Cinematography-Theory-And-Practice

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Figure 5.21. (above) The momentbefore the do-or-die climactic pitchis thrown, lightning (which hasalways brought the power of goodto Roy) strikes the light towers of thebaseball field.Figure 5.22. (left, top) As Roy connectspowerfully with the ball, he isframed so that the lights of the field(representing the ennobling powerof baseball) are in the shot with him.Figure 5.23. (left, bottom) Roy’shome run strikes the lights of thefield; one shatters, short-circuitingthem all, and they explode in ashower of fireworks.Visual PoetryIt all comes down to a 3-2 count and the last pitch — the ultimatemoment. The pitch is thrown in slow motion; Roy swings and slamsa home run right into the stadium lights (Figure 5.22), which shatterand short-circuit, sending a shower of sparks onto the field (Figures5.23 and 5.24). This is a masterful touch, as drama, as storytelling,and as a truly motivated lighting effect. In one of the truly greatimages of contemporary cinema, as he rounds the bases in slowmotiontriumph, Roy and his celebrating teammates are envelopedin these glowing fireworks, as if miniature stars of glory are rainingon them. A soft, golden glow of light personified engulfs Roy andthe entire team as the film ends. It is the light of pure good; Roy andthe power of his raw talent as symbolized by the bat carved fromthe tree struck by lightning have transformed them and invigoratedthem with all that is good about baseball and all that it symbolizesabout American democracy.The firefly-like glow comes from the exploding lights of the field(the illuminating spirit of baseball), shattered by Roy’s home run (histalent) that have just been struck by a bolt of lightning — the samelightning that has brought Roy the power of his unsullied talentwhen it struck the tree under which his father died and from whichhe took the wood to carve his almost magical bat. These are symbolsand they work, but there is a more subtle visual metaphor at workand it is what makes the shot so hauntingly evocative. What is magicalabout this shot is that the light is everywhere: it is an omnipresentbathing glow, it is all around them, it almost seems to emanate fromwithin them as they bask in the beauty of a pure and simple momentof triumph in baseball and the triumph of right over the insidiousattempts of the Judge to infect and degrade baseball with his greed.With this elegantly simple but visceral and expressive visual imagesystem, Levinson and Deschanel make the most of and add extravisual storytelling75
Figure 5.24. As Roy rounds thebases, the sparks from the explodingbulbs surround him and his jubilantteammates in a soft gentle wash oflight. They are enveloped in an omnipresentglow of the power of goodtriumphant over evil — one of themost haunting images in moderncinema. The light is all around them,part of them, within them.layers of meaning to a great story, a great script, and a superlativecast. In this particular film, light is used as a metaphor in a very clearand sustained way. In most films, lighting is a part of storytelling inmore limited and less overtly metaphorical ways, but it can alwaysbe a factor in underlying story points, character, and particularlythe perception of time and space. Filmmakers who take a dismissiveattitude toward lighting are depriving themselves of one of the mostimportant, subtle, and powerful tools of visual storytelling.cinematography76
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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
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
Page 58 and 59: Left/RightLargely a result of cultu
Page 60 and 61: FORCES OF VISUAL ORGANIZATIONAll of
Page 62 and 63: Figure 3.16. (top) The sinuous S an
Page 64 and 65: Open and Closed FrameAn open frame
Page 66 and 67: Figure 3.25. (above) The rule ofthi
Page 68 and 69: language of the lens© 2012 Elsevie
Page 70 and 71: Figure 4.3. The wide lens creates a
Page 72 and 73: shots and action sequences. The lim
Page 74 and 75: Manipulating PerspectiveThere are m
Page 76 and 77: Selective FocusThe characteristic o
Page 78 and 79: IMAGE CONTROL AT THE LENSSome techn
Page 80 and 81: Low AngleA low-angle shot can make
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Page 84 and 85: penetrates the dusty darkness of ig
Page 86 and 87: Figure 5.6. The black-and-whitefilm
Page 88 and 89: Figure 5.11. (top) The Judge, themo
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Page 94 and 95: As discussed in Shooting Methods, t
Page 96 and 97: over some of that move. To just ski
Page 98 and 99: Figure 6.14. The line established b
Page 100 and 101: audience. That is its only reason f
Page 102 and 103: Figure 6.22. In this scene of a cou
Page 104 and 105: Figure 6.25. The 20% rule and the30
Page 106 and 107: Prop Continuity in CoverageThe prin
Page 108 and 109: Look Establishes New LineIn a relat
Page 110 and 111: INTRODUCTIONSWhen you are bringing
Page 112 and 113: Figures 6.45. (top) A dramatic ands
Page 114 and 115: As discussed in Shooting Methods, s
Page 116 and 117: Figure 6.51 (top). In 2001: A Space
Page 118 and 119: lighting basics© 2012 Elsevier Inc
Page 120 and 121: to a neutral card. This would likel
Page 122 and 123: Figure 7.5. (top) Lighting can crea
Page 124 and 125: Soft light: Light from a large sour
Page 126 and 127: Figure 7.11. (top) Flat front light
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Page 130 and 131: Figure 7.18. Blown out windows ands
Page 132 and 133: Ambient Plus Accentsevery corner of
Page 134 and 135: Available Light WindowsWindow light
Page 136 and 137: Carrying a LampOften we want the la
Page 138 and 139: 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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