Cinematography-Theory-And-Practice

continuity, 77–78directional conventions, 83introduction of characters, 96–97line, 83POV cuts, 98relative size, 43reveals, 24High-angle shots, 63–65High-contrast film, 191–193High-Definition (HD) camerascontrols and menus, 178–179focus and sensor size, 61–62High-Definition (HD) video, 147–180analog video, 148–149analog/digital conversion, 165broadcast quality, 166camera white balance, 164–165compression, 152–154, 173–176digital intermediates, 159digital video, 148–149, 151file types, 172–173formats, 152Hurter and Driffield curve, 177–178image control, 179–180in-camera versus post-production editing,166–167latitude, 157–159lighting for, 126–128monitor setup, 162–164monitoring on set, 155sensors, 150signal, 160–162Standard-Definition video versus, 148tapeless production, 171–172timecode, 168–170vectorscopes, 156–157video encoding, 165–166waveform monitors, 156High-hats, 217High-speed photography, 319Hilight diffusion, 119History of Art, The (book), 68History of Narrative Film, A (book), 56Hitchcock, AlfredHitchcock’s rule, 29, 54suspense, 65zero cuts, 102Hitchcock/Truffaut (book), 54HMI units, 129, 130–135, 140, 244Hochheim, Frieder, 142Hollywood scrim set, 135Hollywooding, 126Honeydripper, 120, 122, 241Hood mounts, 223–225Horizon line, 46Horizontal perspective, 4Horizontals, 45, 48Hostess trays, 223Hot Mirror filters, 264Hot restrike, HMIs, 132, 135H.264 compression, 174–175Hue (phase), 156–157, 230, 231, 234Hurt Locker, The, 30Hurter and Driffield (D log E) curve,177–178, 191, 193–196Hyperfocal distance, 277–278Hz (hertz), 149II frames, 173Ideal (linear) film, 191–192, 194–195If It’s Purple, Someone’s Gonna’ Die(book), 115Image control, 245–268with camera, 266–268color and contrast control, 247–254color printing, 246–247color temperature, 259–262contrast control in black-and-white,262–264filters, 256–258High-Definition video, 179–180at lens, 63–66look of project, 264–265lookup tables, 254–255IMAX frame, 335–337Improvisation, 31InBetweenies, 138In-camera editing, 166–167Incident meters, 199–200, 313Industrial lights, 244Inertia point, 189Informational inserts, 9–10, 26Inkies, 138Innovision, 284In-ones (over; developing master; planscene;plan-sequence), 28, 30Inserts, 9–10, 25–26, 94Intensity (chroma), 180, 230–231Intensity of light, 114–115index355