Roger Singleton-Turner
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Working with cameras
in Cue and Cut
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It takes time to master any kind of professional camera and there are specialist books on the subject. The information here is the basis of what anyone working in television or film production needs to know, but nothing beats working with a camera and an experienced camera crew. The process in most studio quality colour cameras entails the use of mirrors splitting the different wavelengths of light, usually into red, green and blue components. Each split needs its own CCD. This is broadly true for all current video cameras from cell-phones to the latest Red Digital Cinema equipment, where the quality of the image is close to 35 mm film. Colour control of the camera output, including colour balance and exposure, are dealt with by the Vision Operator through the CCUs. TV studio cameras should have tally lights.

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Cue and Cut

A practical approach to working in multi-camera studios


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