Cinematography-Theory-And-Practice

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color© 2012 Elsevier Inc. All rights reserved.10.1016/B978-0-240-81209-0.50012-9
COLOR IN VISUAL STORYTELLINGColor is one of our most important tools and not merely because wecan do beautiful things with it. Far more fundamentally is its poweras a communications tool. Color affects the viewer in the same waythat music or dance does: it reaches people at a gut emotional level.For this reason, it can be a powerful tool in creating visual subtext.There are three aspects of color that we must understand as cinematographers:The Nature of LightAs we recall from the chapter on exposure, light is composed ofphotons, which have the properties of both matter and light. EvenNewton recognized that individual photons don’t have “color,” butthey do have different properties of energy that cause them to interactin different ways with physical matter, which, when reflected isperceived by the eye/brain combination as “color.”Every beam of light has a characteristic color which can vary ifiblelight is a small part of the continuous spectrum of electromagneticradiation, most of which is not directly observable, and wasunknown until the 19th century. At the low-frequency (long wavelength)end of the spectrum we find radio, television, microwave,and infrared radiation.Then we encounter a tiny slice of the spectrum, that we can seewith our eyes; this extends from red to violet — the colors of therainbow. They were originally classified as red, orange, yellow,high-frequency colors are ultra-violet, x-rays, and gamma rays.is no longer used. Where formerly it could be memorized as Roy G.all properties of a wave. Light can be described in terms of its wavelength(Figure 12.4), which is measured in nanometers. A nanometer isone billionth of a meter.The Tristimulus <strong>Theory</strong>Most people can tell you that the three primaries are red, green, andblue, but few can say why these, of all colors are the primaries. Thereason lies in the physiology of our eyes.The human retina is filled with two kinds of light receptors thatare called rods and cones. The rods are primarily responsible for theperception of light and dark: value or grayscale. The cones primarilyperceive color. The retina has 3 kinds of cones. The response ofeach type of cone as a function of the wavelength of the incidentlight is shown in Figure 12.5. The peaks for each curve are at 440nm(blue), 545nm (green), and 580nm (red). Note that the last two actuallypeak in the yellow part of the spectrum.Figure 12.1. (previous page) Color isan important part of this still from amusic video. (Photo by the author.)Figure 12.2. The naturally occurringcolor spectrum and respectivewavelengths in nanometers.380nm 450nm 490nm 560nm 590nm 630nm780nmcinematography228
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cinematographytheory and practiceim
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cinematographytheory and practiceim
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contentsIntroductionThe Scope of th
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lighting sources 129The Tools of Li
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Video Exposure 198The Tools 199The
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optics & focus 269Physical Basis Of
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INTRODUCTIONTo a great extent the k
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writing with motion© 2012 Elsevier
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Figures 1.2 through 1.5. Visual ele
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a T-shirt, even though it hardly se
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factors involved: contrast and shar
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TextureThese days, we rarely shoot
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Figure 1.24. (top) This scene fromC
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Film is a dream — but whose?Bruce
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Figure 2.2. To convey the sense oft
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The Shots: Building Blocks of a Sce
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Figures 2.5 and 2.6. Ever the maste
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Close-upsClose-ups are one of the m
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Figure 2.15. (above) An atmospheric
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InsertsAn insert is an isolated, se
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Figure 2.23. A master shot fromRoni
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Overlapping or Triple-Take MethodTh
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Shooting the Freeform MethodHere’
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INVOLVING THE AUDIENCE: POVRecall t
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More subjectiveMore subjectiveMore
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visual language© 2012 Elsevier Inc
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Figure 3.3. (top) Balance plays a r
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Texture tors,texture gives
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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
Page 192 and 193: Figure 9.35. (top) Shot on thecamer
Page 194 and 195: CONTROLLING THE HD IMAGECertain bas
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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
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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 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
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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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