Using a Tripod
Video 1: Why and When to Use a Tripod
Video 1 Transcript:
A tripod is indispensable for efficiently capturing a variety of Shot Types. In situations where getting close to the subject might interfere with the Scene’s physical or emotional activity, a tripod allows you to maintain distance and ensures steady Shots. As we discussed in the first camera module, if you try to hand-hold Shots like this, you’ll need to move into the character’s space so that you can zoom out to get a relatively steady Shot.
This Scene of Mr. Poole at home was shot using a tripod. As he works on his craft project, I maintain a comfortable distance while shooting a variety of Shot Types. Throughout the shoot, I don’t direct or interfere with his activity. If this Close Shot (CS) were handheld, I’d have to get uncomfortably close to Mr. Poole for the Shot to be steady.
[Video sync] “So what if we just take a moment and pause and take in this space with the courtyard”
Here’s an example of another story shot almost entirely with a tripod.
[Video sync] “Little things”
The narrative follows two groups exploring a museum and discussing various artworks.
[Video sync] “It looks older, just based off of…it seems a bit frayed and not as bright”
The cameraperson’s goal is to immerse the audience in these conversations, making them feel like they’re part of the group.
[Video sync] “I think she’s the king or the princess there”
This necessitates many Close Ups (CU) of people talking, listening and looking.
[Video sync] “Ok, I mean it’s possible, so”
The only handheld Shot occurs here when the children view an artwork from the stairwell.
[Video sync] “There’s two mans that are fighting”
Throughout the shoot, I didn’t direct or interfere with any of the conversations.
[Video sync] “Look familiar to you?”
I worked fast and efficiently with my camera mounted on a tripod.
[Video sync] “The types of flowers are on view about nine times a year”
Video 2: How to Use a Tripod
Video 2 Transcript:
Tripods are made up of two distinct components: the legs and the head. You can buy them separately or as a unit. Video tripods are not the same as photography tripods. Video tripods have built-in leveling devices, called ball levelers, and fluid heads for smooth movement – both of which we’ll talk further about in a moment.
Efficiently handling a tripod takes practice. One of the common mistakes is to try and adjust the tripod legs one at a time while they’re open. It’s very awkward and hard to get the height even. It is much easier to adjust the height of a tripod with the legs closed. Raise one leg and lock it. That takes the weight off of you. Then, open the other legs, and they’re the same height now. To open a tripod, put one leg down and pull back on the other two.
Don’t waste your energy by picking up the tripod and trying to close one leg at a time. It’s awkward and it takes up energy. The efficient way to close a tripod is to leave one leg on the ground and push the other two closed. When moving with a tripod, make sure you always keep the legs closed. It’s efficient and safe.
All tripods come with a mounting plate which must be securely attached to the bottom of the camera. The plate often includes an arrow indicating which side should face forward. The base of the camera includes two holes for a screw and a pin. Use whatever you have available to tighten the screw. If you’re using a phone, you’ll need a device like this one to securely hold the camera. It then attaches to a tripod plate.
There are various methods for attaching plates to tripod heads. One common approach is to slide the plate into a groove on the tripod head. Moving the plate forward and backward allows you to find the camera’s center of gravity. If it’s too far forward, the camera will tip forward; if it’s too far back, it’ll tip backward. Once you’ve found the center of gravity and locked it into position, the camera will stay in position. Never let go of the camera until you’re absolutely sure it’s mounted and locked in place.
Once your camera is mounted on the tripod it must be leveled. To adjust the level we use a ball leveler, which is positioned between the tripod legs and the head. Every leveler has a release knob, in this case located at the bottom of this center shaft. Releasing the lever loosens the ball. We use a bubble leveler to find level. When the bubble of air is in the center of the circle the camera is level.
Video tripod heads include controls for tilting and panning the camera. Tilting moves the camera up and down, while panning rotates it left and right. This knob locks and unlocks the tilt position. The knob on the opposite side adjusts the tilt tension. This impacts the fluidity of the movement, which is why they’re called fluid heads. Proper adjustment ensures that the tilt motion is neither too loose nor too stiff. Heavier cameras require more tension, while lighter cameras need less.
There’s also a lock knob for the pan control, but we seldom use it. Similar to the tilt tension knob, this is the pan tensioner. It adjusts the fluidity of the left and right movement. You want enough resistance so that it’s not too loose, but not so much that it prevents smooth movement.
When you’re ready to remove the camera from the tripod, first unlock the plate and then find the release button and slide the camera off the tripod.
Practice using a tripod until it becomes second nature – like a musician playing their instrument. It may feel cumbersome at first, but with time, it will start to feel like an extension of your body. In a future module, we will discuss the best techniques for hand-held camera work, but for now, focus on using your tripod as much as possible.
When considering which tripod to use or purchase, there are a number of variables that you should pay attention to. As cameras increase in weight, the robustness of the legs and fluid head must also increase. As legs and heads become more robust they increase in weight. Make sure that the head and legs of your tripod are appropriate for the weight of your camera, referred to as the “payload,” while also being as lite as possible. Lighter weight tripods, such as those made from carbon fiber, are more expensive than their heavier aluminum counterparts. Additionally, pay attention to the design and quality of the fluid head you purchase because they vary greatly.
For details about the type of tripod we recommend for lived-reality documentary filmmaking, see the Equipment Recommendations Cheat Sheet.
Credits for Film Samples:
Video 1:
“Home Sweet Home, Louisiana,” by Michael Sheridan for U.S. Department of Housing and Urban Development
“Behind the Scenes at the Isabella Stewart Gardner Museum,” by Michael Sheridan for the Isabella Stewart Gardner Museum