Cinematography-Theory-And-Practice

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lighting sources 129The Tools of Lighting 130Daylight Sources 130HMI Units 130Xenons 135LED Lights 136Tungsten Lights 136Fresnels 136PARs 138HMI PARs 140Soft Lights 140Barger Baglights 141Color-Correct Fluorescents 142Other Types of Units 142Softsun 142Cycs, Strips, Nooks and Broads 143Chinese Lanterns and Spacelights 143Self-Contained Crane Rigs 144Ellipsoidal Reflector Spots 144Balloon Lights 145Handheld Units 145Day Exteriors 145Controlling Light with Grip Equipment 145For More Information On Lighting 146HD cinematography 147High Def and Standard Def 148Analog and Digital Video 148Analog 148Digital Video 149Types of Video Sensors 150Three-Chip vs Bayer Filter Sensors 150Digital Video 151Standard Def 151High Def 151Shooting Formats 1522K, 4K and Higher Resolution Formats 152Digital Compression 152RAW 154Monitoring On the set 155The Waveform Monitor and Vectorscope 156Waveform Monitors 156The Vectorscope 156Video Latitude 157Clipping 158Video Noise and Grain 159The Digital Intermediate (DI) 159The Video Signal 160Interlace Video 160Progressive Video 160NTSC and ATSC 160Colorspace 161SDI 162Setting Up A Color Monitor 162Monitor Setup Procedure 162Camera White Balance 164cinematographyvii
Digital Video Encoding 165Is It Broadcast Quality? 166Do It in the Camera or in Post? 166The Decision Matrix 16710 Things to Remember When Shooting HD 167Timecode and Edgecode 168Video Frame Rate 168Drop-Frame and Non-Drop-Frame 16829.97 Video 169How Drop Frame Solves the Problem 170To Drop or Not to Drop? 170Timecode Slating 170Tapeless Production 171Metadata 171Tapeless Workflows 171Digital File Types 172Container Files: Quicktime and MXF 172Compression and Codecs 173Intra-frame versus Interframe Compression 173Bit Depth 173MPEG 174Other Codecs 176The Curve 177Controlling the HD Image 179Gain/ISO 180Gamma 180Black Gamma/Black Stretch 180Knee 180Color Saturation 180Matrix 180Color Balance 180exposure 181Exposure: the Easy Way 182What Do We Want Exposure to Do for Us? 182Controlling Exposure 182The Four Elements of Exposure 183The Bottom Line 185How Film and Video Are Different 185Two Types of Exposure 185Light As Energy 186F/Stops 186Exposure, ISO, and Lighting Relationships 186Inverse Square Law and Cosine Law 187ISO/ASA 187Light and Film 188The Latent Image 189Chemical Processing 189Color Negative 190Film’s Response to Light 190Densitometry 191The Log E Axis 193Brightness Perception 194Contrast 194“Correct” Exposure 197Higher Brightness Range in the Scene 198Determining Exposure 198viii
Page 2 and 3: cinematographytheory and practiceim
Page 4 and 5: cinematographytheory and practiceim
Page 6 and 7: contentsIntroductionThe Scope of th
Page 10 and 11: Video Exposure 198The Tools 199The
Page 12 and 13: optics & focus 269Physical Basis Of
Page 14 and 15: INTRODUCTIONTo a great extent the k
Page 16 and 17: writing with motion© 2012 Elsevier
Page 18 and 19: Figures 1.2 through 1.5. Visual ele
Page 20 and 21: a T-shirt, even though it hardly se
Page 22 and 23: factors involved: contrast and shar
Page 24 and 25: TextureThese days, we rarely shoot
Page 26 and 27: Figure 1.24. (top) This scene fromC
Page 28 and 29: Film is a dream — but whose?Bruce
Page 30 and 31: Figure 2.2. To convey the sense oft
Page 32 and 33: The Shots: Building Blocks of a Sce
Page 34 and 35: Figures 2.5 and 2.6. Ever the maste
Page 36 and 37: Close-upsClose-ups are one of the m
Page 38 and 39: Figure 2.15. (above) An atmospheric
Page 40 and 41: InsertsAn insert is an isolated, se
Page 42 and 43: Figure 2.23. A master shot fromRoni
Page 44 and 45: Overlapping or Triple-Take MethodTh
Page 46 and 47: Shooting the Freeform MethodHere’
Page 48 and 49: INVOLVING THE AUDIENCE: POVRecall t
Page 50 and 51: More subjectiveMore subjectiveMore
Page 52 and 53: visual language© 2012 Elsevier Inc
Page 54 and 55: Figure 3.3. (top) Balance plays a r
Page 56 and 57: 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
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SHOOTING PROCESS PHOTOGRAPHYGreensc
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Figure 16.3. (top) A large bluescre
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Figure 16.8. A very large bluescree
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completely independent of the frame
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Figure 16.9. The Photo-Sonics 4B,ca
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Figure 16.11. Without smoke andrain
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Figure 16.14. (above) The Thundervo
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consuming process. Also, a licensed
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Figure 16.18. The lighting effectsh
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Figure 16.19. A sun path chart fora
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Figure 16.20. A grayscale and color
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Figure 16.22. Framing chart forvide
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Figure 17.1. (previous page) AnImax
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Figure 17.9. A 2.20:1 widescreenasp
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Widescreen 1.85:1Cinemascope 2.35:1
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Figure 17.17. A graphic comparisono
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ibliographyAdams, Ansel. The Negati
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Best boy electric (second electric)
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Color temperature, 231, 235-237, 25
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Dolly left/right, 218Domino, 115Doo
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4K HMI units, 134400 Blows, The, 96
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Interframe compression, 153, 173Int
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diopters, 283-284exposure compensat
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Photopic (daytime) vision, 228-229P
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Sides, 304Signal, video, 160-162Sil
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Umbrellas, camera, 324Unbalanced fr
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Also by Blain Brownand available fr
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