Camcorder Masterclass - Index
Get Right up their Nose
...the use of Macro and Close-Up lens

We have all viewed videos which desperately require lots of big, big close-ups. I've lost count of the number of "Our Garden " ones which would be far more enjoyable if only they incorporated detailed close-ups of petals, stamens, bees and creepy-crawlies - a nature safari if you like.

Unfortunately, even with a camcorder placed at the minimum focussing distance, of 1 - 1.2 metres, and using maximum telephoto, such pictures will not always be attainable. But move the camcorder very close to the target, switch to macro, or attach a supplementary close-up lens, and the normal minimum focussing distance can be disregarded.

When discussing this with our Masterclass students, Eric mentioned that he contemplated buying a close-up lens but had been told that it slightly degraded the picture. For very close-up shots, he should stick to macro. He asked whether this was true. This degradation argument isn't new but I have yet to find any difference in the quality of a macro picture or that emanating from a good supplementary close-up lens.

Which should be used ? There are no rules. The choice is one of convenience. With macro, the zoom lens does not operate, so picture framing is dependent upon the closeness of the camcorder to the subject: if very close, lighting problems may arise.

However, when using a supplementary close-up lens, the camcorder is placed at a distance dictated by the dioptre rating, about nine and threequarter inches with a four dioptre. The picture is then framed using the zoom lens. This offers more flexibility and fewer lighting problems. A full zoom-in or -out is also possible.

A supplementary close-up lens is particularly suitable for video-copying photographs, artwork and print etc. It accelerates the shooting process because, with a constant focal distance, only subject replacement and reframing is required. We'll deal with close-up lens shooting elsewhere but now let's look at macro in a little more detail.

Macro

The depth of field for macro (and close-up lens) shots is extremely limited, sometimes only a few millimetres and, whilst some camcorders offer automatic macro settings, manual focussing is preferable and More likely to ensure that the most important part of the shot is correctly focussed.

Good lighting is essential in close-to-lens shooting. It ensures a greater the depth of field. Only the centre of a flower might be in sharp focus in dull conditions, but when sunlit or with additional reflected light a greater area will look sharp. A mirror, tinfoil or a white card can be used as a reflector. A perfectionist might even use a video light shining through a blue gel. For indoor shots additional lighting may be necessary.

The limited depth of field can cause problems. If the subject moves the picture may go out of focus. Try and shield or secure the subject so that it doesn't unduly move., Whilst it is adviseable to use a tripod or other support during shooting, there are occasions, such as trying to film in a flower bed, where it's difficult. For bee shots we suggest you set the macro lens at three or four inches, start recording, and whilst hand-holding the camcorder move it towards a suitable flowerhead in an area where bees are gathering pollen. When the picture comes in focus hold the camcorder steady and wait for a bee to alight. With any luck you shouldn't have to wait long.

Use of Close-up lens

We have already suggested that when shooting a montage from photographs, artwork or printed matter etc. a supplementary close-up lens can be more useful than a camcorder's macro facility. In the former instance, once the camcorder has been correctly positioned, picture framing is determined by using the zoom lens and, provided the photograph etc. remains at the same distance from the lens (focal distance), there is no need to refocus with each shot. However, the zoom lens cannot be used with macro, . Framing is achieved by altering the distance between the camcorder and the subject matter instead. This is far more time consuming and also involves constant refocussing.

Close-up lenses are obtainable in four ranges - one dioptre, two, three and four. The required focal distance between the subject and the close-up lens is determined by dividing the dioptre figure into one metre. Thus a two dioptre lens must be positioned 500mm (approximately 19.5 inches) from the subject matter whilst a four diopter would be 250mm. These measurements apply when the camcorder's focal setting is positioned at infinity. If set at the minimum focussing distance ( normally 1 - 1.2metres) then the camcorder will need to be moved slightly nearer.

Obviously the closer the distance between the subject and the lens, the smaller the area which can be covered. Conversely the smaller the area framed, the larger its "blow-up " on the screen. For instance, on the JVC GR-S707 camcorder, at the wide angle end (9mm) a four diopter lens covers an area 118mm by 155mm (roughly four and twothirds by just over six inches). But select the maximum telephoto setting (72mm) and an area of 15mm by 20mm fills the screen.

The slightest shake or movement will be magnified when using a close-up len so mount the camcorder on a tripod or a rostrum when shooting. Photos or other artwork might be mounted in a vertical position or placed on the table or floor, with the camcorder squarely angled downwards. A downwards shot makes life easier.

Committing it to Videotape

The next stage is to decide whether to record the montage in the camcorder or link the latter to a VCR and record direct onto the edit master. The latter course is preferable because it offers the superior first generation picture quality. (If S-VHS or Hi-8 is used throughout the degradation is less noticeable.) Unfortunately when a lot of shots are needed direct recording involves considerable to-and-froing between the editing bench and the rostrum. This may prove inconvenient and considerably slows down the task.

Up Close - The Depth of Field

Available depth of field with a close-up lens is extremely limited so it is vital that the camcorder is placed exactly at the right distance from the subject matter. This can be checked as follows:

1. If not already connected via the record VCR link the camcorder to a monitor/TV. This also assists in positioning, framing the subject and getting the right colour balance.

2. Switch to manual focussing, set the focal range to maximum telephoto and the focal distance on the camcorder to infinity. (or at the minimum range, if you prefer.)

3. With the camcorder in the monitor mode centre on some printed matter and, whilst watching the screen, move the camcorder towards or away from the print until maximum clarity is achieved.

During the above operation do ensure that the subject matter is adequately lit. Daylight might well be suitable, but beware of shadows, reflections or flare - particularly on glossy photographs. Better control can be exercised by drawing the curtains and illuminating with two 60 watt lamps with flexible heads angled at 45 degrees. Place one on each side of the subject and experiment with their positioning in order to obtain an even, well lit result. Also set the colour balance during this operation.

Framing and shooting - Final Tips

A lengthy montage of stills can be boring so consider adding movement and variation. A little above normal use of the zoom and maybe the occasional pan or tilt can add life to the static situation. in the latter two instances it's the still that has to be smoothly moved, not the camcorder. If you are fortunate enough to possess a good video processor then moderate use of dissolves etc. can also help.