10. Becoming better
By now, you’ve watched all the training videos and become familiar with the expectations of a camera operator. This section will focus on key operational techniques that apply to any camera and provide final insights on teamwork, creativity, and improving your craft.
Essential Terminology
Understanding these terms will help you operate efficiently and communicate clearly with the production team.
| Term | Definition |
|---|---|
| Pull In on Air | Zoom out while live. |
| Push In on Air | Zoom in while live. |
| Snap In and Out | A quick zoom in or out that is off air. |
| Pan | Moving the lens horizontally, left or right. |
| Tilt | Moving the lens vertically, up or down. |
| Tight Shot | Framing from the chest to just above the head, prioritizing the eyes in the top third of the frame. |
| Waist Up | Medium shot, framing from the waist to just above the head. |
| Knee Up | Framing from the knees to just above the head. |
| Head to Toe | Framing from just below the feet to above the head. |
| Big Wide | The widest the lens can zoom out. |
| Cover Shot | A shot that includes all the action on stage. |
| Two Shot | A shot with two people in the frame. |
| Clean Shot | A shot where the subject is alone in the frame. |
| Dirty Shot | A shot where another person or an object is in the frame with the subject. |
| Lead Room | Space in the frame in front of the subject. Give lead room opposite to the direction they are looking or moving. |
| Sticks | Another name for a tripod. |
| Rack Focus | Adjusting focus either forward or away from you. |
| Electric | Short for electric guitar. Make sure you know the difference between electric guitar and bass guitar. |
| Acoustic | Short for acoustic guitar. |
| Keys | Short for keyboard or piano. |
| Perc | Short for percussion, including drums. |
| BGVs | Background vocalists who are not the lead singer. |
| Position Numbers | Numbers assigned to vocalists based on their stage position, starting from left to right. |
| AD (Assistant Director) | The role of the assistant director is to call out moments that are going to happen in the show to help camera operators and the director prepare. |
| Returns | A feature that allows you to see either the program feed or the multi-view on your viewfinder. Use this to see what the other cameras are capturing and frame your shot accordingly. |
Composition and Creativity
A camera is just a tool—its impact comes from how the operator uses it. Strong composition creates more engaging shots. Keep these principles in mind:
- Always have a clear subject.
- Use depth by layering foreground, middle ground, and background.
- Follow the rule of thirds to frame subjects effectively.
Being creative with a camera depends on the situation. Some moments call for dynamic framing, while others require simplicity. Match the energy of the moment with the appropriate shot style.
Operating to the Music
Music-driven productions require camera movements that complement the pace of the song.
- Pushes and pulls are natural movements that work well across most camera types.
- A centerline camera can add movement by subtly rocking back and forth with the artist instead of zooming.
- For handheld cameras, drawing small figure-eight motions with the viewfinder crosshairs can create smooth, organic movement.
Moving cameras like Steadicam and dolly offer even more ways to enhance energy, but movement should always be intentional.
Intentional Camera Moves
Every movement should have a clear goal.
- Avoid unnecessary zooms or focus adjustments unless they reveal something meaningful.
- Lead room can be used creatively by framing subjects in unexpected ways.
- Handheld cameras have lens extenders that create a ghosting effect when partially engaged. This can be a stylized effect when used sparingly.
- A handheld camera placed on a wheeled tripod can mimic a dolly shot, but operators should be cautious of cables or floor irregularities.
- Racking focus during a dissolve can create a dreamy transition effect, but should be used sparingly to avoid an outdated look.
- Strong backlighting and lens flares can be used artistically to highlight subjects.
- The LED wall can be incorporated into shots, either by framing lyrics with a vocalist or transitioning smoothly from a full-screen slide.
Handling Q&A Sessions
Q&A sessions require a different approach than live performances. The camera plot will determine each camera’s role.
- Some cameras are responsible for cross-shooting guests. A clean shot is preferred unless the director requests a different framing.
- A handheld camera on wheels should maneuver for clean shots where needed.
- The centerline camera typically serves as a cover shot, especially in smaller venues.
- Jib cameras are important for post-production edits, ensuring clean and smooth coverage.
- A roaming RF camera is primarily used for crowd shots and over-the-shoulder angles, which are valuable for post-editing even if not taken live.
During Q&A moments, creativity is less important than maintaining clean, steady shots. The goal is clear visual coverage rather than artistic framing.
Teamwork and Professionalism
A great production is the result of a well-coordinated team. Keep these points in mind:
- Be aware of where other cameras are positioned to avoid appearing in their shots.
- Work together with handheld operators and adjust positioning as needed.
- Review previous shows to identify areas for improvement.
- Accept feedback and offer constructive criticism to others.
Final Thoughts
At Campus Production, the goal is more than just technical excellence. Whether running a camera, directing, or operating a fader, the work is ultimately about contributing to a meaningful experience. Some days, that will feel more natural than others, but maintaining an attitude of service and intentionality can make all the difference.
Through this course, you have gained a deeper understanding of camera operation and production teamwork. Continued practice and a willingness to learn will take these skills to the next level.