Sharing tips on using DVD camcorders

Introduction: Sharing tips on using DVD camcorders. Some cameras have a frame accumulation (also called sensitivity improvement) function. This function reduces the scanning speed to allow the CCD to accumulate more electrons when capturing each frame of image, thereby presenting a bright image in a low-light environment. Turning on this function can increase the minimum illumination measurement value geometrically. Tips for using DVD cameras

When the power supply is off, you can save power through the following methods;

1. When shooting outdoors, you can try to turn off the LCD backlight, so that Battery life will be greatly improved.

2. Use the viewfinder to shoot. Although this is not as convenient as LCD viewfinder shooting, it can save a lot of power.

3. If you don’t need to shoot, you should turn off the DV power directly. Because the recording disc in the DVD camcorder also rotates at high speed during standby, which consumes a lot of power. Turning off the DV power supply not only saves power, but also allows the DV to dissipate heat.

What should be paid attention to when using DVD cameras

1. Do not expose DVD cameras to high temperature environments (higher than 60 degrees or 150 degrees). For example, in a car that is exposed to sunlight or directly exposed to the sun.

2. Do not let the DVD camera get wet. Be sure to keep your DVD camera away from rain, sea water, and any other moist environment. DVD camera malfunctions or malfunctions caused by moisture or water are sometimes beyond repair.

3. A sudden rise in temperature may cause condensation to form inside the DVD camera.

-- Move the DVD camcorder from a cold place to a warm place (for example: move from outside to inside the house in winter);

-- Move the DVD camcorder from a cool place to a warm place. Move the place to a hot place (for example: move from inside the house to outside in summer); Basic operation methods and usage skills of camcorders

1. See technological progress from camera replacement

Cameras can generally be divided into three grades: home grade, professional grade, and broadcast grade. The earliest camera in our bureau was a household-type VHS camcorder. It should have been in 1984, 25 years ago. It used ordinary 1/2 video tapes. At that time, the TV station only had one such camera, and the image quality was also poor. The worst camera. Later, two cameras, Sony M3 and Toshiba C1, were used, using large 1/2 video tapes. The image quality of these two machines was obviously improved. They were broadcast-level cameras, but the cameras and video recorders were separated and connected by cables. On the shoulder is the video camera, and the video recorder backpack needs to be carried on the shoulder or carried by an assistant, and it is very inconvenient to move with the photojournalist. With the advancement of camera technology, our TV station purchased a true broadcast-level camcorder, which is now commonly known as a video camera. The video camera and video recorder are integrated. At that time, we bought two KY-19s from JVC Victory Company. and KY-17, using SVHS videotape. Compared with the old-fashioned cameras with backpack cameras in the past, our reporter's experience can be said to be that a shotgun is replaced by a cannon. We no longer have to carry the annoying tail when shooting, which is convenient and fast. However, the image quality has not been significantly improved compared to the image quality of early Sony and Toshiba. This is related to the defects of the SVHS standard of the JVC cameras at that time. Then BATCAM cameras began to enter our TV station. At that time, the earliest BATCAM cameras in our county were purchased by the audio-visual education center. Our station subsequently purchased three Sony BATCAM camcorders of different models, using BATCAM video tapes. Although they are all video tape recording signals, The image quality of the BATCAM system is far superior to previous models.

However, with the rapid development of digital technology, digital cameras soon began to gradually replace the old BATCAM cameras, which also brought about a series of changes in the collection, editing and broadcasting, especially our production and broadcasting, from linear video editing to non-linear video editing. With linear video editing, video material can be called instantly, eliminating the need for many external devices. The image quality will not be attenuated or damaged during image transmission and use. The P2 card camera configured last year has taken a step further towards pure digital recording, ensuring maximum video capture speed and image quality restoration. In just 20 years, the cameras in the hands of us photographers have been constantly replaced with the continuous advancement of technology. This also requires us to understand and skillfully use the machines in our hands through serious and in-depth study in order to take high-quality pictures.

2. Cleaning and maintenance of cameras

For us camera reporters, cameras are like guns in the hands of soldiers. We must take care of the machines in our hands just like we take care of our own eyes. The first thing every camera reporter needs to do when he becomes a camera reporter is to learn how to clean and maintain the camera.

Let’s talk about cleaning first. When I first started working as a camera reporter in 1993, the first lesson I learned was not how to use the machine. My teacher did not tell me how to use the camera, but held it Brushes, chamois, blowing balls, towels, take me to clean the camera first. Except for the lens, use a hard-bristled brush to remove dust from the camera. Don't miss every gap, and then wipe the entire camera with a semi-dry towel. The camera lens is the most delicate part of the entire camera. We cannot use a hard brush to clean it. First, clean the lens hood around the lens. Be sure to use a soft-bristled brush to clean away dust. The reason why you use a soft-bristled brush is because the cleaning area is too close to the lens to prevent damage to the lens. When cleaning the lens, look at the surface of the lens against the light. If there is only fine dust, you can usually clean it with a blower. If there is moisture or stains, use chamois or lens paper and wipe the lens in one direction. surface, and use a blower to blow away any remaining dust or fibers. We use the same treatment method to clean the viewfinder. The eye protection goggles on the viewfinder should be removed separately and cleaned with a stiff brush and wiped clean with a semi-dry towel.

Camera maintenance is a good habit that every camera reporter must develop. When you return from the interview, you must take out the video tape and close the video tape door. Even if you do not need to collect images at that time, you must take out the video tape so that the mechanical device inside the camera can rest. Then turn off the power, remove the battery and charge the battery. When the battery of our camera is not used up, we should discharge it first and then charge it as usual. After charging, we should remove the battery as soon as possible and turn off the charger. This can extend the service life of the battery and charger. I don’t know how many reporters can still treat our camera batteries and chargers according to this procedure. The charger in the equipment library is often a constant light, and the battery is often hung on the charger for a long time before the next use. I hope everyone can use it at work. Pay attention to the care of our camera batteries, charge and discharge as required, and try to extend the service life of the battery (nickel-cadmium batteries have a memory function, and charging after discharge can extend the service life. Lithium batteries do not have such problems). During the battery charging and discharging process, our reporters should return the commonly used switches on the camera, such as the automatic white balance switch, recording channel selection switch, and automatic shooting switch, because in many cases we will receive interview tasks at any time and are in a hurry when leaving. In a hurry, the advantage of returning the switch to the right position is that after the battery and video tape are installed, you can pick it up and shoot. If you have done enough preparations, you will make fewer or no mistakes when going out for interviews, and ensure the quality of the shooting.

Learning the correct methods of camera cleaning and maintenance is a required course for every camera reporter, and it is also a good habit that every camera reporter should develop.

3. Use of commonly used switches in cameras

There are many switches on our cameras, especially larger machines, like our commonly used Sony 600 series models

At most, the Panasonic 500MC P2, although the machine models are different, the commonly used switches are basically the same. First. The main function of the color filter switch is to select different filters according to different light conditions, and at the same time control the intensity of light entering the camera. In the past, camera color filter switches were usually 1st gear 3200K, 2nd gear 5600, and 3rd gear 5600 ND film. And the Sony 600 we are using now. After selecting 5600 or 3200, the first stop is a color filter under non-attenuated light conditions. Under normal light conditions, it can be used by selecting the correct white balance. The other three ND filters are used under strong outdoor light conditions, and you cannot use them when shooting indoors. Data such as one-eighth, one-sixteenth, and one-sixteenth are indicated on the ND film, but what this data tells you is that when using this color filter, the intensity of the light after the ND film will be reduced to the original light intensity. One-eighth, one-sixteenth, one-sixty-fourth, etc. At the same time, determine whether the ND filter is used correctly. The phase finder picture cannot be too bright or too dark. At the same time, the automatic aperture is between 7-10, and the shooting The brightness of the picture that comes out is basically normal; secondly, the gain switch. When shooting in a poor light environment, you can use the gain switch to forcibly increase the brightness level collected by the camera. There will be granular impurities on the surface of the image, and the more gain you add, the more likely it is. The larger, the rougher the image surface. Generally used at night when the light is extremely weak, the color filter must be placed at level 1 and the white balance at 3200; third, the video/color bar output switch. This switch is very simple and is usually placed at the GAM position. When the newly used video tape needs to record color bars, or when shooting requires interval prompts, the switch can be moved to the BASS position to output the color bars. Fourth, the black and white balance switch. Generally, the black balance does not need to be adjusted. It should only be adjusted when the camera is used for the first time, or when the camera is used for a long time, or when the season or temperature changes greatly. Everyone is familiar with the white balance switch. Generally, it is only used when shooting fixed subjects, because the light basically does not change. Adjusting the white balance can obtain the best color restoration, or uniformly calibrate the white balance when shooting with multiple cameras, so that each camera can The output video color is basically the same. When going out for interviews, as the subject changes and the camera position moves, everyone uses automatic white balance. The disadvantage of automatic white balance is that there will be deviations when the white balance automatically tracks and adjusts, resulting in inconsistent colors, but it basically does not affect the shooting effect. Fifth, the automatic white balance storage selection switch will generally set two different color temperatures in the A and B positions, such as 5600 and 4000. The lowest setting is generally the factory-set standard 3200K color temperature. The lowest gear of the Panasonic 500 is slightly different, allowing for quick switching between 3200 and 5600. Sixth, the automatic and manual sound level switching and channel selection switches of the video recorder are generally arranged up and down. Under normal circumstances, the automatic and manual sound level switching switch is on manual, and the automatic setting will cause background clutter. increase. As for the channel selection switch, as an experienced reporter, I will always set channel 1 to the on-camera microphone position, and channel 2 to the external microphone position without touching it. When an external microphone is needed, plug it directly into the 2-channel selector switch. On the road, in this way, the live sound can be collected while shooting the picture under any circumstances. Even if the interview microphone fails, the normal collection of the live sound can be ensured.

Under normal circumstances, uncommon switches such as: shutter switch (SHUTTER) are selected to be in the off state. Generally, the electronic shutter is usually set in the 60HZ mode, and no adjustment is required after setting; the aperture above the camera lens grip is manually The automatic switch (IRIS) is placed in the automatic position; the zoom ring switch ZOOM under the grip is placed in the SERVO machine control position. The zoom ring switch is only placed in the manual operation position during long-distance transportation; the rearmost part of the camera lens is the close-up focus adjustment ring (MACRO), which can be used when shooting relatively small objects. Press the switch marked M with your hand to adjust the focus; outside the close-up focus ring is the flange focus ring, which is mainly used to adjust the back focus, which is the lens mounting surface. The distance to the imaging surface. In addition, there are knobs to adjust the monitoring volume, and the knob to adjust the volume of the camera during playback are relatively simple, so I won’t go into details.

4. Commonly used shooting techniques

There are many shooting techniques for cameras, which are divided into movement methods. The four commonly used methods are push, pull, shake and move. The relative movement of the camera According to the angle formed by the subject, it is divided into overhead shots, flat shots, and upward shots; according to the focal length of the lens, we can also divide it into long focal length lenses, standard lenses, wide-angle lenses, and macro lenses.

What we call pushing and pulling refers to changing the proportion of the subject in the picture through the zoom ring of the lens. Let’s talk about pushing the lens first, which can make all or part of the relatively distant subject closer and closer to us in the picture. It gives people the feeling of moving from far to near, from surface to point, so that we can clearly observe the subject. The subject or even the local details of the subject. Usually this technique will play a role in highlighting the subject. Use this technique in a picture to focus the audience's attention on the characters you want to express and highlight. Scenery or details; pulling the lens can be said to be the process of bringing the current foreground object into the picture to the maximum extent, so that the subject photographed at the beginning gradually moves away from the picture, so that more and more of the surroundings of the subject and the background environment are revealed. This This technique is generally used to let the audience understand the location of the subject, the relationship between the subject and the surrounding people and scenery, and can even explain the process and background of the news event, giving people the feeling that the picture is from point to surface to small views. The panning lens usually refers to the camera lens shaking left and right or up and down while the camera operator's position remains unchanged. Especially when the wide-angle lens cannot capture the current scene, the panning lens can enable the audience to see the entire scene clearly. When shooting a wider area, Scenes such as large conference venues, pastoral mountains, lakes and rivers are mostly used for larger subjects, which gives the impression that the scene or the environment of the news event can be clearly seen from beginning to end; finally, let’s talk about it Shifting in push-pull panning, as the name suggests, refers to the movement of the lens. The movement of the lens is not obtained through the zoom ring or panning lens, but through the movement of the camera reporter's position. The audience can learn from each of your movements. See the different subjects and their backgrounds that change accordingly (shooting in the auditorium at the venue), or the changing position and movement state of the subject as well as the changing surrounding environment (shooting with people). Things to note:

Three key points: The first key point is stability. The word "steady" has two meanings. One is to hold the camera steadily and reduce the shaking of the lens to a minimum. The camera must be as stable as a rock on the shoulder. The palm of the hand must hold the camera handle firmly and the breathing must be steady for 10 seconds. It’s best to hold your breath when shooting within the lens; the second meaning is that the camera should be steady, don’t shrug your shoulders, don’t turn your palms outwards, ensure the stability of the picture, and always pay attention to the contrast between the periphery of the phase finder picture and the subject. The second point is composition. The simplest definition of composition is the position and proportion of the subject in the picture. Simply speaking, when shooting a single person, the head of the person being photographed should not touch the upper edge of the screen. When shooting the person from the front, the remaining space on the left and right is similar. When shooting from the side, the distance between the character's face and the frame of the picture should be greater than the distance between the back of the body and the frame of the picture, and the bottom border of the picture should not be lower than the character's waist.

A well-composed picture looks natural and coordinated, and the subject is in a moderate proportion in the picture. Many times we see some pictures that feel awkward. In most cases, the composition is not rigorous and is too random. If you want to have a good composition, you need to explore more in your daily shooting. You need to be serious during the shooting process and pay attention to the composition of the picture. The third important point is the angle. A good angle can give the audience a visual impact. A good angle requires the photographer to think sharply and observe the scene carefully. A good angle is found. It does not mean that you just stand in the most convenient place for yourself. A good angle always comes with diligent eyes and quick feet. It will be left to the prepared photojournalist. Handling of common camera faults

Here are two common troubleshooting methods:

The first is virtual focus. The so-called virtual focus means that after your lens is zoomed in and focused, you pull the lens away and find that the object in the picture is not clear. This situation is usually caused by the misalignment of the flange focus ring on the camera lens. When encountering something like this Situation reporter, don’t panic. Just pick up an object and place it about 3 meters away from the lens. Set the aperture to the manual position, push the lens closer to focus, then pull the lens away, adjust the flange focus ring to make the picture clear, and then repeat the above. Step 3-5 times until the picture returns to normal and is no longer out of focus. If it cannot be solved, you can take it back to me for processing.

The second type of failure is frost. I think many photojournalists have encountered frost on the lens and drum. The main reason is that the ambient temperature and humidity of the camera shooting environment change too much, especially from a low temperature environment to a relatively high temperature environment. For example, if the camera is taken out of an air-conditioned vehicle or room with a lower temperature in the summer to shoot at a higher outdoor temperature, and in the winter when the camera is moved from a normal ambient temperature into a warmer room or a greenhouse, the lens will be frosted. How to avoid it: If we go to a distant place for interviews in the hot summer, in order to prevent the camera from being in an air-conditioned environment for a long time, it is recommended to put the camera in the trunk of the car before departure, so that the temperature of the camera body will not be too different from the outdoor environment. , if there is no trunk, after arriving at the interview location, place the camera in the shooting environment so that its temperature is equal to the ambient temperature, and open the belt compartment to prevent the drum from frosting.

Frosting on cameras in winter is mostly encountered in greenhouses. Because greenhouses have high temperatures and high humidity, frosting is particularly serious and stubborn. It is recommended to prepare lens paper before the interview, wipe off the fog and moisture on the lens in time, fast in and out at the same time, shoot accurately and quickly, take a few shots and then put the machine out to dry, and open the belt compartment at the same time, which can alleviate the frost phenomenon. High temperature and high humidity environment will cause great damage to the camera, so you should pay attention to protecting the machine during the shooting process. The last thing to note is that when shooting outdoors on rainy days, the camera must be waterproofed. If there is no camera raincoat or other rain-proof conditions, you should not hesitate to take off your shirt to cover the machine to prevent the camera from being directly wet by rain.