Cinematography-Theory-And-Practice

Recommendations

Info

Figure 7.31. (top) If the practicalis set high enough to give properexposure to the subject, the lampitself is completely blown out.Figure 7.32. (middle) When thepractical lamp is set to a level thatgives it the proper exposure, thenthe subject is underexposed.Figure 7.33. (bottom) A separatesource is added to “carry” the lamp.It comes from the same directionas the lamp and gives the illusionthat the practical lamp is lightingthe actor. The source in this caseis a MolePar in a snoot box with adimmer.lighting basics123
lamp as in Figure 7.31, the lamp is totally blown out. If we dim itdown enough to see the lamp (Figure 7.32), then the actor gets lost.The solution was to have a light just out of frame on the left andbelow the table level. With this rig on a dimmer, it was possible toachieve the correct balance between the practical light and the actor’skey. The key to this technique is to make sure the light you are usingto carry the practical is hitting the actor from the same angle aswould the light from the practical lamp. It needs to be the same colorand quality (in terms of hard versus soft) as well.DAY EXTERIORSWorking with daylight can be a lot trickier than people think. Someproducer and directors believe that working with available daylightwill always be faster and easier. Sometimes, but not always. If it’s anovercast day (soft light), then nothing could be simpler.If you are dealing with direct sun, however, controlling it canrequire constant attention and adjustment. When dealing with actorsin direct sun, you have several choices: diffusion of the harsh sun, fillingand balancing the shadows, finding a better location or angle forthe shots, or moving the shot into open shade. See video examples onFillYou can use bounceboards or lights to fill in the shadows and reducethe contrast. Grip reflector boards (Figure 7.34) have a hard side anda soft side and yokes with brakes so they can be set and will stay aspositioned. The sun moves quickly, however, and it is almost alwaysnecessary to shake them up before each take. For this reason, a griphas to be stationed beside each board to re-aim it for each take. It isalso important to table them if there is a break in filming. This meansadjust the reflector to a horizontal position so it doesn’t catch thewind and blow over. Be sure to secure them heavily with sandbags.Between scenes, they should be laid on the ground on their sides soas not to damage the surfaces.strategy is to aim the hard side through medium diffusion (like 216)or the soft side through light diffusion (such as Opal), which justsmooths it out a bit.Silks and DiffusionAnother choice is to make the sunlight softer and less contrasty. Fortight shots, a 4x4 frame with diffusion can soften the light and can beheld by a grip stand, with plenty of sandbags, of course. For largershots, frames with silk or diffusion are made in many sizes: 6’x6’,8’x8’, 12’x12’, 20’x20’ and even 20’x40’. These larger sizes requiresolid rigging and should only be done if you have an adequate gripcrew who know what they are doing: a 12’x12’ silk has enough areato drive a sailboat at 10 knots, meaning it can really do some damageif it gets away from you in a wind.Open Shade and Garage Door LightThe simplest and often most beautiful solution to working withharsh direct sun is simply to get out of the sun entirely. If the directoris flexible about the scene, it is usually not only faster but alsobetter lighting to move the scene to a shady spot; best of all is openshade, which is the shady side of a building, trees, and so on, but opento the sky. Here the subject is lit by the soft light of the radiatingsky dome, reflection off the rest of the terrain and so on. The onlycinematography124
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 10 and 11:
Video Exposure 198The Tools 199The
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
Page 60 and 61:
FORCES OF VISUAL ORGANIZATIONAll of
Page 62 and 63:
Figure 3.16. (top) The sinuous S an
Page 64 and 65:
Open and Closed FrameAn open frame
Page 66 and 67:
Figure 3.25. (above) The rule ofthi
Page 68 and 69:
language of the lens© 2012 Elsevie
Page 70 and 71:
Figure 4.3. The wide lens creates a
Page 72 and 73:
shots and action sequences. The lim
Page 74 and 75:
Manipulating PerspectiveThere are m
Page 76 and 77:
Selective FocusThe characteristic o
Page 78 and 79:
IMAGE CONTROL AT THE LENSSome techn
Page 80 and 81:
Low AngleA low-angle shot can make
Page 82 and 83:
visual storytelling© 2012 Elsevier
Page 84 and 85:
penetrates the dusty darkness of ig
Page 86 and 87:
Figure 5.6. The black-and-whitefilm
Page 88 and 89: Figure 5.11. (top) The Judge, themo
Page 90 and 91: Figure 5.21. (above) The momentbefo
Page 92 and 93: cinematic continuity© 2012 Elsevie
Page 94 and 95: As discussed in Shooting Methods, t
Page 96 and 97: over some of that move. To just ski
Page 98 and 99: Figure 6.14. The line established b
Page 100 and 101: audience. That is its only reason f
Page 102 and 103: Figure 6.22. In this scene of a cou
Page 104 and 105: Figure 6.25. The 20% rule and the30
Page 106 and 107: Prop Continuity in CoverageThe prin
Page 108 and 109: Look Establishes New LineIn a relat
Page 110 and 111: INTRODUCTIONSWhen you are bringing
Page 112 and 113: Figures 6.45. (top) A dramatic ands
Page 114 and 115: As discussed in Shooting Methods, s
Page 116 and 117: Figure 6.51 (top). In 2001: A Space
Page 118 and 119: lighting basics© 2012 Elsevier Inc
Page 120 and 121: to a neutral card. This would likel
Page 122 and 123: Figure 7.5. (top) Lighting can crea
Page 124 and 125: Soft light: Light from a large sour
Page 126 and 127: Figure 7.11. (top) Flat front light
Page 128 and 129: — from very light, almost translu
Page 130 and 131: Figure 7.18. Blown out windows ands
Page 132 and 133: Ambient Plus Accentsevery corner of
Page 134 and 135: Available Light WindowsWindow light
Page 136 and 137: Carrying a LampOften we want the la
Page 140 and 141: danger here is your background: sin
Page 142 and 143: Figure 7.36. (top) Direct sunlight
Page 144 and 145: lighting sources© 2012 Elsevier In
Page 146 and 147: BallastsAll HMIs require a ballast,
Page 148 and 149: Figure 8.6. Larry Mole Parker ofMol
Page 150 and 151: the holder. Contamination will incr
Page 152 and 153: TennersThe 10K tungsten Fresnel com
Page 154 and 155: go from a very wide beam to a very
Page 156 and 157: Figure 8.21. (top) Barger Baglights
Page 158 and 159: Cycs, Strips, Nooks and BroadsWhen
Page 160 and 161: Figure 8.28. (above) A Mini Musco i
Page 162 and 163: HD cinematography© 2012 Elsevier I
Page 164 and 165: 10075HighlightsFigure 9.2. An analo
Page 166 and 167: DIGITAL VIDEODigital video exists i
Page 168 and 169: Lossy and Lossless CompressionA los
Page 170 and 171: Figure 9.7. (top) SMPTE 75% colorba
Page 172 and 173: 104° Red61° Magenta167° Yellow0
Page 174 and 175: Video Noise and GrainMotion picture
Page 176 and 177: Figure 9.15. Component outputson th
Page 178 and 179: Figure 9.17. Blue-only color barssh
Page 180 and 181: Figure 9.21. (above) The Chromadu M
Page 182 and 183: The Decision MatrixHere’s an orga
Page 184 and 185: Figure 9.24. (top) The timecodepane
Page 186 and 187: TAPELESS PRODUCTIONOne advantage (i
Page 188 and 189:
Cineon and DPX FilesOriginally crea
Page 190 and 191:
Figure 9.30. (top) A gradient grays
Page 192 and 193:
Figure 9.35. (top) Shot on thecamer
Page 194 and 195:
CONTROLLING THE HD IMAGECertain bas
Page 196 and 197:
exposure© 2012 Elsevier Inc. All r
Page 198 and 199:
close down the iris to a small open
Page 200 and 201:
The Bottom LineHere’s the key poi
Page 202 and 203:
one whole f/stop, we double the qua
Page 204 and 205:
the lower the light level the film
Page 206 and 207:
Figure 10.14. The Hurter andDriffie
Page 208 and 209:
Figure 10.16. Differences betweena
Page 210 and 211:
The total brightness range of the s
Page 212 and 213:
ABCDEFFigure 10.20. Exposure on fil
Page 214 and 215:
more critical in video than in film
Page 216 and 217:
“blinding white,” and so on. We
Page 218 and 219:
Zones in a SceneExamine a typical s
Page 220 and 221:
meter. The two readings should be t
Page 222 and 223:
ViewfinderMirror(closed section)Ope
Page 224 and 225:
camera movement© 2012 Elsevier Inc
Page 226 and 227:
Figure 11.2. A Chapman Lenny Armrig
Page 228 and 229:
Figure 11.3. A very simple pipe dol
Page 230 and 231:
Circle Track MovesWhen ordering a d
Page 232 and 233:
Dutch HeadDutch angle is when the c
Page 234 and 235:
front wheels are locked in and func
Page 236 and 237:
Crane/Jib ArmA crane is any camera
Page 238 and 239:
CAR SHOTSCar shots have always been
Page 240 and 241:
SteadicamThe Steadicam revolutioniz
Page 242 and 243:
color© 2012 Elsevier Inc. All righ
Page 244 and 245:
Functions of the EyeThere are many
Page 246 and 247:
creates white. The human eye has re
Page 251 and 252:
Red/Blue Axis(Color Temperature)Neu
Page 253 and 254:
Figure 12.19. Strong monochromaticc
Page 255 and 256:
Figure 12.21. This shot from FightC
Page 257 and 258:
STRATEGIES FOR DEALING WITH EXISTIN
Page 259 and 260:
Table 12.5. Gels can be used to cor
Page 261 and 262:
Figure 13.1. (previous page) CCE,a
Page 263 and 264:
Push processing tends to increase c
Page 265 and 266:
Skip BleachSkip-Bleach bleach
Page 267 and 268:
Other Image Control TechniquesCross
Page 269 and 270:
Figure 13.4. The distinctive lookof
Page 271 and 272:
Output0255255255InputInput3D LUTsti
Page 273 and 274:
Figure 13.10. (left) The image with
Page 275 and 276:
Figure 13.18. (top, near right) The
Page 277 and 278:
Figure 13.22. (top) An 85B.Figure 1
Page 279 and 280:
Table 13.5. Effects of filters in b
Page 281 and 282:
Figure 13.27. (top) Scene with nofi
Page 283 and 284:
Figure 13.31. The distinctive looki
Page 285 and 286:
Figure 14.1. (previous page)Extreme
Page 287 and 288:
Figure 14.4. Refraction.FOCUSFocus
Page 289 and 290:
Figure 14.6. How iris openingaffect
Page 291 and 292:
Figure 14.8. Deep focus (extremedep
Page 293 and 294:
Lens focus set at infinityHyperfoca
Page 295 and 296:
Figure 14.11. (top) In both of thes
Page 297 and 298:
Figure 14.15. A split diopter gives
Page 299 and 300:
Figure 14.16. (top) A snorkle syste
Page 301 and 302:
photographed by the video camera se
Page 303 and 304:
Figure 15.1. (previous page) A typi
Page 305 and 306:
Figure 15.3. DP Tom Denove usinga s
Page 307 and 308:
Figure 15.5. (top) Attaching a filt
Page 309 and 310:
Figure 15.8. (top) Types of toemark
Page 311 and 312:
Figure 15.12. Timecode slating with
Page 313 and 314:
Figure 15.14. SteadiCam or handheld
Page 315 and 316:
Figure 15.16. When shooting out int
Page 317 and 318:
Figure 15.18. Chief Lighting Techni
Page 319 and 320:
Figure 15.20. A common slatingmista
Page 321 and 322:
Figure 15.22. (top) A 40 foot light
Page 323 and 324:
Figure 16.1. (previous page) A comp
Page 325 and 326:
wave form of the power supply by sq
Page 327 and 328:
SHOOTING PROCESS PHOTOGRAPHYGreensc
Page 329 and 330:
Figure 16.3. (top) A large bluescre
Page 331 and 332:
Figure 16.8. A very large bluescree
Page 333 and 334:
completely independent of the frame
Page 335 and 336:
Figure 16.9. The Photo-Sonics 4B,ca
Page 337 and 338:
Figure 16.11. Without smoke andrain
Page 339 and 340:
Figure 16.14. (above) The Thundervo
Page 341 and 342:
consuming process. Also, a licensed
Page 343 and 344:
Figure 16.18. The lighting effectsh
Page 345 and 346:
Figure 16.19. A sun path chart fora
Page 347 and 348:
Figure 16.20. A grayscale and color
Page 349 and 350:
Figure 16.22. Framing chart forvide
Page 351 and 352:
Figure 17.1. (previous page) AnImax
Page 353 and 354:
Figure 17.9. A 2.20:1 widescreenasp
Page 355 and 356:
Widescreen 1.85:1Cinemascope 2.35:1
Page 357 and 358:
Figure 17.17. A graphic comparisono
Page 359 and 360:
ibliographyAdams, Ansel. The Negati
Page 361 and 362:
This page intentionally left blank
Page 363 and 364:
Best boy electric (second electric)
Page 365 and 366:
Color temperature, 231, 235-237, 25
Page 367 and 368:
Dolly left/right, 218Domino, 115Doo
Page 369 and 370:
4K HMI units, 134400 Blows, The, 96
Page 371 and 372:
Interframe compression, 153, 173Int
Page 373 and 374:
diopters, 283-284exposure compensat
Page 375 and 376:
Photopic (daytime) vision, 228-229P
Page 377 and 378:
Sides, 304Signal, video, 160-162Sil
Page 379 and 380:
Umbrellas, camera, 324Unbalanced fr
Page 381 and 382:
Page 383 and 384:
Page 385:
Also by Blain Brownand available fr
show all

Cinematography-Theory-And-Practice

Create successful ePaper yourself

Delete template?

Save as template?