TELEVISION SHOOTING TECHNIQUES

LEARNING OBJECTIVE: Identify the basic television shooting techniques.

Television pictures are subject to the aesthetic rules covered in Chapter 12. In fact, because of the wide usage of television, it can even be considered the standard by which we judge most picture composition. However, the following factors unique to television influence picture composition to a certain extent:

l Small television picture size. Because of the relatively small size of the television screen, objects must be shown relatively large.

l Inflexible aspect ratio. The 3:4 aspect ratio of the picture cannot be changed and all picture elements must be composed to fit it.

l What the camera sees is what the viewer gets.

The television camera serves as the viewer's eyes; therefore, camera movement, as well as the static arrangement of elements within the frame, must be considered.

l Time constraints. Because of the time limitations placed on all television productions, you may not be able to predetermine composition, especially during alive show. Sometimes, all you can do is correct certain compositional errors.

In the television business, the picture on the screen is referred to as a shot. A shot may change when either the camera or talent moves. Shots can last for only a few seconds or be as long as a minute or two. In extreme cases, one shot can last the entire program.

As a television camera operator, you must think in terms of shots and master the basic shots of television production.

Figure 14-32. - Television shot classification.

SHOT CLASSIFICATION

Shots for television (fig. 14-32) are classified in the following manner: l Extreme long shot (ELS)

l Long shot (LS)

l Medium long shot (MLS)

l Medium close-up (MCU)

l close-up (CU)

l Extreme close-up (ECU)

Using these terms is the most convenient way for the director to call for the type of shot he wants the camera operator to shoot.

By examining the purposes of the long shot and close-up, you can get an idea of the functions of the other shots. The long shot is used to show as much of the subject as possible while still keeping it recognizable. It is used primarily to show the audience the overall appearance of the whole subject and the subject's relationship to each of the scene elements. This is

important, because in subsequent shots (except the extreme long shot), only a relatively small part of the scene will be presented to the viewers. In television work a long shot is used to orientate the viewers or establish the scene.

The close-up is probably the best television shot. It is one of the most efficient compensations for the small size of the television screen and it is essential to creating intimacy and getting the viewer "into" the picture. Close-ups are, and should be, one of the most widely used shots for television. The director calls for a close-up for many purposes, the most common of which is to direct the viewer's attention to a specific object or facial expression.

The extreme long shot and extreme close-up are used to describe shots that include an even greater area or a more limited area, respectively. For example, in figure 14-32, the extreme long shot shows the main subject of the scene as a very small mass surrounded by a vast expanse of background and foreground. Consequently, the extreme close-up shows only the cowboy's finger pulling the trigger to discharge his weapon.

Figure 14-33. - One-talent framing.

Figure 14-34. - Single-object framing.