Cinematography-Theory-And-Practice

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246, 258, 265–266NEC (noir en couleur), 251Negative contrast, 193Negative fill, 146Negative space, 4–5, 51Negatives, 189–190Nets, 145–146, 257–258Neutral axis, 84–85, 90Neutral density (ND) filters and gels, 119,246, 258, 265–266Newton, Isaac, 232Newton color circle, 231–232Nine and 1/2 Weekscutaways, 23flare, 53, 62lighting, 103–104punch-ins, 59rain effects, 325silhouette shots, 2011984, 249Nodal points, 278–279Noir en couleur (NEC), 251Noise, 158–159, 183Nolan, Christopher, 68Non-booming platforms, 222Non-drop-frame format, 168, 170Nooks, 143Normal lenses, 54, 62Noseroom (looking room), 52NTSC (National Television StandardsCommittee) video, 148, 151, 160OO Brother, Where Art Thou?, 8–9, 159, 254Obies, 134Objective POV, 33, 35O’Connor, Chadwell, 216Offset arms, 219Omniscient narrator, 33On the Waterfront, 2180° line. See Line1.85:1 aspect ratio, 3361.66:1 aspect ratio, 3361.2K HMI units, 1341D LUTs, 255, 2561K tungsten Fresnels (babies), 135, 138One-light dailies, 247Opal, 113Open face lights, 138Open frame, 49Open shade, 124–125, 127OpenEXR, 176Optics, 269–286See also Lensesdepth-of-field, 275–280lens adapters for video, 285–286lens care, 285macrophotography, 281–285physical basis of, 270–271OTS. See Over-the-shoulder shotsOut of Africa, 195Out of the Past, 48OverexposureSee also Exposurecontrast, 196–197defined, 182fixing in post, 184video exposure, 198–199video versus film, 185Overlap, 42–43, 79, 98–99Overlapping (triple-take method), 29–30Over-the-shoulder (OTS) shots, 22–23, 35eyelines in, 93keeping nose of foreground person out,90line, 94master scene method, 26POV, 10–11PP frames, 173PAL (Phase Alternating Line) video, 148,151Pans, 212Parabolic aluminized reflector (PAR) units,138–140PARcans, 139Parker, Larry Mole, 133Parking, 301Party gels, 238Paths of Glory, 43–44, 81Payback, 249Pedestals, 222Pentax Spotmeter, 200, 206Peppers, 138Perception of brightness, 194Perspectival apparatus, 16Perspective, 4, 54–56, 59–60Phase (hue), 156–157, 230, 231, 234Phase Alternating Line (PAL) video, 148, 151index359
Photopic (daytime) vision, 228–229Photo-Sonics 4B camera, 318Pickups, 26Picture Lineup Generating Equipment(PLUGE), 155, 163Pipe dolly rigs, 213Pixels, 152Place, establishing, 95Placement, 205–206Planckian radiator, 235, 259Plano-convex lenses, 136PLUGE (Picture Lineup GeneratingEquipment), 155, 163Plum Grad filter, 260PlusGreen gel, 240, 242Pocket PAR, 134Point-of-view (POV), 10–11, 31, 33–36Points (printer lights), 246Polarizers, 263, 265–266Porkchops, 219Portrait lenses, 57Position, continuity of, 79Positive film (reversal film), 185, 190, 252Positive space, 51Post-production editing, 9, 166–167, 184POV cuts, 99–100POV look, 35–36Practicals, 109, 116–117, 121–124, 303,310–311Primary colors, 232Prime lenses, 271Principal Plane of Focus (focal plane), 272Printer lights (points), 246Process photography, 185, 289, 312–316Progressive video, 160Projector effects, 322Prop continuity, 91Proportion, as design principle, 40Psychological space, 56Pull-processing, 248Punch Drunk Love, 4Punch-ins, 59–60, 214Purkinje effect, 230Push bars (steering bars), 220Push ins/pull outs (move ins/move outs),212–213Push processing, 247–248QQuicktime format, 172–173RRack focus, 61–62Raging Bull, 266Rain deflectors, 324Rain effects, 324–325Rain Man, 57RAW format, 154, 166Reaction passes, 31Reaction shots, 23–24, 31–32Rec 709, 161Record run timecode (R-Run), 169Red, green, blue (RGB) color model,165–166, 233Reds, 250Reference frame, 312ReflectanceISO scale, 188Zone System, 201, 203–204Reflectance meters (spot meters), 199–200,203, 207, 313Reflector boards, 124–125Refraction, 270–272Refractive index, 270–271Registration, 246Relative size, 42–43Remote heads, 216, 222, 224–225, 326Resistance dimmers, 315Retinas, 228–229Reveals, 214Reversal film (transparency film; positivefilm), 185, 190, 252Reverse S (sinuous line), 45–47Reverses, 84, 86, 92Revolution snorkle lens system, 284–285RGB (red, green, blue) color model, 165–166, 233Rhythm, 39–40Rickshaws, 224Rimo, Ernesto Novelli, 250Risers, 220Rock in, 79Rocker plates, 217Rocky, 32Rods, 228–230Roll bar effect, 310–311Roll number, 168Rolling shots, 216Ronin, 27, 92, 95, 102Rope, 102Rotating reflex shutters, 207–208cinematography360
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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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Figure 15.20. A common slatingmista
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Figure 15.22. (top) A 40 foot light
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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 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 and 370: 4K HMI units, 134400 Blows, The, 96
Page 371 and 372: Interframe compression, 153, 173Int
Page 373: diopters, 283-284exposure compensat
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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