|
Arabic
Bengali
Chinese
English
French
German
Hebrew
Hindi
Italian
Japanese
Korean
Malay
Polish
Portuguese
Spanish
Turkish
Ukrainian
Vietnamese|
BOOKS AND ARTICLES Tripods: what we stand on
A good tripod can dramatically improve the quality of your video. A bad tripod can kill him. What are the differences between good and bad tripods? A friend of mine was filming documentaries in a remote part of Oregon, hundreds of miles from the nearest town. The director-producer had Digital Betacam equipment, first-class sound and lighting equipment, excellent specialists to work with all this equipment. Renting equipment and hiring people cost a pretty penny. To save a little, he took a cheap tripod, which almost ruined all the work. When the cameraman tried to shoot panning, the tripod began to shake, it did not allow the camera to be tilted up or down smoothly, so it was not possible to shoot moving panoramas. I had to shoot handheld, or limit myself to simple static scenes. So a cheap tripod reduced the production value of the entire filming work. Even if your handheld camera is designed to be handheld or shoulder-mounted, that doesn't mean it's always the best way to use it. A good tripod can dramatically improve the quality of your video footage. Although the image stabilization systems found in some camcorders and broadcast lenses partially compensate for hand-held footage, in many cases, especially when the footage is intended for the Web, it is better to shoot with full stabilization. But what is a good tripod? What's the difference between a $200 department store video tripod and a professional video tripod? At first glance, a $300 tripod looks the same as one that costs $2000 or $7000. The wide range of prices is explained by the fact that different tripods use materials of different cost, they have different workmanship, different sales volume, they are designed for cameras of different weights. Supports Inexpensive household tripods have low quality aluminum alloy legs and cheap plastic or metal heads. Professional tripods are equipped with high quality alloy, steel or carbon fiber legs. These materials are lighter, stiffer and stronger than those used in household tripods. Many professional camcorders weigh much more and cost more than consumer camcorders. A set of props for professional or outdoor coverage can cost anywhere from $800 to $3000 (excluding the cost of the head). Most tripods designed for reportage or outdoor professional shooting are designed with two-link supports and a strut. Instead of simple legs, as in photography tripods, the professional video tripod leg consists of two links, each of which is two tubes nested one inside the other. These nested tubes provide the high torsional rigidity required for a video tripod so that the tripod itself does not twist when the camera is panned. The spacer is a three-beam support that rests on the ground and holds the tripod legs at a predetermined distance from each other. It makes it easy to adjust the height of the tripod, prevents the tripod legs from slipping or moving during shooting, and after shooting, it allows you to fold the legs faster. A professional tripod provides stability in all axes, withstands both regular and increased loads. Heads Lightweight video tripod legs are rigid and stable. Both professional and consumer tripod heads can use plastic and metal, but professional heads are designed and built to a high standard. A good tripod head allows you to smoothly pan and tilt your camera, even if it's cold, dirty, and worn. True professional video fluid heads have two plates with a layer of viscous oil between them. The plates rotate in a horizontal and vertical plane on a liquid cushion without touching each other. The liquid itself and all the internal parts of a good head are in a sealed shell that protects them from friction and adverse weather conditions. Cheaper tripod heads don't always provide smooth panning, especially in cold and dusty environments. The fact is that in them, the fixed and rotating plates either rub against each other, or are separated by some kind of solid material, such as a plastic gasket, which allows them to move smoothly. In so-called "almost fluid" heads, or "fluid effect" heads, there is a lubricant between the rubbing plates. Although some near-fluid heads provide as good panning as true fluid heads, they are usually manufactured with less precision (and therefore less cost) than fluid heads. Pollution, cooling, wear, heavy weight of the camera adversely affect the smoothness of their rotation. The resistance force of the head can be adjusted over a wide range without disturbing the smoothness of its turns and tilts. You can set the camera to a certain position without the help of clamps, which it will save. To do this, however, the chamber must first be carefully balanced on the fluid head. But since most operators use pre-fitted, quick-release pairs of plates to mount a camera on a tripod head, camera balancing is rarely done. To balance the camera on the fluid head, it is attached (along with the lens, microphone, battery, radio and any other accessories) to the head. Having achieved that the bubble level on the head showed that it is in a horizontal position, set a low liquid resistance and, moving the chamber back and forth, roughly center it. Then, using the micro-adjusters of the head, slowly move the camera forward or backward until its center of gravity is exactly above the center of the head. Cameras of different weights require different heads. If the head is designed for a camera that is lighter or heavier than yours, it will not give you the smoothness you want. A good fluid head for location videography can cost anywhere from $600 to $7000 or even more. Such a high price is due to the small volume of the market for professional video equipment compared to the market for consumer photography and video. The tripod fluid head is a precision instrument with high demands, and since their annual sales volume is quite small, manufacturers cannot reduce prices through mass production. In addition, professional video cameras are very heavy, which also increases the cost of professional tripod heads compared to household ones. Tripods for small cameras As with everything touched by the DV revolution, there has been a trend towards cheapening in the field of fluid head tripods. Until there was DV, owners of cheap analog camcorders could not appreciate the quality gain that comes with a good tripod, and did not need one. But now that compact, low-cost DV camcorders produce the highest quality images, tripod makers believe there are camcorder users looking for a good set of fluid head mounts. Because DV, DVCAM, DVCPRO, and Digital S camcorders can weigh and cost much less than their Betacam counterparts, the tripod legs and head can be smaller and lighter, as well as cheaper. Given that the development of DV formats will lead to an expansion of the professional video market in the future, tripod manufacturers may be able to reduce prices through mass production. All of these factors combined will result in lighter, better, and less expensive tripods. That's why several companies, using high-quality materials and high-end manufacturing processes, create heads and mounts designed for cameras weighing only a few pounds. Longtime professional tripod manufacturers including Miller, Sachtler and Vinten now offer low cost tripods with small fluid heads designed for DV camcorders. Typically, such a tripod consists of a fluid head, a panning knob, three legs, spacers, spikes, and rubber pads for the legs. The cost of such systems is from $1000 for cameras weighing up to 2 kg. The heavier the camera, the more expensive the supports and the head. These prices may seem too high. However, remember that $40 TV cameras are mounted on $000 tripods (and studio cameras are equipped with even more expensive pedestals). One day of bad footage can be far more costly than the cost of a good tripod and head. On a more optimistic note, using a good tripod is one of the cheapest ways to add value to your video footage. Posted by Jim Feeley - Senior Editor of DV magazine, Jim Feeley. tripods. A Leg to Stand On / DV, 1999, November, p. 52; Publication: codition.net.ua
▪ Lux - a unit of measurement of illumination ▪ Virtual Dub. Quick Guide and Helpful Tips
Artificial leather for touch emulation
15.04.2024 Petgugu Global cat litter
15.04.2024 The attractiveness of caring men
14.04.2024
▪ What color should the trains be? ▪ Microprocessors based on ternary code for the Internet of things ▪ Global Positioning and Navigation System GNSS
▪ site section Power supplies. Article selection ▪ Why Do Dogs Bury Bones? Detailed answer ▪ article The functional composition of TVs is different. Directory ▪ article Coloring billiard balls. Simple recipes and tips ▪ video transmitter article. Encyclopedia of radio electronics and electrical engineering
Home page | Library | Articles | Website map | Site Reviews
www.diagram.com.ua |
We recommend interesting articles Section 
See other articles Section 
Latest news of science and technology, new electronics:
All languages of this page