Cinematography-Theory-And-Practice

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creates white. The human eye has receptors (cones) red/green, blue/yellow, which translate light waves of differing length to the opticfar-ranging implications in color theory, exposure, and even in howlight meters work.Paint is based on a subtractive system of color. The primaries are red,blue and yellow. The mixing of paint removes/subtracts light, Allcolors mixed would produce a muddy gray brown, or, theoretically,black. For our purposes we will be discussing the additive system ofcolor, since we deal primarily with light and video color systems. Anunderstanding of subtractive color is useful when discussing colorissues with the production designer, who deals with paint.Basic Qualities of ColorColor has four basic qualities: hue, value, chroma and color temperature.The first three are physical properties and are often called the dimensionsof color. The last is a psychological aspect of a color.HueA huegive names to color (i.e., red, yellow, blue, etc.). The average personcan distinguish around 150 distinct hues. The hue of a color is simplya definition of its wavelength: its place on the color spectrum.Hue, chroma (saturation) and value (lightness/darkness) make up thearound a Newton color circle (Figure 12.9). Starting from red and goingvideo, hue is generally referred to as phase, and we will see how thecolor wheel forms the basis of the vectorscope, which measures colorin video.ValueValue is the relative lightness or darkness of a colored surface anddepends on the illuminance and on its reflectivity.ChromaChroma, (also called intensity or saturation of color) is the strength ofthe color, or relative purity of a color — its brilliance or dullness(grayness). Any hue is most intense in its pure state; adding the color’scomplement (the color opposite it on the color wheel) lowersthe intensity, making a color duller. A color at its lowest possibleintensity is said to be neutral. For example, on video cameras thathave a saturation control, turning it down to zero will produce ablack-and-white picture.Warm and Cool ColorsAnother aspect of a color is temperature. The temperature is the relativewarmth or coolness of a hue. This derives from the psychologicalreaction to color — red or red/orange the warmest and blue thecoolest. Warm versus cool is a subjective description of colors.Color TemperatureColor temperature is measured in degrees Kelvin, abbreviated capitalK; it is more precise than describing them as warm or cool. Colortemperatures over 5000K are cool colors (bluish white), while lowercolor temperatures (2700–3000 K) are called warm colors (yellowishwhite through red). A more detailed explanation of color temperaturecan be found later in this chapter.Figure 12.6. Spectral response ofthe human eye.Figure 12.7. (top) Additive color isthe system used with light, gels andfilters. The primary colors in the additivesystem are red, green, and blue(RGB). It is called “additive” becauseadding the primary colors togethercreates white light. Also, in lightingwe can create colors by adding gelsto lights and mixing them.Figure 12.8. (bottom) Subtractivecolor applies to paint and ink. Theprimary colors in the subtractivesystem are red, yellow and blue(RYB).color231
da çok güzel ma’lûmat verdiler. fiunu da sözlerime ilâve edeyim ki,bafllang›çda kendileri ile adamak›ll› münâkafla etdim. Fekat onlar,benim bütün süâllerime o kadar inand›r›c› cevâblar verdiler, bunlar›o kadar metânet ve sabrla karfl›lad›lar ki, yavafl yavafl gözümünönünde bir perde aç›ld›¤›n›, içime büyük bir huzûr ve ferâhl›kgeldi¤ini his ediyordum. Birçok hurâfelerle dolu olan h›ristiyanl›¤›ntam aksine, bu dinde herfley akla uygun, mant›kî ve fikrîidi. Müslimânlar tek bir hâl›ka [yarat›c›ya] inan›yorlard›. Bu büyükyarat›c›, insanlar›n günâhkâr oldu¤unu söylemiyor, onlarani’metini bol bol ihsân ediyordu. Verdi¤i emrler aras›nda, benimanlamad›¤›m tek fley yokdu. ‹bâdetleri, s›rf Allahü teâlâya hamdetmek içindi. Onlar muhtelif resmlere, iflâretlere tapm›yorlard›.Kudsî kitâblar› olan Kur’ân-› kerîmin her âyetinin lezzetini rûhumdaduyuyordum. ‹bâdet için muhakkak bir ma’bede gitmekmecbûriyyeti yokdu. ‹nsan, evinde yâhud herhangi bir yerde ibâdetedebilirdi. Bütün bunlar, o kadar güzel, do¤ru ve insânî fleylerdiki, ben art›k, hakîkî Allah dîninin, müslimânl›k oldu¤unu kabûletdim ve seve seve müslimân oldum.39‹SMÂ’ÎL W‹ESLEW ZEJ‹LERSK‹(Polonyal›)1900 senesinde Polonyada Krokov flehrinde do¤dum. ÂilemPolonyan›n ismi târîhe geçen meflhûr bir âilesidir. Babam tam birateist [dinsiz] idi. Fekat, buna ra¤men çocuklar›n›n katolik terbiyesialmas›na izn vermifldi. Polonyada çok katolik vard›. Annemde koyu bir katolik oldu¤undan, bizim de katolik olarak yetiflmemiziistiyordu. Ben, dîne karfl› büyük bir sayg› sâhibi idim. Gerekferdin, gerek cem’›yyetin hayât›nda dînin en mühim bir rehber oldu¤unainan›yordum.Bizim âile, s›k s›k yabanc›larla görüflürdü. Babam gençli¤inde,çok seyâhatlar yapm›fl ve birçok ecnebî ahbâblar te’mîn etmifldi.Bundan dolay› biz, di¤er ›rklara, medeniyyetlere, dinlere karfl› birsayg› besliyorduk. Kimseyi kimseden ay›rmaz, her millete, her ›rka,k›saca her insana karfl› hürmet duyard›k. Ben kendimi Polonyal›de¤il, dünyâ vatandafl› sayard›m.Âilemin dünyâ ifllerinde düflüncesi, tam (orta yolu tutmak)fikrine dayan›yordu. Babam, hiçbir ifl görme âdeti olm›yan aristokrat[imtiyâzl›] bir s›n›fdan gelmifl olmas›na ra¤men, tenbelli¤i,iflsizli¤i hiç sevmez, herkesin muhakkak bir ifli olmas›n› tavsiyeederdi. Diktatörlü¤ün temâmiyle aleyhinde idi. Fekat, dünyâda– 247 –
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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
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Figure 9.35. (top) Shot on thecamer
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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
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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 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
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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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