Cinematography-Theory-And-Practice

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UNIVISIONAnother variation of 3-perf was developed by legendary cinematographerVittorio Storaro in collaboration with his son. It is calledUnivision (sometimes spelled Univisium). Storaro’s conclusion wasthat too much film is being wasted between frames; also, manysoundtracks are not optical anymore. In his articles and interviews,Storaro makes a convincing argument for this format as more flexibleand universal. Univision as he proposes it has a frame aspect ratioof 2:1.The following are some of Storaro’s observations on this format: innormal widescreen film for theatrical release filmed in 1:1.85, thereis a lot of wastage in camera negative. With Univision’s 1: 2 aspectratio and digital sound (the sound track not on the film itself ), usingFigure 17.11. Super TVAspect ratio: 1.33:1.945” x .709”.67 sq. in.24mm x18 mm432 Sq. mmFigure 17.12. Super35 for 16x9(High Def).Aspect ratio: 1.78:1.945” x .561”.502 sq. in.24mm x 13.5mm324 sq. mmFigure 17.13. Super35 for 1.85.Aspect ratio: 1.85:1.945” x .511”.483 sq. in.24mm x 12.98mm311.52 sq. mm17.14. (left) Dimensions of sometypical Super35 formats.339
Widescreen 1.85:1Cinemascope 2.35:1Super35 Common Toplineonly three perforations per frame on the 35mm negative and thepositive, it is possible to have: in the quality of the image. It actually increases the averagequality of any panoramic and anamorphic picture. mag changes. them. anamorphic lenses. 16MM16mm is considerably simpler; there are two basic formats — regular16 and Super 16, but it is possible to extract different aspect ratiosin telecine. Super 16 currently enjoys enormous popularity. It canbe easily blown up to a 35mm projection print and it transfers withlittle or no compromise to widescreen video such as High Def. Manycompanies are using Super 16mm as a way of protecting for futurerelease of their production in widescreen HDTV — the aspect ratiosare very similar, which makes transfer simple.Standard 16 transfers easily to 4:3 video. With the improved filmstocks and digital postproduction, the quality of a film originated on16mm can be surprisingly good.3 Perf/3 Perf Super352 Perf TechniscopeFigure 17.15. Comparison of 35mmfilm frame formats. (Courtesy ofFotokem)340
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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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Figure 14.16. (top) A snorkle syste
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photographed by the video camera se
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Page 307 and 308: Figure 15.5. (top) Attaching a filt
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Page 315 and 316: Figure 15.16. When shooting out int
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Page 319 and 320: Figure 15.20. A common slatingmista
Page 321 and 322: Figure 15.22. (top) A 40 foot light
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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
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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
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: Figure 17.9. A 2.20:1 widescreenasp
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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