KAMAL INSTITUTE OF HIGHER EDUCATION AND

ADVANCE TECHNOLOGY
(Affiliated to Guru Gobind Singh Indraprastha University, Dwarka)

VIDEO PRODUCTION LAB

BA(JMC)253

Submitted to: - Submitted by: -

Ms Amanpreet ma’am shalini gope
(Assistant Professor) [BA(JMC) 2nd year]
 ACKNOWLEDGMENT CERTIFICATE

I would like to express my sincere thanks to my professor, Ms Amanpreet kaur for their
valuable guidance, constant encouragement and kind supervision throughout the report
work.
Also, I would like to thank organisation under whom I did my whole internship and so much I
learned so much more in the field.
With the time to time help and support of them all I was able to complete my internship as
well as the report work.
Date:21 December 2020
Student name: - Shalini gope
Bajmc 3rd Semester
 INDEX

S.NO ASSIGNMENT DATE SIGN

1 CAMERA 11-DEC-2020

2 LIGHTNING 17-DEC 2020

3 SOUND 29-DEC 2020

Camera
1. Operate and handle video camera:
a. White Balancing
• White balance (WB) is the process of removing unrealistic color casts, so that objects
which appear white in person are rendered white in your photo. Proper camera white
balance has to take into account the "colour temperature" of a light source, which
refers to the relative warmth or coolness of white light.
• In photography and image processing, color balance is the global adjustment of the
intensities of the colors. An important goal of this adjustment is to render specific
colors – particularly neutral colors – correctly. Hence, the general method is
sometimes called gray balance, neutral balance, or white balance

b. Exposure
• In photography, exposure is the amount of light per unit area reaching a frame of
photographic film or the surface of an electronic image sensor, as determined by
shutter speed, lens aperture, and scene luminance.

c. Depth of Field
• As a result, depth of field (DoF) is the distance between the nearest and furthest
elements in a scene that appear to be “acceptably sharp” in an image. The distance
between the camera and the first element that is considered to be acceptably
sharp is called DoF near limit.

= depth of field

= distance to subject

= f-Number

= circle of confusion

= focal length

•
d. Filters (External and Internal)
• Filters can help get it right in camera – while a number of them can be simulated in
post, it’s a lot easier to fix your sky while you’re filming it with a polarizer than it is
to try to correct it frame by frame later.
• Filters come in various thread sizes depending on how big your lens is. This can be a real
pain when you need to buy four of each type to fit your various lenses. One way around
 this is to buy a system of filters from a company like Cokin that have unthreaded filters
and a variety of threaded filter holders that you can drop them into. Another way is to buy
oversized filters and do-them-yourself by attaching them to smaller lenses either by just
holding them there, with wire, rubber bands or gaffer’s tape.
• External:- There are two main reasons that you'd put an external filter on your camera:
the first is that the filter does something to the image, like making the sky darker or
making the scene warmer or cooler, and the second is simply to protect the camera lens
and make cleaning the camera lens easier.
•

2. Camera mounts
• Simply put, a lens mount is an opening of a specific size on an interchangeable
lens camera that allows attaching lenses designed for that mount. ... As a result, a
lens mount became more than just a physical hole, but more like an interface between
lenses and cameras.

Composition
• Composition is how you choose to frame the video you're about to capture;
and composition is just as important for video as it is for still photography.

continuity of shots
• Continuity editing is the process, in film and video creation, of combining more-or-
less related shots, or different components cut from a single shot, into a sequence to
direct the viewer's attention to a pre-existing consistency of story across both time and
physical location.

camera movements
• 3. Camera Movements
• By incorporating a variety of different camera moves into your shots, you can add a
deeper sense of visual interest. Combine this with a strategic approach to
messaging and you'll be off to the races. As with deciding how to frame your shots,
take care when selecting the most appropriate camera move. The effect that each move
has can vary significantly in how it makes the viewer feel.
• Here are some well-loved camera moves to consider:
• Zoom
•
• Probably the most well-known camera move, zooming give the impression of moving
closer or further away from the subject. It can be used effectively to magnify a certain
focus point in the frame, but other moves such as a dolly, are a more natural way to
show movement. While a quick zoom can help add a sense of drama and energy when
used correctly, avoid over-using zoom as your default move.
•
• Pan
 • Panning is when the camera is moved horizontally from one side to another on a central
axis. This is a rotating movement in which the camera’s position remains in place, but
the direction that it faces changes. It can be used to follow a moving character or to fit
more into a frame, for example, panning across a landscape to create a sense of place.
• Tilt
• Tilting is similar to panning in that the camera is kept in a stationary position, but unlike
panning (which looks from side to side) tilting focuses on upwards & downwards
movements. Using a tilting motion helps to fit more into a single frame. A slow upwards
tilt can be very effective in making a subject appear bigger or more significant while a
downwards tilt has the opposite effect.
•
•
•
• Dolly
• A dolly shot is when the entire camera is mounted on a track and is moved towards or
away from a subject. Unlike a zoom shot, the world around the subject moves with the
camera. A dolly gives the illusion that the viewer is walking towards the subject and
can be a great way of creating a sense of intimacy between them.
• Truck
• Similar to dolling, trucking involves moving the entire camera along a fixed point, but
the motion goes from side to side, rather than in and out. It’s often used to follow
characters in action. Mounting the camera on a fluid motion track will help to stamp
out any jerking camera movements.
• Pedestal
• A pedestal (AKA Boom up/down or Jib up/down) involves moving the camera upwards
or downwards in relation to a subject. It’s different from tilting in that the entire camera
ascends or descends, rather than just the angle of the camera. A pedestal shot can be
used to frame a tall or high subject (such as a building) while keeping the framing at
eye level view for the viewer.

Lighting
• Use different types of lights (Indoor and Outdoor) for videography
• Lighting is the key to great looking video. In this article we will look at the various
features and capabilities you should take into account when choosing a light kit. We
will also examine the reflectors and diffusers available on the market and identify
their unique features.
• Video lights have four different types of bulbs or lamps. They are incandescent
(tungsten), fluorescent, halogen (or quartz) and Hydrargyrum Medium Arc-length
Iodide better known as HMI.
• Incandescent – The incandescent or tungsten bulb is just like the bulb in your living
room lamp. It burns with a yellow/orange light. Lights with this type of bulb are
inexpensive, have a short burn life, relatively low wattage and do not produce a
great deal of light.
• Fluorescent – The fluorescent tube has become more widely used in the video
industry over the past few years. Lights with fluorescent tubes give off very little
 heat, use a lot less power than their incandescent or halogen relatives and provide a
soft, even light. One extremely important breakthrough for the videographer is that
you can switch the tubes in a fluorescent light between indoor color temperature
bulbs rated at 3200K (Kelvin) and outdoor color temperature bulbs rated at 5600K.
This enables the videographer to use the light in any situation without having to
break out the color correction gels.
• Halogen – The halogen or quartz lamp is the most prevalent light source used in
video production. This type of bulb burns hot and bright and comes in high wattages.
This lamp provides an intense, steady, white light that is rated at 3200K (for indoor
shooting). The halogen lamp also has a long burn life, which makes it economical.
The disadvantages of the halogen lamp are its intense heat and high power
consumption. When using a light with a halogen lamp, you have to build in time for
the light to cool down before you put it away. Whatever you do, do not touch the
light while it is on. It will be very hot.
• HMI – The film and video industry uses HMI lights to create outdoor light on an
indoor sound stage, or to supplement the light outdoors. Though worth mentioning
here, these very intense lights are also very expensive and beyond the scope and
pocketbook of anyone reading this article.

2.Use of filters, reflectors and gels

• UV Filter

UV filters do exactly what it sounds like – filter excess UV light from

hitting your lens/sensor and negatively affecting your image.
Truthfully, most modern cameras don’t really require a UV filter,
however I highly recommend that you buy one simply as a means to
protect your lens (and investment). Many professional shooters like to
keep a UV Filter on their lenses at all times to protect the surface of the
lens from scratches and also to take the impact if the lens is dropped. You
need to be careful when using UV Filters as some of them can actually
 cause strange reflections/flares when shooting, but it is just good practice
to keep one on your lens whenever possible. Just remember to take it off
before shooting if your lens in prone to flares.
2. ND Filter
• If you don’t already own an ND filter kit (or a variable ND) you need to
get one. If you’re really new to this – ND filters essentially are like putting
sunglasses on your lens. They allow you to control the exposure of your
image without having to adjust your shutter speed, iris, or ISO setting.
They are invaluable to have, and a complete necessity for achieving
specific depth-of-field looks in camera.
ND filters can be purchased as a kit and stacked together to bring down
the overall exposure in small increments, or a variable ND filter will get
gradually darker as it is rotated. Variable NDs are the easiest and fastest to
use on set, but are often lower quality and can cause a slight color cast on
your image.

3. Polarizer
Next to an ND filter, the polarizer is arguably the most important creative filter that every DP
should have. Polarizers effectively cut out glare, reflections, and other unpleasant sources of
light without darkening the entire image substantially. In very simple terms – they are
designed to cut out the light that you don’t want in your image, but leave all of the light that
is giving you your exposure. Take a look at this example below:
• Polarizers are particularly useful when shooting through a car window, or any other
piece of glass that is causing a reflection, as the filter will help the camera to see right
through the glare. They also work beautifully when capturing shots of the sky and clouds,
bringing out fine detail and an overall richness that isn’t possible without them.

4. Diffusion
• With today’s cameras being as overly sharp as they are, there has never been a better
time to own a diffusion filter. As the name implies, diffusion filters soften your subject
slightly and can often create a beautiful but very subtle glow around certain parts of the
image.
• When diffusion filters are used with soft cameras, they can often create a final image
that is almost too soft and somewhat dream-like. However, when coupled with cameras like
the Lumix GH4 or Canon C300, which are very sharp to begin with (almost to a fault), they
help to get the image looking less digital and more organic.

5. Color Filters

I personally don’t use color-balancing filters often, however I do own a couple and they can
be very useful from time to time. Color balancing filters can effectively warm up, cool down,
or otherwise add some sort of color effect to your image. Custom white balancing and color
correction can certainly replicate the look of a color filter easily, but the end the result will
never be exactly the same.

Sound
• Audio Control
• The Pacific Northwest is a music and tech nirvana*. A region known for cool sound
and earth-shattering innovation. Maybe it’s something in the water. That could
explain Audio Control’s award-dotted 40-year history of designing and building
superb audio equipment from scratch.
• audio adjustment in video camera: audio levels and audio channels
Today's digital recording equipment is more accurate than ever at capturing audio
with vivid and crisp detail; however, videographers quickly discover that it's usually
the distracting noises that get captured the most vividly and crisply. There are many
steps that can be taken before a shoot that will help prevent these audio problems
from occurring, and lots of measures taken in post-production to repair the damage
that may already have been done. Not making this extra effort can mean the
difference between a merely adequate product and a more polished and professional
piece.
• Having the right microphone positioned in the right spot makes all the difference in
the world to the quality of your audio. The microphones that are commonly used in
video production come in a variety of shapes and sizes, and each of these tools has a
unique strength that allow them to capture better audio in a given situation. We
strongly consider investing in at least one auxiliary microphone for your camera
setup!
• Shotgun- Likely the most versatile all around tool to add to your setup, however
they're not suited for very loud environments. Learn more about them here.
• Wireless- These mics are the ultimate choice for freedom and mobility. Learn more
about camera-mountable systems here.
• Handheld- These are the standard for on-the-go interviews. Learn what makes specific
handheld mics better for video production here.
• Boundary/PZM- These inconspicuous mics can be placed on a wall, table, podium-
anywhere you need wide coverage. Learn more about them here.
• Stereo Microphones- With the proper gain adjustment, these mics can capture natural
sounding musical performances and ambiances both loud and quiet.
• Wired Lavalier- For the most direct pickup of an individual person, a lavalier is often
times the best way to go. Learn more about them here.

• The Rode NTG3 shotgun, the Sony UWP-V1 wireless, and an Audio Technica stereo
microphone
Choose your shooting locations carefully to avoid problematic audio environments
Remember to always scope out your shooting locations in advance when possible. Try
to bring the camera and microphone that you'll be shooting with and a good pair of
headphones to identify problem noise sources. What you hear through the microphone
is often very different than what you can hear with just your ears. That air conditioner
noise that you have subconsciously blocked out may seem much louder when
listening through your headphones.
• When microphones are used outdoors they require wind protection
If you are going to be out in the elements, make sure that you have adequate wind and
weather protection for you microphones. Keep in mind that lightweight foam
windscreens will not be adequate for any type of real breeze, so you should
consider heavier wind and rain protection to insure better results when shooting
outside. Lower frequency wind noise and dripping rain can easily render your work
unusable. Learn all about wind protection for shotgun microphones here.

The Tascam HD-P2 features XLR inputs and can sync to a time code clock
• Consider capturing audio using a separate recorder
• Some smaller DV cameras employ an automatic gain circuit that maintains consistent
input recording levels so that you don't have to. The problem with this system is that it
does not always yield desirable results and in some cameras it cannot be bypassed.
Making use of a separate audio recorder will not only avoid this problem by giving
you more control over levels, but you will gain superior results from a dedicated high
quality audio recorder. Learn how to integrate a portable digital audio recorder into a
 video camera set-up in this B&H educational article. For a breakdown of smaller
handheld recorders check out this B&H Buyer's Guide.

2. Use of different types of microphones for indoor and location video

recordings
• There are 2 main microphone types that you will be using in a studio or recording
environment, namely the Dynamic Microphone and the Condenser Microphone. There is
a third type called a Ribbon Microphone too, but these are less common and usually used
by professionals only.
• Explained

•
• THE MOST COMMON MICROPHONES AND THEIR USES
• When it comes to recording guitars, drums vocals and other acoustic instruments at home or
in the studio, you'll want the best sound possible and at all times. But to get it you’ll need a
selection of good quality microphones. Before you run out and buy a bunch of microphones,
you really need to have a bit of an idea of how you're going to use them should you want to
get the best out of your mic. The tricky part is figuring out which ones you’ll need, as not all
microphones are used for the same thing. If you’ve found yourself asking what are the
different types of microphones and struggling to figure out what microphone types you need
to record drums, guitars and vocals with, fear not, we’re here to help.
• What are the different types of microphones?
• There are 2 main microphone types that you will be using in a studio or recording
environment, namely the Dynamic Microphone and the Condenser Microphone. There is
a third type called a Ribbon Microphone too, but these are less common and usually used
by professionals only.
• Dynamic Microphones
•
• The Dynamic Microphone is a good all rounder microphone which can be used for vocals,
recording drums as well as guitar amps
• It does not need a power supply
• They are fairly low cost
• Most common types are the Shure SM57 and the Shure SM58
• Overall a dynamic microphone is a sturdier and more reliable microphone option for those
who play live, record their vocals or guitars at high levels and swing their microphones
around due to the fact if you drop them they’ll be ok. They take an awful lot of noise before
they start to distort, so for heavier guitars and more aggressive vocals in a live setting, this
microphone is for you. The technical bit is that these microphones use a moving coil
magnetic diaphragm to produce the audio signal and can handle high Sound Pressure Levels
(SPL). You can learn more about these microphones in our very in depth blog.
• Outdoor microphones
Unprotected measurement microphones are sensitive to environmental factors such as
wind, rain and snow. This shortcoming has been eliminated by specially designed units that
protect the microphone. GRAS offers two types;
•
• Permanent Outdoor Microphone Systems that are designed to be part of permanent noise
surveillance systems, i.e. for airport and community noise surveillance.They can withstand
all weather year after year. They are equipped with four-pronged anti-bird spikes on top of
the windscreen. This prevents birds from perching on top of the windscreen when the
microphone unit is placed outdoors for long-term unattended noise surveillance. Birds
perching on top of the windscreen can seriously disturb measurements or even overload the
measurement equipment. Furthermore, bird excreta can distort the acoustic properties of
the windscreen so that it no longer performs according to original specifications. Some
smaller birds have actually been known to nest on top of the earlier three-pronged anti-bird
spikes. Hence, the introduction of a fourth, centre prong.
• Outdoor Microphones designed for unattended outdoor use for very long periods. They
have state of the art weather protection. Extensive use of high-grade stainless steel enables
them to withstand a wide range of weather conditions and temperatures for a very long
period, i.e. easily a year or longer. The protection grid is a special design that offers added
water protection. The wind screen eliminates the effects of air flow and also serves as part
of the water protection. In addition to its acoustical function, the top cone acts as a bird
spike.
• Both types are available with 0° incidence for airport noise monitoring and 90° incidence for
community and traffic noise monitoring. All GRAS versions comply with the relevant
international standards for noise monitoring.
•
• GRAS outdoor microphones are among the range of special microphones that furthermore
includes