Cinematography-Theory-And-Practice

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Roundy-rounds, 219R-Run (record run timecode), 169Ruby Seven, 138, 140Rule of thirds, 51Rushes (dailies), 246R-Y, B-Y channels, 161, 165–166SSampling rate (sampling frequency), 149Sandbags, 124, 211, 217, 222, 291, 299–300Saturation (chroma), 180, 230–231Saving Private Ryan, 63, 249Sayles, John, 241Schneider Black Frost diffusion filters, 257Scorsese, Martin, 266Scotopic vision, 230Scott, Ridley, 267SCR (silicon-controlled rectifier) dimmers,315–316Screen direction, 81–85Scrim set, 135SD (Standard-Definition) video, 148, 151SDI (Serial Digital Interface), 162SeaPars, 320Seated characters, eyelines for, 93Secam video, 148Second AC (second assistant camera), 291,293–294, 298, 305Second electric (best boy electric, assistantchief lighting technician), 299Second grip (best boy grip), 300Second unit, 302SED (Spectral Energy Distribution),235–236Sekonic Dual-Master light meter, 200Selective focus, 61–62Seniors (5K tungsten Fresnels), 137Sensitivity (speed; ASA/ISO rating), 183,187–189Sensors, 150Separation, 26, 105, 196Serial Digital Interface (SDI), 162Set hanger (wall hanger), 139Set operations, 287–306camera crew, 291–294camera reports, 297–298coordinating with other departments,303–304data wranglers, 294Digital Imaging Technicians, 294director of photography, 289–290electricians, 299grips, 300–301set procedures, 305–306shot lists, 289slating, 295–304team, 291–294Seven, 6–7, 249, 267Seven Samuraicompression of space, 61continuity of time, 81establishing shots, 18–19lines, 45–46movement in visual field, 51open frame composition, 49reverse, 84sinuous line, 45, 47720p/720i HD, 151–152Shadow, representing evil, 71–72Shadow areas (toe region), 177, 192,194–198Shaking up reflector boards, 124–125Shanghai Express, 21Shape, as goal of good lighting, 105Shining, The, 18, 31Shiny board reflectors, 146Shooting methods, 27–33coverage, 28freeform method, 30–32in-one, 30master scene method, 27montage, 32–33overlapping, 29–30Shooting out, 28, 85Short toe, 195Shot lists, 289Shots, 16–27character, 20–27establishing, 18–20invisible technique, 27moving, 214–216wide, 17Shoulder (knee region), 157, 176–177, 180,192, 194–195, 198Shoulder light, 116Shutter angle, 208, 267, 308–309Shutter speeds, 183, 188, 208Siamese splitters (Y-cords), 133Side boards, 220Sidelights, 108index361
Sides, 304Signal, video, 160–162Silent aperture (full aperture), 336Silicon-controlled rectifier (SCR) dimmers,315–316Silks, 112, 124, 126, 299Silver halide, 188–191, 248Silver retention, 248–249Silver Tint process, CFI, 249Sin City, 63Sine wave, 131–132, 308Single shots, 21–22, 26Singles, 146Sinuous line (reverse S), 45–47650 tungsten Fresnels (Tweenies), 120, 1386K HMI units, 13316mm, 340–343Skip bleach process, 250Sky light, 119Skypans, 137Slating, 293–294additional cameras, 302mistakes with, 304technique, 295timecode, 170, 296–304Sleds, 299Slow disclosure, 94–95, 215Slow motion, 58, 73Slow-speed blur, 266–267Smart slates (timecode slates), 170, 296–304Smoke effects, 321–323SMPTE (Society of Motion Picture andTelevision Engineers) color bars, 147–148,155, 157, 159, 162Snoot boxes, 123, 144Snorkles, 284Snot tape (transfer tape), 257–258, 285Sodium vapor lights, 244Soft boxes, 114Soft cookies, 115Soft lenses, 63Soft light, 109, 110–113, 247Softcon 5 filter, 259Softsun series, 142Solids, 144, 146Songs from the Second Floor, 16, 28Sorcerer’s Apprentice, The, 326–327Sound recordists, 300Source Fours, 144Spacelights, 142–144Spectral Energy Distribution (SED),235–236Spectrum, 228Specular light (hard light), 108, 110–111Specular reflection, 270Speed (sensitivity), 183, 187–189Splash boxes, 225Split diopters, 282–283Spot meters (reflectance meters), 199–200,203, 207, 313Square-wave, 131–132, 309Stage directions, 17Standard-Definition (SD) video, 148, 151Start marks, 294Static frame, 15–16Steadicams, 210, 225, 293, 298Steele Chart, 327, 329Steering bars (push bars), 220Step printers, 246Storaro, Vittorio, 37–38, 140, 250, 339Stranger Than Paradise, 16Streaks N’ Tips, 264Strips, 143Strobes, 317–318Studio soft lights, 136, 140–142Subjective POV, 10–11, 32–36, 65, 98–100Subtractive colors, 231, 233Subtractive printing, 246–247Suicide rigs, 226Sun, 119, 125, 127, 328–330Sunguns, 136, 145, 318Sunset Grad filter, 259–260Super 16, 340Super 35, 340Super High Def, 148, 152Super TV, 338–339Super35, 337–339Suspense, 65Swing-and-tilt mounts, 284TTable top shots, 276Tabling reflector boards, 124Tagged Image File Format (TIFF), 176Tail slates, 295Tapeless production, 171–172Tape-to-tape correction, 253–254Technique of Film and Video Editing, The(book), 81, 96cinematography362
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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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Figure 16.1. (previous page) A comp
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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
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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 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: Photopic (daytime) vision, 228-229P
Page 379 and 380: Umbrellas, camera, 324Unbalanced fr
Page 385: Also by Blain Brownand available fr
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