Cinematography-Theory-And-Practice

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Video Exposure 198The Tools 199The Incident Meter 199The Reflectance Meter 200The Zone System 200Zones in a Scene 203The Gray Scale 203Why 18%? 203Place and Fall 205Reading Exposure with Ultraviolet 207Exposure and the Camera 207Shutter Speed versus Shutter Angle 208camera movement 209Motivation and Invisible Technique 210Basic Technique 211Types Of Moves 212Pan 212Tilt 212Move In / Move Out 212Zoom 213Punch-in 214Moving Shots 214Tracking 214Countermove 214Reveal 214Circle Track Moves 215Crane Moves 215Rolling Shot 216Camera Mounting 216Handheld 216Camera Head 216Fluid Head 216Geared Head 216Remote Head 216Underslung Heads 216Dutch Head 217The Tripod 217High-Hat 217Rocker Plate 217Tilt Plate 218The Crab Dolly 218Dolly Terminology 218Dance Floor 219Extension Plate 219Low Mode 219Front Porch 220Side Boards 220Risers 220Steering Bar or Push Bar 220Cranes 220Crane/Jib Arm 221Crane Operation 221Non-booming Platforms 222Camera on a Ladder 222Remote on Cranes 222Technocrane 222Cranes on Top of Cranes 222Car Shots 223cinematographyix
Camera Positions for Car Shots 223Vehicle to Vehicle Shooting 223Aerial Shots 224Mini-Helicopters 224Cable-Cam 224Other Types Of Camera Mounts 224Rickshaw, Wheelchair and Garfield 224Steadicam 225Low-Mode Prism 225Crash Cams 225Splash Boxes 225Underwater Housings 226Motion Control 226color 227Color In Visual Storytelling 228The Nature of Light 228The Tristimulus <strong>Theory</strong> 228Functions of the Eye 229Light and Color 230Basic Qualities of Color 231The Color Wheel 232Color Models 232Controlling Color 235Color Temperature 235Color Balance with Gels and Filters 238Light Balancing Gels 238Conversion Gels 239Light Balancing Gels 241Color Correction Gels 241Correcting Off-Color Lights 244Stylistic Choices in Color Control 244image control 245Color Printing 246Controlling Color and Contrast 247In the Lab 247Bleach-Bypass and Other Processes 248LookUp Tables 2541D LUTs 2553D LUTs 256Camera Filter Types 256Diffusion and Effects Filters 256Contrast Filters 258Effects Filters and Grads 258Color Temperature and Filtration 259Conversion Filters 261Warming and Cooling Filters 262Contrast Control In Black-and-White 262Polarizers 263Density Filters 263IR Filters 264Controlling The Look Of Your Project 264Image Control With The Camera 266Frame Rate 266Shutter Angle 267Time Lapse 268x
Page 2 and 3: cinematographytheory and practiceim
Page 4 and 5: cinematographytheory and practiceim
Page 6 and 7: contentsIntroductionThe Scope of th
Page 8 and 9: lighting sources 129The Tools of Li
Page 12 and 13: optics & focus 269Physical Basis Of
Page 14 and 15: INTRODUCTIONTo a great extent the k
Page 16 and 17: writing with motion© 2012 Elsevier
Page 18 and 19: Figures 1.2 through 1.5. Visual ele
Page 20 and 21: a T-shirt, even though it hardly se
Page 22 and 23: factors involved: contrast and shar
Page 24 and 25: TextureThese days, we rarely shoot
Page 26 and 27: Figure 1.24. (top) This scene fromC
Page 28 and 29: Film is a dream — but whose?Bruce
Page 30 and 31: Figure 2.2. To convey the sense oft
Page 32 and 33: The Shots: Building Blocks of a Sce
Page 34 and 35: Figures 2.5 and 2.6. Ever the maste
Page 36 and 37: Close-upsClose-ups are one of the m
Page 38 and 39: Figure 2.15. (above) An atmospheric
Page 40 and 41: InsertsAn insert is an isolated, se
Page 42 and 43: Figure 2.23. A master shot fromRoni
Page 44 and 45: Overlapping or Triple-Take MethodTh
Page 46 and 47: Shooting the Freeform MethodHere’
Page 48 and 49: INVOLVING THE AUDIENCE: POVRecall t
Page 50 and 51: More subjectiveMore subjectiveMore
Page 52 and 53: visual language© 2012 Elsevier Inc
Page 54 and 55: Figure 3.3. (top) Balance plays a r
Page 56 and 57: Texture tors,texture gives
Page 58 and 59: Left/RightLargely a result of cultu
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FORCES OF VISUAL ORGANIZATIONAll of
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Figure 3.16. (top) The sinuous S an
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Open and Closed FrameAn open frame
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Figure 3.25. (above) The rule ofthi
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language of the lens© 2012 Elsevie
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Figure 4.3. The wide lens creates a
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shots and action sequences. The lim
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Manipulating PerspectiveThere are m
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Selective FocusThe characteristic o
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IMAGE CONTROL AT THE LENSSome techn
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Low AngleA low-angle shot can make
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visual storytelling© 2012 Elsevier
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penetrates the dusty darkness of ig
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Figure 5.6. The black-and-whitefilm
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Figure 5.11. (top) The Judge, themo
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Figure 5.21. (above) The momentbefo
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cinematic continuity© 2012 Elsevie
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As discussed in Shooting Methods, t
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over some of that move. To just ski
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Figure 6.14. The line established b
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audience. That is its only reason f
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Figure 6.22. In this scene of a cou
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Figure 6.25. The 20% rule and the30
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Prop Continuity in CoverageThe prin
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Look Establishes New LineIn a relat
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INTRODUCTIONSWhen you are bringing
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Figures 6.45. (top) A dramatic ands
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As discussed in Shooting Methods, s
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Figure 6.51 (top). In 2001: A Space
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lighting basics© 2012 Elsevier Inc
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to a neutral card. This would likel
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Figure 7.5. (top) Lighting can crea
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Soft light: Light from a large sour
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Figure 7.11. (top) Flat front light
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— from very light, almost translu
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Figure 7.18. Blown out windows ands
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Ambient Plus Accentsevery corner of
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Available Light WindowsWindow light
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Carrying a LampOften we want the la
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Figure 7.31. (top) If the practical
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danger here is your background: sin
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Figure 7.36. (top) Direct sunlight
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lighting sources© 2012 Elsevier In
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BallastsAll HMIs require a ballast,
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Figure 8.6. Larry Mole Parker ofMol
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the holder. Contamination will incr
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TennersThe 10K tungsten Fresnel com
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go from a very wide beam to a very
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Figure 8.21. (top) Barger Baglights
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Cycs, Strips, Nooks and BroadsWhen
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Figure 8.28. (above) A Mini Musco i
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HD cinematography© 2012 Elsevier I
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10075HighlightsFigure 9.2. An analo
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DIGITAL VIDEODigital video exists i
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Lossy and Lossless CompressionA los
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Figure 9.7. (top) SMPTE 75% colorba
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104° Red61° Magenta167° Yellow0
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Video Noise and GrainMotion picture
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Figure 9.15. Component outputson th
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Figure 9.17. Blue-only color barssh
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Figure 9.21. (above) The Chromadu M
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The Decision MatrixHere’s an orga
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Figure 9.24. (top) The timecodepane
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TAPELESS PRODUCTIONOne advantage (i
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Cineon and DPX FilesOriginally crea
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Figure 9.30. (top) A gradient grays
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Figure 9.35. (top) Shot on thecamer
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CONTROLLING THE HD IMAGECertain bas
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exposure© 2012 Elsevier Inc. All r
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close down the iris to a small open
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The Bottom LineHere’s the key poi
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one whole f/stop, we double the qua
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the lower the light level the film
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Figure 10.14. The Hurter andDriffie
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Figure 10.16. Differences betweena
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The total brightness range of the s
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ABCDEFFigure 10.20. Exposure on fil
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more critical in video than in film
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“blinding white,” and so on. We
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Zones in a SceneExamine a typical s
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meter. The two readings should be t
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ViewfinderMirror(closed section)Ope
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camera movement© 2012 Elsevier Inc
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Figure 11.2. A Chapman Lenny Armrig
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Figure 11.3. A very simple pipe dol
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Circle Track MovesWhen ordering a d
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Dutch HeadDutch angle is when the c
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front wheels are locked in and func
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Crane/Jib ArmA crane is any camera
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CAR SHOTSCar shots have always been
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SteadicamThe Steadicam revolutioniz
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color© 2012 Elsevier Inc. All righ
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Functions of the EyeThere are many
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creates white. The human eye has re
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Red/Blue Axis(Color Temperature)Neu
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Figure 12.19. Strong monochromaticc
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Figure 12.21. This shot from FightC
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STRATEGIES FOR DEALING WITH EXISTIN
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Table 12.5. Gels can be used to cor
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Figure 13.1. (previous page) CCE,a
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Push processing tends to increase c
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Skip BleachSkip-Bleach bleach
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Other Image Control TechniquesCross
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Figure 13.4. The distinctive lookof
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Output0255255255InputInput3D LUTsti
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Figure 13.10. (left) The image with
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Figure 13.18. (top, near right) The
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Figure 13.22. (top) An 85B.Figure 1
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Table 13.5. Effects of filters in b
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Figure 13.27. (top) Scene with nofi
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Figure 13.31. The distinctive looki
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Figure 14.1. (previous page)Extreme
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Figure 14.4. Refraction.FOCUSFocus
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Figure 14.6. How iris openingaffect
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Figure 14.8. Deep focus (extremedep
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Lens focus set at infinityHyperfoca
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Figure 14.11. (top) In both of thes
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Figure 14.15. A split diopter gives
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Figure 14.16. (top) A snorkle syste
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photographed by the video camera se
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Figure 15.1. (previous page) A typi
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Figure 15.3. DP Tom Denove usinga s
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Figure 15.5. (top) Attaching a filt
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Figure 15.8. (top) Types of toemark
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Figure 15.12. Timecode slating with
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Figure 15.14. SteadiCam or handheld
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Figure 15.16. When shooting out int
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Figure 15.18. Chief Lighting Techni
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Figure 15.20. A common slatingmista
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Figure 15.22. (top) A 40 foot light
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Figure 16.1. (previous page) A comp
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wave form of the power supply by sq
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SHOOTING PROCESS PHOTOGRAPHYGreensc
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Figure 16.3. (top) A large bluescre
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Figure 16.8. A very large bluescree
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completely independent of the frame
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Figure 16.9. The Photo-Sonics 4B,ca
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Figure 16.11. Without smoke andrain
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Figure 16.14. (above) The Thundervo
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consuming process. Also, a licensed
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Figure 16.18. The lighting effectsh
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Figure 16.19. A sun path chart fora
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Figure 16.20. A grayscale and color
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Figure 16.22. Framing chart forvide
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Figure 17.1. (previous page) AnImax
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Figure 17.9. A 2.20:1 widescreenasp
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Widescreen 1.85:1Cinemascope 2.35:1
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Figure 17.17. A graphic comparisono
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ibliographyAdams, Ansel. The Negati
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Best boy electric (second electric)
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Color temperature, 231, 235-237, 25
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Dolly left/right, 218Domino, 115Doo
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4K HMI units, 134400 Blows, The, 96
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Interframe compression, 153, 173Int
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diopters, 283-284exposure compensat
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Photopic (daytime) vision, 228-229P
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Sides, 304Signal, video, 160-162Sil
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Umbrellas, camera, 324Unbalanced fr
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Also by Blain Brownand available fr
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