Cinematography-Theory-And-Practice

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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
Interframe compression, 153, 173Interlaced video, 151, 160International Radio Engineers (IRE) units,156International Standards Organization (ISO),180, 183, 187–189Interpositives (IP), 248, 252Intervalometers, 326Intraframe compression, 153, 173Inverse square law, 187Invisible technique, 27, 211–212IP (interpositives), 248, 252IR filters, 264IRE (International Radio Engineers) units,156Iris (aperture), 182–183, 186–187, 198, 274ISO (International Standards Organization),180, 183, 187–189JJanson, H.W., 68Jarmusch, Jim, 16Jaws, 214Jeunet, Jean-Pierre, 7JFK, 48, 50Jib arms, 220JPEG (Joint Photographic Experts Group),153, 176JPEG2000, 173, 176Ju Dou, 234Jump cuts, 88, 96–97Juniors (2K tungsten Fresnels), 137KKaminski, Janus, 249Kawin, Bruce, 13Key grips, 300Key light, defined, 108Khondji, Darius, 249Kickers, 108, 114, 116Kill Bill, 64, 116, 238Killer’s Kiss, 39–40, 50Killing, The, 69Kino Flo units, 114, 131, 141–142, 144Kiss Kiss Bang Bang, 237Knee controls, 157, 176, 178, 180Knee region (shoulder), 157, 176–177, 180,192, 194–195, 198Kodak Gray Card Plus, 333–334Kubrick, Stanleyconceptual and match cuts, 101continuity of time, 81frame within a frame, 50linear perspective, 43–44low-angle shots, 65POV, 31rhythm, 39slow disclosure, 94–95static frame, 15Kuleshov, Lev, 36Kuleshov effect, 36Kurosawa, Akira, 18–19, 60–61, 81LLadders, cameras mounted on, 222Lady from Shanghai, The, 13dutch tilt, 66Hitchcock’s rule, 29, 54manipulating perspective, 58–60wide lenses, 55Lady in the Lake, The, 32, 35Latent images, 189–190Latitude (dynamic range), 154, 157–159Lawrence of Arabia, 79LB (light balancing) gels, 238–239, 241LB (light balancing) index, 236Lean, David, 81LED lights, 134, 136Left to right order, 43Lekos, 144Lens extenders, 285Lensers, 64Lenses, 53–66See also Opticsadapters for video, 285–286caring for, 285frame and, 54–63image control at, 63–66as tool of cinematography, 6–7Levinson, Barry, 70, 75Lexan, 326Light, 110–115color and, 115, 230–231direction, 113–114as energy, 186film and, 188–191hard, 110–111intensity, 114–115nature of, 228soft, 110–113cinematography356
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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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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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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 and 350: Figure 16.22. Framing chart forvide
Page 351 and 352: Figure 17.1. (previous page) AnImax
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 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: 4K HMI units, 134400 Blows, The, 96
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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