Cinematography-Theory-And-Practice

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Technocrane, 222Telecine, 248, 331–332Telephoto lenses (long focal length lenses),6–7, 56–58, 60–62Tellotte, J.P., 691080p/1080i HD, 152–15310-bit video, 174Tenners (10K tungsten Fresnels), 137Test charts, 159Textureas design principle, 41as goal of good lighting, 106of light, 115overview, 8–9as tool of cinematography, 9T-grains, 189Theater, cinematography versus, 14Thin Red Line, The, 249Third Man, The, 6630° rule, 88–89Thomson, Kristin, 36Three-chip sensors, 150Three-component theory, 229Three-dimensional field, 41–45atmospheric perspective, 44–45chiaroscuro, 44depth, 42foreshortening, 44left to right order, 43linear perspective, 44overlap, 42relative size, 42vertical location, 423D LUTs, 256Three Kings, 2523-perf, 338, 340Three-phase power, 133Three-shots, 20, 22, 90Three T's (medium close-ups), 21–223:2 pulldown, 331Thundervoltz, 324TIFF (Tagged Image File Format), 176Tiffen filters, 258–260, 264–265Tight close-ups (big head close-ups), 21–22Tilt plates, 218Tilts, 18, 212Timecontinuity of, 79–81establishing, 95Time slicing, 308, 327Timecode, 168–170Timecode slates (smart slates), 170, 296–304Time-lapse photography, 268, 326–327, 329Tint, 236Toe region (shadow areas), 177, 192, 194–198Toemarks, 294Toland, Gregg, 40, 42, 55–56, 277Tone, 104, 106, 109, 192, 199Toppers, 108Touch of Evil, 29, 30, 54Tough Blue filters, 240–241, 323Towing shots, 223–224Tracking marks, 312, 315Tracking shots, 214Transcoding, 153Transfer tape (snot tape), 257–258, 285Transitional shots, 27Transparency film (reversal film), 185, 190,252Trim setting, 246Triple-take method (overlapping), 29–30Tripods, 217Tristimulus theory, 228Trucks, 301, 306Truffaut, Francois, 323T-stops (true stops), 271Tungsten lights, 104, 130, 135–138, 237, 241Turnaround, 85–87TV effects, 322TV Safe, 51–52Tweaking, 305–306Tweenies (650 tungsten Fresnels), 120, 13812K HMI units, 132–13329.97 video, 168–16920% rule, 88–8920K tungsten Fresnels, 136Two shots, 20, 222.5K HMI units, 1342K format, 1522K HD, 1532K tungsten Fresnels (juniors), 1372-perf Techniscope, 338, 3402001: A Space Odyssey, 34, 101Tyler mounts, 224UUltrabounce, 146Ultracon 5 filter, 259UltraPol filter, 265Ultraviolet light, 207, 261index363
Umbrellas, camera, 324Unbalanced frame, 50Underexposure, 182, 184, 185, 196–199.See also ExposureUnderslung heads, 216Underwater filming, 320Underwater housings, 226Unilux lights, 316–317Unity, as design principle, 39Univision, 339–340Upstage, 109, 112, 114, 116VValue (lightness/darkness), 230–231Vanishing point, 46Varieties of Visual Experience (book),68Vectorscopes (color meters), 130, 156–157,161, 165, 231, 234–236Vehicle to vehicle shooting, 223–224Verdict, The , 5–6Vertical location, 42Vertical perspective, 4Verticals, 45, 48VideoSee also High-Definition videoanalog, 148–149, 165color balance of, 237digital, 148–149, 151, 165, 234exposure, 185, 198–199lens adapters for, 285–286transferring film to, 331–334Video assist monitors (video taps), 291Video correction, 248Video encoding, 165–166Video noise, 158–159Video village, 303VistaVision, 336–337Visual metaphor, 10, 14–15, 67–76Visual organization, 45–51compositional triangles, 45diagonals, 45frame, 46–50horizon line, 46horizontals, 45line, 45movement in visual field, 51positive and negative space, 51rule of thirds, 51sinuous line, 45vanishing point, 46verticals, 45Visual subtext, 14–15Visual tension, as design principle, 40Voices in the Dark (book), 69Volt-ohm meters (VOMs), 315Von Purkinje, Johannes, 230WWall hanger (set hanger), 139Wall-plugged lighting units, 134, 135Warm Black Promist 3 filter, 258Warm cards, 164Warm colors, 231Warming filters, 262Water effects, 324Watkin, David, 140, 195Waveform monitors, 155–156, 158, 175,199Wavelength, 228–230, 232Wavelet compression, 173Weber, E. H., 193Wedges, 220Weingartner, Mark, 226Welles, Orsondeep focus, 55–56dutch tilt, 66Hitchcock’s rule, 54manipulating perspective, 58–60POV, 1–2, 10Wendy lights, 140Wexler, Haskel, 249Wheelchairs, 224White balance. See Color balanceWide angle reflectance meter, 199, 207Wide lenses, 6–7, 55–56, 57Wide screen, 336–338, 340Wide shots, 5, 17–18Wild walls, 304William of Orange, 217Windows, 118, 119Working Girl, 10Wrapper (framework) formats, 172Wratten filters, 262–264Wuthering Heights, 55XXenons, 135–136X-Men, 114X-Men II, 302cinematography364
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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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wave form of the power supply by sq
Page 327 and 328: SHOOTING PROCESS PHOTOGRAPHYGreensc
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Page 349 and 350: Figure 16.22. Framing chart forvide
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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 and 376: Photopic (daytime) vision, 228-229P
Page 377: Sides, 304Signal, video, 160-162Sil
Page 385: Also by Blain Brownand available fr
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