Cameras
The most important thing about studio cameras is that:
"they should match each other, so that there is no visual jump in colour, resolution or picture quality when you cut between them"
(Fairweather,1998:20).
Even if cameras are different, their pictures can still be adjusted so they are similar enough to cut between (Fairweather, 1998:21).
For example, a camera normally used for PSE (portable single camera) work, or as a PSC (personal single camera, such as on a news report) and one used for electronic news gathering (ENG) can still be used together in a multi-camera studio setup, even though electronic news gathering cameras are normally used for filming news and documentaries, rather than filmmaking (Gross, s.d).
Their pictures are compared in the gallery on the monitors, and can be adjusted during a camera lineup.
Camera lineup
Fig. 1 Camera SDI Out (2019)
A camera lineup is when all of the cameras to be used in the studio are arranged in a line facing a lineup chart - usually a greyscale chart (see fig. 12) - which is used to adjust the colour balance of each camera under the studio lights to ensure all the pictures are similar enough to cut between (Bermingham, Boyce & Angold-Stephens and Talbot-Smith, 1994).In order to view these pictures in the gallery, the cameras are linked to SDI cables so their output is visible on the monitors (see fig. 1). However, the picture captured by a camera can also differ in that it can be either progressive (P) or interlaced (I).
This is known as progressive and interlaced scanning - interlaced means only half the frame is captured at one time, since half the picture is shown in the output for 1/60th of a second through lines, and the alternate set of lines is then shown for 1/60th of a second giving the impression of being shown the entire picture - progressive shows the whole picture at once (Lights Film School, s.d).
Progressive and interlaced are characteristics of a picture's resolution. Resolution "refers to the number of pixels that compose the picture on the TV. A single pixel, or discrete picture element, consists of a tiny dot on the screen" (Morrison, 2019).
Fig. 2 TV resolutions (2019)
For example, 720p is HD - meaning the screen consists of 720 rows of pixels which show the entire picture at once (Denison & Wouk, 2018). 1080p is full HD which consists of more pixels (1080 rows), and therefore is able to show more detail than 720p HD (Lane, 2019).4K is 2160p - 3840x2160 - and can therefore be even more detailed, yet this is often referred to as UHD, since 4K as defined by cinema is 4096 pixels across - nonetheless, due to this difference only being 13 percent, TV 4K is regarded as 2160p (Morrison, 2019).
Shot sizes - (review)
How much detail is seen by the audience in any given frame is also determined by the shot size chosen by the director. This is because shot size affects "how much of the scene is included in the picture, and whether it mainly shows the setting, people in the setting, or details of faces and things"(Learn About Film, s.d).
Extreme Long Shot
Fig. 3 Studio Binder (2019a)
Extreme long shots focus less on the subject of the shot, and more on the subject's surroundings, often making the subjects look so small as to be insignificant - because of their focus on landscape they can be used as establishing shots (Studio Binder, 2019a) - (see fig. 3).
Wide shot (also known as a long shot)
Fig. 4 Star Wars Episode VII - The Force Awakens (2015)
Wide shots focus more on the subject of the frame, showing them from head to toe, as well as their position within the surrounding environment - therefore, they can help show isolation since although the subject is more evident within the frame, they are still somewhat dominated by their surroundings (Studio Binder, 2019a).
These can also be used as establishing shots, since they are able to show many elements to the audience in only one frame (Janney, 2018) - (see fig. 4).
Full shot
Fig. 5 IMDb: Star Wars Episode VII - The Force Awakens (2015)
In contrast, a full shot shows the whole subject, with their surroundings less focused in the background - this type of shot can distance the audience from a character, and therefore also from a character's emotions (Moura, 2014) - (see fig. 5).Medium shot
Fig. 6 IMDb: Star Wars Episode VII - The Force Awakens (2015)
Medium shots frame subjects from the waist up (Learn About Film, s.d). These are able to make the audience aware of not only the surroundings, but also of a subject's body language and expression, as well as background details (Maher, 2015). However, fig. 6 shows a long medium shot, since the characters is framed from the knees up rather than the waist - this is sometimes called a three-quarter shot (Maher, 2015).Medium close-up
Fig. 7 IMDb: Star Wars Episode VII - The Force Awakens (2015)
A medium close-up frames the character's head and shoulders (Learn About Film, s.d) - (see fig. 7). Because of how audience are put at a distance from the character which seems similar to that of a real-life conversation, this shot is most commonly used to frame subjects during interviews, but it can also be used to make the audience aware of a character (Maher, 2015).Close-up
Fig. 8 IMDb: Star Wars Episode VII - The Force Awakens (2015)
Close-ups frame details, mainly expressions and reactions by placing a character's face centre frame (Janney, 2018). Because of this it can be argued that:"The close-up shot is a window into the character. It can reveal the character’s growth moment...it can depict a character discovering something important...or create tension between characters...It is a tool the director uses to let the audience know that a particular moment is important"
(Goldberg, 2018).
Therefore, close-ups can help the audience connect emotionally to a character or be used to direct their attention to an element which is driving the story, and will thus affect how the audience understands the narrative (Studio Binder, 2019b) - (see fig. 8).
Extreme close-up
Fig. 9 Studio Binder (2019b)
Extreme close-ups emphasise details by allowing them to fill the frame (Wong, 2012) - (see fig. 9). Because of this they can be as insert shots or cutaways (see fig. 10) since by showing essential details, they are able to add context and explanation to the wider story (Studio Binder, 2019b).
Fig. 10 Star Wars: The Force Awakens (2015)
Clean shot
Fig. 11 IMDb: Star Wars Episode VII - The Force Awakens (2015)
A clean shot is when the subject is framed in their own single shot, meaning no other subject appears in the frame, making them the focus (see fig. 11) - these are often used in conversations with a matching reverse shot of the other subject involved in the conversation (McGregor, 2017).The Gallery
The monitors
Fig. 12 Gallery Monitor Wall (2019)
Yet, each of the smaller output monitors can also be used to show "graphics, animations, and satellite feeds" depending on the needs and size of the production (Owens & Millerson, 2009:63).
A studio director is thus able to use these monitors to assess "quality control" and therefore pick which shot should go on air next (Owens & Millerson, 2009:63).
While in the gallery, however, calling shots is not a director's only job. A studio director also needs to be listening and responding to the rest of the crew, as well as reviewing and cuing in graphics, sounds and VTs (Owens & Millerson, 2009:62).
The gallery team is made up of:
- The script supervisor (or production assistant), who keeps time during the show, and ensures everyone knows how long segments are, and if the show is running longer or shorter than it should be
- The director, who is on open talkback, and signals to the vision mixer which shots to put on air next using the monitors
- The vision mixer (also known as the switcher), who uses the vision mixer board to change shots, mix VTs and add effects
- And sometimes the producer of the show
(Singleton-Turner, 2011:26).
Vision mixing
A vision mixer board (also known as a video switcher), is used by the vision mixer (sometimes referred to as the technical director), to select shots (Utterback, 2016:16).
This board is divided into three identical "buses" - the bottom row, the preview bus, selects the shots which appear on the preview monitor; the middle row, the program bus, selects the shots which will go live on air and appear on the transmission monitor; the top row, the key bus, allows a "video layer" (a key) to be added to the shot as a separate output, and can thus be used to create effects such as boxes to show a shot within a shot (Utterback, 2016).
The vision mixer also consists of a "paddle" or "lever" which can be used to transition between shots using a mix or dissolve (Singleton-Turner, 2011:24).
Overall, a vision mixer "anticipates and responds to commands from the Director, activating video sources to video program as needed and on demand" (Utterback, 2016:43), which can be done by previewing shots through the preview bus and monitor, before using the programme bus to send them to air (Singleton-Turner, 2011:25). Thus, the vision mixer and director are a team, who work together to put shots on air.
This board is divided into three identical "buses" - the bottom row, the preview bus, selects the shots which appear on the preview monitor; the middle row, the program bus, selects the shots which will go live on air and appear on the transmission monitor; the top row, the key bus, allows a "video layer" (a key) to be added to the shot as a separate output, and can thus be used to create effects such as boxes to show a shot within a shot (Utterback, 2016).
The vision mixer also consists of a "paddle" or "lever" which can be used to transition between shots using a mix or dissolve (Singleton-Turner, 2011:24).
Overall, a vision mixer "anticipates and responds to commands from the Director, activating video sources to video program as needed and on demand" (Utterback, 2016:43), which can be done by previewing shots through the preview bus and monitor, before using the programme bus to send them to air (Singleton-Turner, 2011:25). Thus, the vision mixer and director are a team, who work together to put shots on air.
List of Illustrations
Figure 1. Burnell, L. (2019) Camera SDI Out [Photograph] In: possession of: The author.
Figure 2. Morrison, G. (2019) TV Resolutions. [Diagram] At: https://www.cnet.com/news/4k-1080p-2k-uhd-8k-tv-resolutions-explained/ (Accessed on 6 March 2019).
Figure 3. Studio Binder (2019a) 'The Wide Shot: Creative Examples of Camera Movements & Angles' [online] At: https://www.studiobinder.com/blog/wide-shot-camera-angles-movements-examples/ (Accessed on 27 March 2019).
Figure 4. Star Wars: The Force Awakens. (2015) Directed by Abrams, J. [DVD] USA: Lucasfilm.
Figure 5. Star Wars Episode VII - The Force Awakens (2015) [IMDb webpage] At: https://www.imdb.com/title/tt2488496/mediaviewer/rm4136558848 (Accessed on 27 March 2019).
Figure 6. Star Wars Episode VII - The Force Awakens (2015) [IMDb webpage] At: https://www.imdb.com/title/tt2488496/mediaviewer/rm994590208 (Accessed on 27 March 2019).
Figure 7. Star Wars Episode VII - The Force Awakens (2015) [IMDb webpage] At: https://www.imdb.com/title/tt2488496/mediaviewer/rm1822030080 (Accessed on 27 March 2019).
Figure 8. Star Wars Episode VII - The Force Awakens (2015) [IMDb webpage] At: https://www.imdb.com/title/tt2488496/mediaviewer/rm3387105024 (Accessed on 27 March 2019).
Figure 9. Studio Binder (2019b) 'Close-Up Shots: Examples of Camera Movement & Angles' [online] At: https://www.studiobinder.com/blog/close-up-shot/ (Accessed on 27 March 2019).
Figure 10. Star Wars: The Force Awakens. (2015) Directed by Abrams, J. [DVD] USA: Lucasfilm.
Figure 11. Star Wars Episode VII - The Force Awakens (2015) [IMDb webpage] At: https://www.imdb.com/title/tt2488496/mediaviewer/rm3464167680 (Accessed on 27 March 2019).
Figure 12. Burnell, L. (2019) Gallery Monitor Wall [Photograph] In: possession of: The author.
Figure 4. Star Wars: The Force Awakens. (2015) Directed by Abrams, J. [DVD] USA: Lucasfilm.
Figure 5. Star Wars Episode VII - The Force Awakens (2015) [IMDb webpage] At: https://www.imdb.com/title/tt2488496/mediaviewer/rm4136558848 (Accessed on 27 March 2019).
Figure 6. Star Wars Episode VII - The Force Awakens (2015) [IMDb webpage] At: https://www.imdb.com/title/tt2488496/mediaviewer/rm994590208 (Accessed on 27 March 2019).
Figure 7. Star Wars Episode VII - The Force Awakens (2015) [IMDb webpage] At: https://www.imdb.com/title/tt2488496/mediaviewer/rm1822030080 (Accessed on 27 March 2019).
Figure 8. Star Wars Episode VII - The Force Awakens (2015) [IMDb webpage] At: https://www.imdb.com/title/tt2488496/mediaviewer/rm3387105024 (Accessed on 27 March 2019).
Figure 9. Studio Binder (2019b) 'Close-Up Shots: Examples of Camera Movement & Angles' [online] At: https://www.studiobinder.com/blog/close-up-shot/ (Accessed on 27 March 2019).
Figure 10. Star Wars: The Force Awakens. (2015) Directed by Abrams, J. [DVD] USA: Lucasfilm.
Figure 11. Star Wars Episode VII - The Force Awakens (2015) [IMDb webpage] At: https://www.imdb.com/title/tt2488496/mediaviewer/rm3464167680 (Accessed on 27 March 2019).
Figure 12. Burnell, L. (2019) Gallery Monitor Wall [Photograph] In: possession of: The author.
References
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Denison, C. & Wouk, K. (2018) '720 vs. 1080p vs. 4K UHD: What's the Best Resolution for your TV?' In: Digital Trends [online] At: https://www.digitaltrends.com/home-theater/720p-vs-1080p-vs-4k/ (Accessed on 6 March 2019).
Fairweather, R. (1998) Basic Studio Directing. Oxford: Focal Press.
Goldberg, P. (2018) 'How to Design a Close-Up Shot - And When You Should Use It' In: Premium Beat. [online] At: https://www.premiumbeat.com/blog/when-use-close-up-shot/ (Accessed on 6 March 2019).
Goldberg, P. (2018) 'How to Design a Close-Up Shot - And When You Should Use It' In: Premium Beat. [online] At: https://www.premiumbeat.com/blog/when-use-close-up-shot/ (Accessed on 6 March 2019).
Gross, Z. (s.d) 'Practicals: ENG Camera Basics' In: Creative Liquid. [online] At: https://creativeliquid.com/blog/15/06/practicals-eng-camera-basics (Accessed on 6 March 2019).
Janney, R. (2018) 'Back to Basics: Mastering Wide and Close-Up Shots' In: Shuttterstock [online] At: https://www.shutterstock.com/blog/using-wide-close-up-shots (Accessed on 6 March 2019).
Janney, R. (2018) 'Back to Basics: Mastering Wide and Close-Up Shots' In: Shuttterstock [online] At: https://www.shutterstock.com/blog/using-wide-close-up-shots (Accessed on 6 March 2019).
Lane, A. 'TV resolution and picture quality explained: from SD to Ultra HD, HDR and beyond' In: BT [online] At: http://home.bt.com/tech-gadgets/tv/tv-resolution-and-picture-quality-terms-explained-full-hd-ultra-hd-hdr-wcg-hfr-11364289391226 (Accessed on 6 March 2019).
Lights Film School (s.d) What is the difference between progressive and interlaced Scanning? At: https://www.lightsfilmschool.com/blog/what-is-the-difference-between-progressive-and-interlaced-scanning (Accessed on 6 March 2019).
Maher, M. (2015) 'How to Frame a Medium Shot Like a Master Cinematographer' In: Premium Beat. [online] At: https://www.premiumbeat.com/blog/how-to-frame-a-medium-shot-like-a-master-cinematographer/ (Accessed on 6 March 2019).
McGregor, L. (2017) 'Camera Angles: Over The Shoulder or Single Shot?' In: Premium Beat. [online] At: https://www.premiumbeat.com/blog/camera-angles-over-shoulder-single-shot/ (Accessed on 6 March 2019).
Maher, M. (2015) 'How to Frame a Medium Shot Like a Master Cinematographer' In: Premium Beat. [online] At: https://www.premiumbeat.com/blog/how-to-frame-a-medium-shot-like-a-master-cinematographer/ (Accessed on 6 March 2019).
McGregor, L. (2017) 'Camera Angles: Over The Shoulder or Single Shot?' In: Premium Beat. [online] At: https://www.premiumbeat.com/blog/camera-angles-over-shoulder-single-shot/ (Accessed on 6 March 2019).
Morrison, G. (2019) 'TV resolution confusion: 1080p, 2K, UHD, 4K, 8K, and what they all mean' In: CNet [online] At: https://www.cnet.com/news/4k-1080p-2k-uhd-8k-tv-resolutions-explained/ (Accessed on 6 March 2019).
Moura, G. (2014) 'Shot Sizes: Telling What They See' In: Elements of Cinema. [online] At: http://www.elementsofcinema.com/cinematography/framing-shot-sizes/ (Accessed on 6 March 2019).
Owens, J. & Millerson, G. (2009) Television Production. (15thed.) Oxon: Focal Press.
Singleton-Turner, R. (2011) Cue & Cut: A Practical Approach to Working in Multi-Camera Studios. Manchester University Press: Manchester.
Moura, G. (2014) 'Shot Sizes: Telling What They See' In: Elements of Cinema. [online] At: http://www.elementsofcinema.com/cinematography/framing-shot-sizes/ (Accessed on 6 March 2019).
Owens, J. & Millerson, G. (2009) Television Production. (15thed.) Oxon: Focal Press.
Singleton-Turner, R. (2011) Cue & Cut: A Practical Approach to Working in Multi-Camera Studios. Manchester University Press: Manchester.
Studio Binder (2019a) The Wide Shot: Creative Examples of Camera Movements & Angles. At: https://www.studiobinder.com/blog/wide-shot-camera-angles-movements-examples/ (Accessed on 6 March 2019).
Studio Binder (2019b) Close-Up Shots: Examples of Camera Movement and Angles. At: https://www.studiobinder.com/blog/close-up-shot/ (Accessed on 6 March 2019).Utterback, A. (2016) Studio Television Production and Directing: Concepts, Equipment, and Procedures. (2nded.) Oxon: Focal Press.
Wong, J. (2012) '6 Reasons to Get an Extreme Closeup Shot' In: VideoMaker [online] At: https://www.videomaker.com/videonews/2012/11/6-reasons-to-get-an-extreme-closeup-shot (Accessed on 6 March 2019).
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