Cameras and Video

Cameras, both video and still have become indispensable tools for Palestine solidarity activists. With the growth of image and video sharing web sites such as Flickr and YouTube, it is faster and easier than ever to disseminate these materials to global audiences. The potential uses extend far beyond promoting a group’s own events. Extensive YouTube postings helped turn public opinion in the West against Israel’s 2006 in Lebanon, and continue to play a vital role for activists seeking to document attacks by West Bank settlers on Palestinians and internationals. Because digital content is much easier (and safer) to transport out of Israel/Palestine than non-digital, our discussion will focus specifically on digital cameras.

 

Still Cameras

Modern digital still cameras come in two varieties: Point and Shoot, or (if you’ve got the budget) SLR. The latter are a good choice for experienced photographers, but beginners should stick to one of the former types. Generally speaking, digitals offer the best options for activists, who sometimes need to remove media from their cameras, or distribute their photos quickly, easily, and with little, if any, notice. Unless you're a professional photographer, it's generally best to avoid investing too much money in any camera that will be used at the scenes of protests or documenting human rights abuses, as there is a strong likelihood that your camera will eventually be confiscated or destroyed.

 

The key considerations when choosing a digital camera are:

• Resolution: Measured in megapixels, more is better. If you want your photos to look good in print, don't settle for less than four.

• Size: The size of your camera can be a big deal if you need to quickly conceal it, or if you just prefer carrying as little weight as possible.

• Lens: Most digital cameras do not offer interchangable lenses.

• Zoom: The zoom feature of a digital camera will be described in terms of both "optical" and "digital" magnification. Optical zoom is the magnification supported by the lens itself, and digital is the result of the camera's circuitry simulating a greater level by multiplying the pixels. The more you use this, the more pixelated the image becomes. When using your camera to document the activity of soldiers, settlers, or police, it's often best to be able to take your photographs from afar through a powerful zoom lens. When comparing cameras, focus only on the optical-zoom figure.

• Batteries:Consider the type, the weight, and their typical life.

• Memory: Different cameras use different types of media to store photos.

 

Memory Types

 

Secure Digital (SD) card
The most popular type, these are available up to 4 GB in storage capacity). Newer types, called SDHC, have capacities up to 16 GB, but are not compatible with older devices.

 

MultiMedia Card (MMC)
(up to 8 GB capacity, outwardly identical, yet internally distinct from SD cards - nearly all devices that support SD cards are also compatible with MMC)

 

CompactFlash (CF)
(up to 8 GB)

 

xD Picture Card (xD)
(up to 8 GB)

 

Memory Stick (MS)
(up to 2 GB)

 

 

Learn more about the different types of digital camera memory here: www.photographyreview.com/memoryguidecrx.aspx

In choosing your camera, you should also consider the ease, speed and discretion with which the memory card can be removed or replaced should the need arise. As such, it is strongly recommended that you physically try out any given model of camera prior to purchasing it.

 

Video Cameras

Today's video cameras come in both analog and digital, with the latter format using either tape, card, or disc as recording media. As we did with still cameras, we will focus on the digital products because the ease of uploading content and quickly removing the media when necessary. Moving forward, analog video cameras will soon be completely replaced by
digital anyhow.

 

  

Choosing a Video Camera

 

 The key considerations when choosing a digital camera are:

• Lens Quality: This applies mostly to prosumer (mid-range) or professional cameras.

• Sound Quality: Is the audio input balanced or unbalanced? (details later in this section)

• Manual Audio Level Control: Mainly found on prosumer or professional cameras.

• Low-Light Operating Capabilities: If you are shooting at night, this is a must.

• Manual and Automatic Focus, Iris and Zoom Options: (details later in this section)

• Number of CCDs: A 1-chip camera (1 CCD) uses a single computer chip to process color.  A 3-chip camera (3 CCD) has three separate computer chips for processing the colors red, green and blue (collectively known as "RGB"). Separating the colors increases the image quality. For home use or for a web site, a 1-chip camera will be good enough. But if you intend the video for broadcast or for public display, you'll want the higher quality of a 3-chip camera.

 

Still Image Function

Most digital video cameras can function also as still cameras. However, the resolution of still images taken with a video camera is generally vastly inferior to that of images taken with a still camera. Likewise, most digital still cameras can capture video, but also at a reduced resolution. Until the technology changes, it's necessary to use different cameras for videos and stills if you want both to be of reasonable quality.

 

Optical Zoom

As described in the subsection on still cameras, the digital zoom figure is irrelevant. Judge your camera based on the optical zoom figure only.

 

Digital Effects

Most consumer cameras offer a set of digital effects that can be applied
during the recording (such as strobes, wipes, and color changes). If you have access to editing software, it is strongly recommended to avoid using the camera effects altogether. Instead, you should apply these and other, more sophisticated and finetuned effects during the editing phase, when you can control and shift their parameters carefully, and can reverse your selections if they prove ineffective. As with the digital zoom, the digital effects option should not determine your choice of camera.

 

Portability

Weight and size are important to consider. Generally, professional cameras are larger and weigh more than consumer and prosumer cameras.  The professional camera not only produces higher resolution and detail; its weight allows it to produce a more stable image as well. In the field, however, where speed, spontaneity and flexibility of action are crucial, the camera’s portability and the ease of handling it are often more important than the ability to capture maximum detail.

  

Batteries

Batteries typically account for the bulk of a camera's weight. Standard batteries weigh less, but on average last for no more than an hour ( their life also diminishes over time). Extended-life (two, four hour, or nine hour) batteries weigh more, but also provide much more operating time. Read the manual carefully to insure proper maintenance and prolong the lives of your batteries. Most batteries need to be removed from the camera while the camera is not in use. Some batteries must be depleted before recharging, and others require constant recharging while not in use.

 

 

Media Features

 

Tape Formats

Tape formats differ in their ordering of tracks, in their level of endurance, their width in inches (generally, a wider tape implies a higher degree of resolution), in their color sampling ratio, and other respects. Analog (non-digital) tapes include VHS (1/2") and S-VHS, Hi-8, 3/4", 1", BetaSP and others. Digitally coded tapes include Mini-DV Tape with and without a memory chip (the chip provides more accurate capturing during editing); DVC-Pro, Digital Beta, DVCAM, HDV and others. Mini-DV tapes are the tapes used for most DV consumer cameras. Their recording capacity is typically between one and tour hours. Note: with most media, you can set the camera to long-playing (LP) mode instead of standard mode (SP) to double the recording time. However, doing this greatly decreases the quality of the image.

 

Tape Maintenance

Ensure that the tape is taught and equally stretched to allow a constant level of contact with the camera’s play/record head by fast forwarding it all the way, and then rewinding it to the beginning, before you use it for the first time.

It is recommended that you do not reuse a tape, in order to prevent image dropouts (a result of the wear on the tape), unless you have means to degauss it first.

Keep your tapes, the used and unused ones, upright (like books) on a shelf, and far from any electro-magnetic equipment (such as speakers or a television)

You can lock the tape to avoid recording over it. To do this, look for the small white or red tab on the side of the tape, and slide it over to the lock position.

 

Equipment Media Standards

Cameras and playback devices are generally designed to comply with specific image standards. The NTSC standard calls for 525-line transmission and a frame rate of 30 frames per second (fps). NTSC used in countries including the U.S., Canada, and Japan. The PAL standard, used in Europe and in the Middle East, has 625 lines, and therefore a higher picture resolution. Its frame rate is 25 frames per second (fps), which approximates (and can be more easily converted to/from) the 24 fps frame rate of film. NTSC DV cameras capture video at a resolution of 720 x 486 pixels. PAL DV cameras capture 720 x 756 pixels. Conversion of the image between NTSC and PAL standards is possible, but requires professional equipment and can be quite costly.

 

Connectors and Cords

Every camera has connectors leading in and out of it, for cables carrying audio/video signals of different types. One common type of input/output is known as composite, because it carries information on all three colors (red, green, and blue--known as RGB) in a single cable. Most higher quality cameras offer a component input/output, which splits the signal into four pieces, carrying information about each of the three colors, plus luminance. Some of the other common types of video connectors are RCA and S-Video. All of these are described in Section 14, which deals with projectors. Other common types found used with digital video cameras are the following:

• Firewire: Carries both digitally encoded audio and video signals in and out of the camera, often to a computer

• BNC: A coaxial cable with the same type of connector used with most older televisions

 

 

Operating a Video Camera

 

All digital video cameras have menus for adjusting the various settings on the camera. The menu settings should be thoroughly checked before shooting, in order to make sure everything is set to your needs. Standard menu settings to be verified and set before shooting include the following:

 

Recording Mode

Make sure the camera is set to SP (standard play) rather than LP. LP stands for "long-playing" and will make extend the amount of recording time on your tape at the expense of severely degraded image quality. It's not worth it.

 

Audio Mode

This should be set to at least 16 bit/ 48 khz, equivalent to CD-quality.

 

Mic/Audio Level

Some higher end camera allow users to choose between automatic
and manual control of recording level.

 

Steady Shot

Many cameras include a digital version of a “steadycam” (an external device used to stabilize a camera), designed to compensate for any jiggling of the camera. You might want to turn this option on if you are not yet experienced in handheld shooting, and are using a handheld camera with no external steadycam. If your camera does not include this feature, or its does not work to your satisfaction, a. cheap homemade steadycam can be purchased at http://www.cs.cmu.edu/~johnny/steadycam/

 

Auto Features

Many cameras will allow you to choose between manual or automatic control of settings such as zoom, focus, iris (aperture), and white balance (discussed later in this section).

 

Zooming

Nearly all video cameras allow you to zoom in or out between two poles – Telephoto (closeup) which is marked as "T" and Wideshot (long shot), which is marked as "W". If you are using automatic zoom (the only option available on most consumer cameras), the speed of change between these poles is regulated by the camera, and responds subtly to the pressure of your finger on the zoom button. When using a manual zoom (available on professional cameras and on some prosumer cameras), the zoom is controlled by manually turning a zoom ring on the camera lens in one direction or another. The speed of the turn is flexible and variable, and depends on your own movement. Some cameras allow you to zoom further than the default limit of the camera's zoom lens, by shifting the lens zoom past a point marked as "Macro", into an alternative narrow zoom range, where detailed closeups can be recorded.

 

Terms for Common Shot Types

CU (Close Up) / ECU (Extreme Close Up)
MS (Medium Shot)
LS (Long Shot)
WS (Waist Shot)
FF (Full Figure)
Master Shot (establishing the scene)
POV (Point of View) / OTS (Over the Shoulder)
Pan (camera turning right and left from a stationary tripod location)
Tilt (camera turning up and down from a stationary tripod location)
Tracking (camera moving on a flat surface with the aid of a dolly or along tracks)
Crane (camera raised up and down by a crane)

 

Focus

All digital video cameras have built-in automatic focus features. It is crucial, however, to learn how to focus the camera manually, as the automatic focus can result in a very problematic, fluctuating image. Manual focus should be used when you are shooting any scene the involves movement on the Z axis (between your position and the scene's "horizon". Since auto-focus adjusts the image in relation to whatever it detects at the image's center, it will keep changing and readjusting focus to any and every movement taking place between the foreground and background of the scene. Instead, you will want to remain focused on a single object, allowing movement to occur without impacting the focus. Most cameras will allow you to switch between the manual and automatic focus either with a button, or by making a selection in the on-screen settings menu.

If you are using a professional camera, manual focusing is achieved by turning the focus ring on the camera lens in one direction or another. As with the zoom, the speed of the turn is flexible and variable, and depends on your own movement. It can thus be subtly adjusted to every shift in the subject's movement.

 

Manual Focus Practice Exercises

• Maintain a steady zoom degree on various objects while panning around the perimeter of a large room.

• Zoom from a far object to a nearby one abruptly, adapting the focus as you make the shift.

• Maintain an object at the same position in the frame (such as an object held by a person walking in front of you) as you move forward or backward.

 

Exposure and Light (Iris / Aperture)

Digital video cameras have built-in automatic exposure, or iris/aperture features. It is important, however, to learn how to iris the camera manually, as use of the automatic iris can result in fluctuating brightness. As with auto-focus, when the camera is set to auto-iris, the exposure / brightness level is adjusted to an internally calculated average. With any movement in the foreground of the shot (obstructing the light source), the amount of exposure is readjusted to meet this predefined average, and the image brightness level wavers. If the scene is too dark, and you need to open up the iris on the camera to let in the maximum amount of light, or if the background is too bright, and you need to close the iris to reduce the amount, you will need the manual iris control.

As with the focus, you may need to change a setting in your camera to switch from automatic to manual control of the iris. The exposure level is then adjusted by turning the iris dial in one direction or another. If you are using a professional camera, the iris is controlled manually by turning the iris ring on the camera lens in one direction or another. As with the zoom and the focus, the speed of the turn is flexible and variable, and depends on your own movement. It can thus be adjusted subtly to every shift in the subject's movement or the changes in the scene's overall light level.

 

 Depth of Field

Depth of field is the area within the image which is in focus. Depth of field can be long or short, depending on the iris (exposure) level, the degree of zoom and the camera’s distance from the object. If an object is far from the camera – the depth of field increases. Objects shot from near by would have a lesser range for movement within a focused field. When the iris is closed down (i.e., when little light is let in) – the depth of field is increased. When there is less light, the iris needs to open up, and the depth of field decreases. Wide angle zoom (zoom out) allows for a larger depth of field. Narrow angle (zoom in) decreases the depth of field. Even minute changes of movement along the Z axis of the shot at this point become very visible. If the subject is moving forward or backwards, it immediately moves out of the focus range. Constant adjustment of focus is thus necessary. On the other hand, figures shot with a narrow depth of field (if they are not moving forward or backwards) can be beautifully isolated against a (blurry) background and thus made more pronounced.

 

White Balance

The sum of the colors of light used to display the image you shoot (Red-Green-Blue) is White. When configuring what, exactly, your camera interprets as white, you are defining a base for interpreting all the other colors. Sunlight is rarely pure white, but rather takes on different shades (measured in temperature levels) such as yellow or red at sunrise and sunset, or blue in midday. The standard for “white” thus differs for each light setting on your camera (such as outdoors, indoors, tungsten light, neon light, cloudy day, and bright day).

Digital video cameras come with a white balance meter that tells the camera the temperature of the white color in the specific scene. The rest of the colors in the spectrum are adjusted according to the quality of the white, in order to make the video read accurately. The camera often assigns one of two default standards for “white” to the scene: either “Indoors” or “Outdoors”. For the best results, it is important to learn how to set the white balance of the camera manually, rather than relying on the automatic settings.

 

Title and Action Safe Areas

Because some televisions and monitors may crop portions of your image, it is important to compose your shots with this possibility in mind. To this end, most videographers utilize certain standards for ensuring that the most important elements in their shots will not be cropped out.

 

 

The Title Safe Area comprises center 80 percent of an image. Beyond this point, there is a chance that any titles inserted in the editing stage may be cut off. Any elements that you wish to ensure will be visible should be kept within this area.

The Action Safe Area encompasses the center 90 percent of an image, including the Title Safe Area. There is a slightly higher risk of cropping here than in the Title Safe Area. Any elements beyond this margin will likely be cropped out when the image is displayed on a television (standard televisions crop about ten percent, and HDTVs about five percent). The area likely to be cropped out is known as the Overscan Area.

 

Shooting Tip:

Record an extra few seconds before and after the actual action in your shot, to allow flexibility in editing later on. These buffers are referred to as “heads” and “tails”.

 

 

Using Microphones

All digital video cameras include at least an internal microphone, and some include a built-in shotgun mic. When using these, audio settings generally adjust automatically to the level of sound being recorded. If your camera supports it, attach an external microphone for best results. When doing so, adjust the audio recording level to correspond with the sensitivity of the microphone. Be sure to carefully select the appropriate microphone for the type of sound and location you are planning to work in. More information about microphones is found in Section 13 of this module.

 

 

Filming in Palestine

Dumenting the realities of life in Palestine is an important aspect of many activists' work, but it is often a dangerous undertaking. In the past, the Israeli military has, on occasion, specifically targeted people with cameras for arrest or worse. The way in which soldiers react to the presence of cameras may vary dramatically, and so it is best to be prepared for anything.

Here are a few basic tips to help keep you, your footage, and your subjects safe:

  

• At actions, never film or photograph the faces of Palestinian men who have not already been identified by the IDF. This can have major repercussions for them later.

• Outside of public demonstrations, where permission is assumed (save for the above cases), never photograph or film any activists without their explicit permission.

• Avoid filming or photographing Palestinians engaging in any form of violent behavior.

• Familiarize yourself with the means by which the media can be quickly removed from your camera. Plan how and where you might hide your media in a tense situation. Consider swapping in blank media, or media containing tourist images, so it's less obvious that you've removed the original.

• Know the right way and wrong way to interact with soldiers and settlers. Refer to direct action organizations such as the International Solidarity Movement and the Palestine Solidarity Project for up-to-date guidelines and suggestions.

 

 

Getting Footage Out of Palestine

As mentioned above, you should always come prepared with extra media for your camera. The safest way to transport your footage out of the country is by uploading it to the internet at the earliest opportunity, and then deleting it from your media. It's good practice to shoot a certain amount of photos or footage of typical tourist sites, or whatever else would make sense in the context of your "cover story" for the authorities. When leaving the country, you can remove all "questionable" footage from your media, and have only innocuous tourist footage with you when dealing with airport security or border police.

 

Recommended Resource: Video for Change

This collection of articles, published by Pluto Press, is billed as " the first ever comprehensive practical guide to human rights and video campaigning”. Though not specific to Palestine, readers will find many valuable ideas worth exploring. The book is currently available at a 20% discount through the authors' web site at www.witness.org.

 

 

 

Video Editing Applications

 

Adobe Premiere Pro

(Est. Retail Price: $250 - $1000)
www.adobe.com/products/premiere
Adobe Premiere Pro is among the most popular video editing applications. It is available for both Windows and Mac OS, and is used by many professional broadcasters. As a part of the Adobe Creative Suite, it boosts easy integration with related Adobe applications such as Photoshop and After Effects. It’s also extremely powerful, and many say, fairly easy to learn.

 

 

Final Cut Studio

(Est. Retail Price: $500 - $1300)
www.apple.com/finalcutstudio
Final Cut, which is available only for Mac OS, is extremely powerful, and even more popular with professional broadcasters (and filmmakers) than Adobe Premiere. In particular, it offers support for podcasting, which is fairly uncommon, and more options than nearly any competing product for importing High Definition video.

 

Cinelerra

(Freeware)
http://heroinewarrior.com/cinelerra.php3
Cinelerra is a free, open-source video editing application originally designed for Linux  Operating systems, but now available for Mac OS as well. Its major drawbacks, as of the lastest release, are generally considered to be the lack of a storyboarding mode, and support for only a limited number of audio tracks. Nevertheless, open-source software tends to advance very rapidly, so these limitations will likely be overcome before long. Did we mention that it’s free?