A photo is still, a movie dynamic. That is the first difference that the photographer has to muster before he becomes a man running a movie camera. The world is not longer frozen but fluid to him. Sound matters in TV as well as image as the medium is audiovisual. The photographer making the transition has to be fully aware of the challenges posed and act accordingly. Changing from a photographer to a cinematographer also pays better and is a much more responsible and important work. Here are some basic guidelines to make this step to success easier for you.
Be the camera
As a cinematographer you need to be in instrument. While the photographer views moments and the memories like the brain replaying the cinematographer is the eye. That captures everything that moves or is still. It does not matter therefore whether you have an expensive TV camera at your disposal or not. You need only a good handy cam to get the clarity and quality that you need for the picture to be of a standard enough quality for the screen. It is the man that decides what to immortalize, not the instrument.
Editing is an art
Photo editing consists of picking out the best moments to create the desired impact. Cinematography needs knowledge of the sequence to make the viewer understand what the director is trying to project or the scene means for the cameraman. A piece on a burning building for example will include a photographic montage that shows the building on fire, the people running out, the fire fighter and heroes running back in, the water and foam from the fire engines playing over the flames and the blackened ruins after. All this will be needed to put it on TV. A photographer needs to only however pick one scene, a scene of hope and glory, or panic, or bare recording of event according to his needs.
Using a TV camera means you have to as simple as possible. Lots of work with angles and shots and zooming in and put will notably ruin the meaning of the piece and will also cause your viewer to be irritated and disapproving of your efforts. It is always best therefore to observe a large gathering from a distance and zoom in occasionally, only to commemorate something significant, and for a particular celebrity to concentrate on the person himself without including the company of the person in the frame, focusing attention only and only on her.
Get a hand strap
A hand strap grants you more mobility. If you are running from one place to the other a heavy TV camera will slow you down significantly. The neck strap would make it bounce all over and be a regular upset to movement. A hand strap will enable to carry it like another piece of luggage and let you move faster and easier.
It is the tendency of the photographer to shoot it in black and white to emphasize the contrast in the scene and highlight other important things in the frame. A black and white image on TV however will make the people viewing it wonder if it is their set that has broken down or your camera. Therefore always choose a shot where you can get the most amount of color in your frame and allow the entire spectrum to be captured by the lens. This will make your sequence look vivid and vibrant.
Be part of a scene
You have to as a TV cameraman make the viewer believe they are at the scene. Your shot of the event should be therefore that if a person not a historian. You will flinch at dangers, shake when troubles approach; run when the situation demands and press up close curious when something f note is going on. A TV cameraman shooting from a distance is not a live cameraman but a documentary filmmaker. That can only be done as a specific directive. At all other times, you have to be a part of the scene.
The photographers from http://www.digitalexposure.co.uk/ advises to follow these easy steps that will make the journey smoothly and with credit.