Cinematography-Theory-And-Practice

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© 2012 Elsevier Inc. All rights reserved.10.1016/B978-0-240-81209-0.50017-8
Figure 17.1. (previous page) AnImax frame from The Dark Knight.Figure 17.2. Full apertureAspect ratio: 1.319:1.980” x 735”.72 sq. in25mm x 18.7mm464.5 sq. mmFigure 17.3. Academy apertureAspect ratio: 1.37:1.864” x .63”.544 sq. in21.95mm x 18.6mm351.2 sq. mmFigure 17.4. Aspect ratio: 1:66:1.864” x .63”.544 sq. in.21.95mm x 16mm31.2 sq. mmFigure 17.5. Aspect ratio: 1:85:1.864” x .469”.405 sq. in.21.95mm x 16mm351.2 sq. mmASPECT RATIOSBefore the introduction of sound, the entire width of the film wasexposed. This is called full aperture or silent aperture. It is still usedtoday for formats such as Super35 (see the following). The format isessentially what was developed in the Edison labs at the very inventionof motion picture film, now called full aperture (Figure 17.2).Academy ApertureWith the introduction of sync sound, the Academy aperture wascreated in 1932 to allow space for the optical soundtrack. With theintroduction of sound, room had to be made for the optical track.To do this, the size of the aperture was reduced. This was called theAcademy aperture (Figure 17.3).1.66:1 and 1.85:1The next step in the evolution was the wider 1.66 frame. After thewide-screen craze of the fifties, there was a need for a wider formatthat did not call for special cameras or wide-screen projection equipment.The response to this was the introduction of the 1.85:1 aspectratio. In the United States this is still a very common format for anythinggoing to theatrical projection. Anything wider is consideredwidescreen (Figure 17.4). When shot for television and standardvideo release, the 1.33 aspect ratio is used.WIDE SCREENFor true widescreen, anamorphic lenses squeeze the image onto35mm film. In projection, the image is then unsqueezed to provide animage wider than standard 1.85. On the camera negative, the aspectratio is 1.18:1. When unsqueezed, the aspect ratio in projection isgenerally 2.35:1.AnamorphicAnamorphic photography was invented in France in 1927. A speciallens was suspended in front of the prime lens that compressed theimage horizontally to one-half its width, then unsqueezed it againwhen projected. The horizontal compression was eventually engineeredinto the prime lens itself so an additional optic in front ofthe lens was no longer necessary. Several versions of this system arein use today, and most major lens manufacturers also make highqualityanamorphic lens sets (Figure 17.6).VistavisionVistaVision runs standard 35mm film horizontally (Figure 17.7).Each frame spans 8 perforations, twice the area of a regular frame.It is still in common use, especially for any kind of special effects orplate work. The reason it is used for this type of work is that somethingthat is shot for a background plate or as part of a special effectspiece will likely go through several stages of optical printing or perhapsdigitizing. The larger format prevents the build up of excessivegrain and loss of resolution. 70mm is also used for plate work onfilms for which the production format is 35mm.IMAXCurrently the largest projection format is Imax, which is 70mm filmrun through the camera and projector sideways, similar to VistaVision.This results in a negative roughly the size of that producedby a 2-1/4 still camera (Figure 17.7). This extremely large negativeallows for projection screens up to five stories high. Omnimax is avariation which employs a curved screen and anamorphic lens.336
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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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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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Page 327 and 328: SHOOTING PROCESS PHOTOGRAPHYGreensc
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Page 331 and 332: Figure 16.8. A very large bluescree
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Page 335 and 336: Figure 16.9. The Photo-Sonics 4B,ca
Page 337 and 338: Figure 16.11. Without smoke andrain
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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: Figure 16.22. Framing chart forvide
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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
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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 385: Also by Blain Brownand available fr
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