j i / imagemaking for cinematographers and directors
TRANSCRIPT
cinematoqraphy theory and practice - J I /
imagemaking for cinematographers and directors
second edition
blain brown
PARIS • SAN DIEGO • SAN FRANCISCO • SINGAPORE • SYDNEY • TOKYO
E L S E V I E R Focal Press is an imprint of Elsevier
contents Introduction
The Scope of this Book Titles and Terminology
writing with motion Writing with Motion
Building a Visual World The [Conceptual] Tools of Cinematography
The Frame The Lens Light and Color Texture Movement Establishing Point-of-View
Putting It All Together
shooting methods What Is Cinematic?
A Question of Perception Visual Subtext and Visual Metaphor
The Frame Static Frame
Cinema as a Language The Shots: Building Blocks of a Scene Establishing the Geography Character Shots InvisibleTechnique
The Shooting Methods The Master Scene Method Coverage Overlapping or Triple-Take Method In-One Freeform Method Montage
Involving The Audience: POV
visual language More Than Just a Picture
Design Principles TheThree-Dimensional Field
Forces Of Visual Organization Movement in the Visual Field The Rule of Thirds
Miscellaneous Rules of Composition Basic Composition Rules for People
language of the lens The Lens and the Frame
Foreground/Midground/Background Lens Perspective Deep Focus Selective Focus
Image Control at the Lens Lens Height Dutch Tilt
Visual storytelling Visual Metaphor
Telling Stories with Pictures Lighting As Storytelling
Film Noir Light As Visual Metaphor
Light and Shadow / Good and Evil Fading Flashbulbs Visual Poetry
cinematic continuity Shooting For Editing
Thinking about Continuity Types of continuity
The Prime Directive Screen Direction Turnaround
Cheating the Turnaround Planning Coverage
Cuttability The 20% and 30 Degree Rules
Other Issues In Continuity Introductions Other Editorial Issues In Shooting
Jump Cuts The Six Types Of Cuts
The Content Cut The Action Cut ThePOVCut The Match Cut The Conceptual Cut The Zero Cut
lighting basics The Fundamentals of Lighting
What are the Goals of Good Lighting Exposure and Lighting
Some Lighting Terminology Aspects Of Light
Hard Light and Soft Light Direction Intensity Texture Color
Basic Lighting Techniques Back Cross Keys Ambient Plus Accents Lighting with Practicals Lighting through the Window Available Natural Light
Motivated Light Day Exteriors
Fill Silks and Diffusion Open Shade and Garage Door Light Sun as Backlight
Lighting For High Def Video
lighting sources The Tools of Lighting Daylight Sources
HMI Units Xenons
LED Lights Tungsten Lights
Fresnels PARs
HMI PARs Soft Lights
Barger Baglights Color-Correct Fluorescents OtherTypes of Units
Softsun Cycs, Strips, Nooks and Broads Chinese Lanterns and Spacelights Self-Contained Crane Rigs Ellipsoidal Reflector Spots Balloon Lights Handheld Units
Day Exteriors Controlling Light with Grip Equipment
For More Information On Lighting
HD cinematography High Defand Standard Def Analog and Digital Video
Analog Digital Video
Types of Video Sensors Three-Chip vs Bayer Filter Sensors
Digital Video Standard Def High Def
Shooting Formats 2K, 4K and Higher Resolution Formats
Digital Compression RAW
Monitoring On the set The Waveform Monitor and Vectorscope
Waveform Monitors The Vectorscope
Video Latitude Clipping Video Noise and Grain
The Digital Intermediate (Dl) The Video Signal
Interlace Video Progressive Video NTSC and ATSC Colorspace
SDI Setting Up A Color Monitor
Monitor Setup Procedure Camera White Balance
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147 148 148 148 149 150 150 151 151 151 152 152 152 154 155 156 156 156 157 158 159 159 160 160 160 160 161 162 162 162 164
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Digital Video Encoding Is It Broadcast Quality? Do It in the Camera or in Post?
The Decision Matrix 10 Things to Remember When Shooting HD
Timecode and Edgecode Video Frame Rate Drop-Frame and Non-Drop-Frame 29.97 Video How Drop Frame Solves the Problem To Drop or Not to Drop?
Timecode Slating Tapeless Production
Metadata Tapeless Workflows
Digital File Types Container Files: Quicktime and MXF
Compression and Codecs Intra-frame versus Interframe Compression Bit Depth
MPEG Other Codecs
The Curve Controlling the HD Image
Gain/ISO Gamma Black Gamma/Black Stretch Knee Color Saturation Matrix Color Balance
exposure Exposure: the Easy Way
What Do We Want Exposure to Do for Us? Controlling Exposure The Four Elements of Exposure The Bottom Line How Film and Video Are Different Two Types of Exposure
Light As Energy F/Stops Exposure, ISO, and Lighting Relationships
Inverse Square Law and Cosine Law ISO/ASA
Light and Film The Latent Image Chemical Processing Color Negative Film's Response to Light
Densitometry The Log E Axis
Brightness Perception Contrast
"Correct" Exposure Higher Brightness Range in the Scene
Determining Exposure
165 166 166 167 167 168 168 168 169 170 170 170 171 171 171 172 172 173 173 173 174 176 177 179 180 180 180 180 180 180 180
181 182 182 182 183 185 185 185 186 186 186 187 187 188 189 189 190 190 191 193 194 194 197 198 198
VIM
Video Exposure The Tools
The Incident Meter The Reflectance Meter
The Zone System Zones in a Scene
The Gray Scale Why 18%? Place and Fall Reading Exposure with Ultraviolet
Exposure and the Camera Shutter Speed versus Shutter Angle
era movement Motivation and InvisibleTechnique
Basic Technique Types Of Moves
Pan Tilt Move In/Move Out Zoom Punch-in
Moving Shots Tracking Countermove Reveal Circle Track Moves Crane Moves Rolling Shot
Camera Mounting Handheld Camera Head Fluid Head Geared Head Remote Head Underslung Heads Dutch Head The Tripod High-Hat Rocker Plate Tilt Plate
The Crab Dolly Dolly Terminology Dance Floor Extension Plate Low Mode Front Porch Side Boards Risers Steering Bar or Push Bar
Cranes Crane/Jib Arm Crane Operation Non-booming Platforms Camera on a Ladder Remote on Cranes Technocrane Cranes on Top of Cranes
Car Shots
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209 210 211 212 212 212 212 213 214 214 214 214 214 215 215 216 216 216 216 216 216 216 216 217 217 217 217 218 218 218 219 219 219 220 220 220 220 220 221 221 222 222 222 222 222 223
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Camera Positions for Car Shots 223 Vehicle to Vehicle Shooting 223
Aerial Shots 224 Mini-Helicopters 224 Cable-Cam 224
OtherTypesOf Camera Mounts 224 Rickshaw, Wheelchair and Garfield 224 Steadicam 225 Low-Mode Prism 225 Crash Cams 225 Splash Boxes 225 Underwater Housings 226
Motion Control 226
color 227 Color In Visual Storytelling 228
The Nature of Light 228 The Tristimulus Theory 228 Functions of the Eye 229
Light and Color 230 Basic Qualities of Color 231
The Color Wheel 232 Color Models 232 Controlling Color 235
Color Temperature 235 Color Balance with Gels and Filters 238
Light Balancing Gels 238 Conversion Gels 239 Light Balancing Gels 241 Color Correction Gels 241
Correcting Off-Color Lights 244 Stylistic Choices in Color Control 244
image control 245 Color Printing 246 Controlling Color and Contrast 247
In the Lab 247 Bleach-Bypass and Other Processes 248
LookUp Tables 254 1D LUTs 255 3D LUTs 256
Camera Filter Types 256 Diffusion and Effects Filters 256 Contrast Filters 258 Effects Filters and Grads 258
ColorTemperatureand Filtration 259 Conversion Filters 261 Warming and Cooling Filters 262
Contrast Control In Black-and-White 262 Polarizers 263 Density Filters 263 IR Filters 264
Controlling The Look Of Your Project 264 Image Control With The Camera 266
Frame Rate 266 Shutter Angle 267 Time Lapse 268
optics & focus Physical Basis Of Optics
Refraction Focus
Mental Focus Circle of Confusion
Depth-of-field Depth-of-Field Calculations How Not to Get More Depth-of-Field Zooms and Depth-of-Field
Macrophotography Close-Up Tools Lens Care Lens adapters for Video
set operations The Shot List The Director Of Photography The Team
Camera Crew Operator First AC Second AC Loader Data Wrangler DIT
Slating Technique TimeCode Slates
Camera Reports Electricians Grips Other Units Coordinating with Other Departments
Set Procedures
technical issues Flicker Filming Practical Monitors
Monitors and MOS Shooting Shooting Process Photography
Greenscreen/Bluescreen Lighting for Bluescreen/Greenscreen
Dimmers Working With Strobes High-Speed Photography Lighting For Extreme Close-Up Underwater Filming Measures of Image Quality Effects Time-Lapse Photography Time Slicing Sun Location With A Compass Transferring Film To Video
Prepping forTelecine Shooting a Gray Card Reference Framing Charts
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