting too technical, pro cameras have three CCD's, one each for Red, Green and Blue. This is Component (RGB) Video. In general, the bigger the CCD the better quality it will produce. In order to maintain this quality each color signal must pass through and connect separately until the final edited piece. Why is this? I will answer that in Lighting.

For now, the main point is that a camera needs CCD's to 'see', and convert what they see into an electronic signal. In the past, Component video and equipment was only available to professionals at high cost. These days that connection is now available through firewire. Firewire video is the same concept only more. One thing to remember about Component video is that once you combine the RGB signals in any way, you lose signal quality. It may not be noticeable to the naked eye, but there is a loss. Even if your camera has three CCD's, if you connect it to your computer via s-video (Y/C) or single connection (Composite), you will lose quality. This may not matter to a local broadcast station that has high-end equipment to compensate, or even if you only want to post your video on a web site.

Next, we have the lens, and the quality of its glass. You purchase lenses of pro-cameras separately, or with optional choices. They are about seven or eight inches long and come equipped with a Zoom ring, F-Stop ring, Focus ring and usually a Macro feature. Some come with a 'Doubler' lever, which increases the focal view of the lens by two. These terms will be familiar if you have some knowledge in film and photography. For those that do not, let us quickly examine each one. Okay, the focus and zoom rings of the lens are self-explanatory. The F-Stop ring adjusts the shutters inside the lens, controlling how wide or small they are. In other words, how much light enters the lens. The f-stop, or Iris, also controls Focal Length. In plain terms, a lens will focus on how far the subject is from the camera. Let us say that the iris is at its widest. If something enters the scene in front of the subject, it will appear out of focus. Adjusting the iris down to its smallest setting (infinity) will minimize this, but will require that you increase light on the subjects. The Macro ring is a special function of the lens that will allow it to view small objects very close at up to a few inches away, so that the image will fill the screen. The feature is only occasionally used, but it comes in very handy, and saves from paying for a specialized lens.

The lens mounts in a Lens Assembly, which has the motorized servos to control the zoom and iris. On the top the zoom control, and on the side is a cushioned strap for your hand. There is an auto or manual setting. The lens assembly, often set to auto, controls the zoom and controls the iris ring automatically. Focus is manual. Focus is always manual on a pro camera. The trouble with auto focus is that if something enters in front of your subject, the lens will zoom in an out until it can focus on the new focal length. You know, like consumer cameras. If you have an important one-time-only shot of a dignitary and this happens, your shot is, well shot. Videographers, or photogs must focus manually by zooming in to the subject (usually the eyes) all the way, focus, and then zoom back to compose their shots. If something changes, they adjust focus again -before- rolling tape. On wide shots, this is not that much of an issue. With the lens zoomed in, then it is more critical. If the subject moves forward or backward, they will appear out of focus.

Pro cameras have an industry-standard choice of filters. Usually three, but today's newer cameras have adjustable settings within these filters for different lighting conditions. The filters are similar to the pre-settings of consumer cameras, but more specified, and not automated in any way. This will be discussed later in lighting, but simply put the filters are set for certain kinds of light temperatures. One setting is for indoor lights (32k), and there are two filters used for outdoor sunlight (56k). After the filters are determined, the camera must be White Balanced according to the lighting conditions you are using. You must show it a pure white card and perform both the white balance and the Black Balance. Put simply, you are showing it what white and black is so that the camera will reproduce correct color in the image.

Cameras also have two useful features, but it is preferred that videographers avoid using them. One setting is a Backlight setting, used when the subject has light, sunlight or a brighter background behind them. While it will help the subject not look like a shadow, it also increases the brightness of the background, sometimes making the image useless for television. The other option is Gain, which has two settings. Gain will electronically enhance the image, making it brighter overall. You will also notice it on consumer cameras while taping candlelit scenes in auto. The drawback of gain is that the result is a distorted image from the enhancement, making it fuzzy. You will often notice gain during newscast stories of night bombings, when the videographer has no choice but to use gain. In most circumstances, videographers will move the camera, increase the light, or move the subject to avoid using Gain and Backlight. Professional video cameras normally have two audio channels (or more), but usually are not stereo unless there are more than two. These audio channels provide the recorded videotape with a basic form of multi-track recording. While the mic may be recording directly to channel one, the other channel will be recording 'nat' (natural) sound from the camera shotgun mic, or with another audio source connected. The editor can either adjust the recorded tracks separately, or choose not to use one of them.

What I have described is a Field Camera, one that gathers recorded image on location. A studio camera has a few distinct differences, but field cameras still have the needed requirements to be adapted for use in the studio. A studio camera has all the features mentioned before, but normally connects to a video switcher with other cameras (multi-camera) and video sources. To do this each camera connects to a Camera Control Unit (CCU), then on to the switcher. How everything works together involves a lot of electronic timing and other engineer-related knowledge. The important thing to know is once a camera is connected to a CCU the features (even white/black balance) of it are now controlled by the technical director. That is except for zoom and focus, although there are camera systems that also operate these functions with a remote control.

A studio camera does not usually have the ability to record video on its own, but as said before a field camera can be adapted as well, not using its record functions. In place of the viewfinder is one that mounts on top of the camera with a b&w screen that is about five inches wide. The viewfinder has a tally light on top and on screen so that the operator and talents in front knows which camera is 'on'. By the way, just about all pro-cameras use b&w viewfinders. You would think that for $20,000 + they would be color, but they are not for a reason. Colors have their own brightness levels. Blue is darker than red, yellow is brighter than green. In order for videographers to determine the actual contrast of a scene they are recording, it is easier to do stripped of color. Anyway, since the viewfinder mounts on top of a studio camera the operator must now stand behind it, so there must be controls connected to the focus and zoom of the lens assembly, back to the operator, and mounted on the tripod handles. Any audio goes through the studio's audio console, so camera audio features are not used

Many of the pro-camera's features are built into consumer level cameras, only many of the features are automated or called something else. Most consumers want point-and-shoot video cameras. Even so, this information is helpful to better understand how a camera works, especially if you are looking to work in this field. So, what types of camera shots are there, and what do industry employers look for in camera operators? First, we will turn to the various camera shots and their uses in our next installment.