1 The Director of Photography – an overview
1 The Director of Photography – an overview
1 The Director of Photography – an overview
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94 Practical Cinematography<br />
1-bit 0 (or 1)<br />
2 � 2 values<br />
2-bit 0 1<br />
2 � 2 � 4 values<br />
4-bit 0 1 0 1<br />
2 � 2 � 2 � 2 � 16 values<br />
6-bit 0 1 0 1 0 1<br />
2 � 2 � 2 � 2 � 2 � 2 � 64 values<br />
8-bit 0 1 0 1 0 1 0 1<br />
2 � 2 � 2 � 2 � 2 � 2 � 2 � 2 � 256 values<br />
10-bit 0 1 0 1 0 1 0 1 0 1<br />
2 � 2 � 2 � 2 � 2 � 2 � 2 � 2 � 2 � 2 � 1024 values<br />
12-bit 0 1 0 1 0 1 0 1 0 1 0 1<br />
2 � 2 � 2 � 2 � 2 � 2 � 2 � 2 � 2 � 2 � 2 � 2 � 4096 values<br />
Figure 9.1 <strong>The</strong> effect <strong>of</strong> adding<br />
more bits to the binary code<br />
used to write four combinations, with each combination representing<br />
one value.<br />
<strong>The</strong> great adv<strong>an</strong>tage <strong>of</strong> this system is that one c<strong>an</strong> easily design a<br />
machine, or electronic circuit, to recognize this code, as we c<strong>an</strong> tell it<br />
one is represented by ‘On’ <strong>an</strong>d zero is represented by ‘Off’. So, as we<br />
are only asking our machine to tell if it is on or <strong>of</strong>f to underst<strong>an</strong>d all<br />
the numbers we require, we have gained a huge adv<strong>an</strong>tage <strong>–</strong> we c<strong>an</strong><br />
copy our string <strong>of</strong> codes as m<strong>an</strong>y times as we like, with absolute accuracy,<br />
<strong>an</strong>d even the most stupid <strong>of</strong> machines c<strong>an</strong> tell if it is on or <strong>of</strong>f.<br />
Here lies the adv<strong>an</strong>tage <strong>of</strong> digital copying over photographic copying;<br />
every time you make a photographic copy there will be some loss<br />
in quality, no matter how small, but every digital copy should be <strong>an</strong><br />
exact replica <strong>of</strong> the original. We c<strong>an</strong> now, therefore, make as m<strong>an</strong>y<br />
copies, or intermediates, as we wish.<br />
But how m<strong>an</strong>y combinations <strong>of</strong> zeros <strong>an</strong>d ones should we assign to<br />
each pixel to get <strong>an</strong> exact representation <strong>of</strong> our photographic original?<br />
Well, perceived wisdom tells us we need 10 or 12 combinations <strong>of</strong> zeros<br />
<strong>an</strong>d ones in order that the digital intermediate process remains seamless.<br />
Figure 9.1 shows how the number <strong>of</strong> combinations available with<br />
different numbers <strong>of</strong> zeros <strong>an</strong>d ones moves up to <strong>an</strong> astounding 4096<br />
for 12-bit encoding.<br />
Linear <strong>an</strong>d logarithmic sampling<br />
<strong>The</strong>re is a way <strong>of</strong> encoding the original sc<strong>an</strong>ning <strong>of</strong> the camera negative<br />
that c<strong>an</strong> both make the picture more appealing to the eye <strong>an</strong>d, at<br />
the same time, reduce the size <strong>of</strong> the digital files used to store the<br />
images. It involves the use <strong>of</strong> logarithmic sampling rather th<strong>an</strong> the traditional<br />
linear sampling.