Cinematography-Theory-And-Practice

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the authorBlain Brown is a cinematographer and writer/director based in Los Angeles. He has been the directorof photography, director, producer, writer, and editor on features, commercials, documentaries,and music videos on all types of formats from 35mm and 16mm film to digital and High Def 24Pvideo. He can be reached at www.BlainBrown.com.dedicationThis book is dedicated to my wife and inspiration, Ada Pullini Brown.acknowledgmentsAaton, s.a.Adobe, Inc.Airstar Lighting, Inc.Arri GroupBackstage Equipment, Inc.Barger Bag LightsBill BurkeBirns and Sawyer, Inc.Canon, USACentury Precision Optics, Inc.Chapman/Leonard Studio EquipmentChimera LightingHarriet CoxTom DenoveLarry EngleMichael GallartDon LamasoneDavid MullenDerry Museum, Derry, EnglandTony NakoEastman Kodak, Inc.Fisher Light, Inc.Flying Cam, Inc.FotoKem Film and VideoFuji Film, Ltd.Gamma and Density Co., Inc.Geoff Boyle and everyone at CMLGreat American Market (GAM)Michael HofsteinIra Tiffen and The Tiffen CompanyKino-Flo, Inc.Keslow CameraLance Steele RieckLee FiltersBrady LewisJ.L. Fisher, Inc.Lightning Strikes, Inc.Lowell-Light Manufacturing, Inc.Mark WeingartnerMark WoodMatthews Studio Equipment Corp.McIntire, Inc.Larry Mole Parker, Mole-Richardson Co., Inc.Panasonic, Inc.Panavision, Inc.PAWS, Inc.Photo-Sonics, Inc.Rosco Laboratories, Inc.San Luigi dei Francesi, Rome.Schneider Optical, Inc.Steve Shaw at Light Illusion (www.lightillusion.com)Sony Corp.Phil SouthSunray, Inc.Tektronix, Inc.Renato TonelliUltravision, Inc.Ultimatte, Inc.Wade RamseyWideScreen Software, Inc.about the websitePlease be sure to visit the companion website for Cinematography: Theory and Practice. On the website,you will find instructional videos and examples of techniques discussed in this book, including cameraessentials, setting up shots, scene shooting methods, lighting techniques, a day on set, and much more.http://booksite.focalpress.com/brown/cinematographyFor initial access, the website requires the use of the access code printed on the inside back cover of thisbook. If you have purchased an e-book version of the book, please visit the website for further instructions.During the registration process, you will be prompted to create your own username and passwordfor access to the site. Please record this for future reference.illustrationsIllustrations, photos, frames from films and page design are by the author except where credited. Mythanks to all those who contributed to the illustrations and instructional videos.acknowledgments343
ibliographyAdams, Ansel. The Negative. Little, Brown & Co. 1983ASC, Rod Ryan. American Cinematographer Manual. ASC Press, 2000.Arnheim, Rudolf. Art and Visual Perception. University of California Press. 1954Film as Art. University of California Press. 1957Visual Thinking. University of California Press. 1969The Power of the Center. University of California Press. 1982Barclay, Steven. The Motion Picture Image: From Film to Digital. Focal Press. 2000Bellatoni, Patti. If It’s Purple, Someone’s Gonna Die: the Power of Color in Visual Storytelling.Focal Press. 2005Bordwell, David and Kristen Thompson. Film Art: An Introduction. McGraw-Hill. 1997Brown, Ada Pullini. Basic Color Theory. Unpublished ms. 2000Brown, Blain. Filmmaker’s Pocket Reference. Focal Press. 1995Motion Picture and Video Lighting. Focal Press. 1995Campbell, Russell. Photographic Theory for the Motion Picture Cameraman. A.S. Barnes & Co. 1974Practical Motion Picture Photography. A.S. Barnes & Co. 1979Carlson, Verne and Sylvia. Professional Lighting Handbook. Focal Press. 1985Case, Dominic. Film Technology In Post Production. Focal Press. 1997Motion Picture Film Processing. Focal Press. 1990Cook, David. A History of Narrative Film. W.W. Norton & Co. 1982Davis, Phil. Beyond The Zone System. Van Nostrand Reinhold Co. 1981Dmytryk, Edward. Cinema: Concept and Practice. Focal Press. 1998On Screen Directing. Focal Press. 1984Eastman Kodak. Professional Motion Picture Films (H-1). Eastman Kodak Co. 1982Kodak Filters For Scientific and Technical Uses (B-3). Eastman Kodak Co. 1981Ettedgui, Peter. Cinematography: Screencraft. Focal Press. 2000Fauer, John. The Arri 35 Book. Arriflex Corp. 1989Feldman, Edmund Burke. Thinking About Art. Prentice Hall. 1996Fielding, Raymond. Special Effects Cinematography. 4th Edition. Focal Press. 1990G.E. Lighting. Stage and Studio Lamp Catalog. General Electric. 1989Grob, Bernard. Basic Television and Video Systems. McGraw-Hill. 1984Happe, L. Bernard. Your Film and the Lab. Focal Press. 1989Harrison, H.K. The Mystery of Filters. Harrison and Harrison. 1981Harwig, Robert. Basic TV Technology. Focal Press. 1990Hershey, Fritz Lynn. Optics and Focus For Camera Assistants. Focal Press. 1996Higham, Charles . Hollywood Cameramen: Sources of Light. Garland Publishing. 1986Hirschfeld, Gerald. Image Control. Focal Press. 1993Hyypia, Jorma. The Complete Tiffen Filter Manual. Amphoto. 1981Jacobs, Lewis. The Emergence of Film Art. Hopkinson and Blake. 1969Janson, H.W. The History of Art. 6th Edition. Harry Abrams. 2001Jones, et. al. Film Into Video. Focal Press. 2000Kawin, Bruce. Mindscreen: Bergman, Godard and First Person Film. Princeton University Press. 1978Maltin, Leonard. The Art of The Cinematographer. Dover Publications. 1978Mascelli, Joseph. The Five C’s Of Cinematography. Cine/Grafic Publications. 1956McClain, Jerry. The Influence of Stage Lighting on Early Cinema. International Photographer. 1986Millerson, Gerald. Lighting For Television and Motion Pictures. Focal Press. 1983Nelson, Thomas. Kubrick: Inside A Film Artist’s Maze. Indiana University Press . 1982Perisic, Zoran. Visual Effects Cinematography. Focal Press. 2000Rabiger, Michael. Directing - Film Techniques and Aesthetics. 2nd Edition. Focal Press. 1997Ray, Sidney. Applied Photographic Optics. Focal Press. 1988The Lens In Action. Focal Press. 1976cinematography344
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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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Figure 15.1. (previous page) A typi
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Figure 15.3. DP Tom Denove usinga s
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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 325 and 326: wave form of the power supply by sq
Page 327 and 328: SHOOTING PROCESS PHOTOGRAPHYGreensc
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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
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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 and 350: Figure 16.22. Framing chart forvide
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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: Figure 17.17. A graphic comparisono
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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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