book

Cinematography: Theory and Practice, 4th Edition

by Blain Brown

September 2021

Beginner to intermediate

528 pages

21h 18m

English

Routledge

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The Website
Writing with MotionBuilding a WorldThe Visual Language of CinematographyStorytelling with LightDefining the FrameThe Lens and SpacePerspectiveLight and ColorMovementCamera AngleInformationDetective POVVisual TextureVisual MetaphorNaturalism vs StylizedPutting It All Together
More Than Just a PicturePrinciples of CompositionUnityBalanceRhythmProportionContrastTextureDirectionalityThe Three-Dimensional FieldCreating DepthRelative SizeLinear PerspectiveAtmospheric PerspectiveForces of Visual OrganizationThe LineCompositional TrianglesHorizontals, Verticals, and DiagonalsThe Power of the EdgeFrame Within a FramePositive and Negative SpaceMovement in the Visual FieldThe Rule of ThirdsRules of Composition for PeopleHeadroomNoseroomOther GuidelinesLens HeightDutch TiltAspect Ratios
The Lens in StorytellingForeground/Midground/BackgroundLens PerspectiveThe Lens and SpaceCompression of SpaceSelective FocusFlare/Glare
ContinuityShooting For EditingThinking about ContinuityTypes of ContinuityContinuity of ContentContinuity of MovementContinuity of PositionContinuity of TimeThe Prime DirectiveThe Action AxisScreen DirectionThese Are the Rules—But Why?Screen DirectionWhat Establishes the Line?The Purpose of Screen DirectionDirectional ConventionsExceptions to the RuleReverseTurnaroundPlanning CoverageCuttabilityThe 20% and 30 Degree RulesMoving ShotsChase ScenesGoing Through a DoorEntering and Exiting FrameNeutral Axis to Exit FrameProp Continuity in CoverageEye SweepsGroup ShotsCutaway Eyeline ContinuityEyelines in Over-the-Shoulder CoverageEyelines for a Seated Character

What Is Cinematic?A Question of PerceptionThe FrameStatic FrameCamera AnglesThe Shots: Building Blocks of a SceneWide ShotEstablishing ShotsCharacter ShotsFull ShotTwo ShotMedium ShotClose-upsOver-the-ShoulderCutawaysReaction ShotsInsertsConnecting ShotsRevealsPickupsTransitional ShotsInvisible TechniqueInvolving The Audience: POVThe Fourth Wall and POVThe Shooting MethodsThe Master Scene MethodThe Master Scene MethodIn-One and Developing MasterThe Developing MasterFreeform MethodOverlapping or Triple-Take MethodWalk and TalkMontageEstablishing the GeographyIntroductionsThe TimeThe CharactersOther Editorial Issues In ShootingJump CutsTypes of EditsThe Action CutThe POV CutThe Match CutThe Invisible Cut
The Digital Signal PathDigital Signal ProcessorHD RecordingUHDRAW vs. Baked InRAW Camera Signal PathViewing StreamDefinitionsDigital NegativeChroma SubsamplingPixelsResolutionPhotositesPixels and Photosites Are Not the Same Thing!DigitizingOLPFDigital SensorsCCDCMOS3-ChipMaking Color from Black-and-WhiteBayer FilterDemosaicing/DeBayeringWhat Color Is Your Sensor?How Many Pixels Is Enough?Shooting ResolutionShuttersSpinning MirrorRolling Shutter and Global ShutterSensor Size and Depth-of-FieldISO in Digital CamerasNoiseIR and Hot Mirror FiltersBit DepthFrame RatesThe Film Look vs. The Video Look
The Waveform MonitorExternal SyncTypes of DisplayColor Bars In DetailUsing the PLUGE in Monitor CalibrationMonitor ProbesLegal and ValidThe VectorscopeHue/PhaseUsing the Vectorscope On the SetColor Bars On the VectorscopeWhite Balance/Black BalanceGamutVideo Test CardsThe Deceptively Simple Neutral Gray CardWhy Isn’t 18% Gray Also 50%?Calibration Test ChartsDSC Labs Test ChartsThe One ShotThe X-Rite ColorCheckerChromaMatch & ScreenAlignSkin ToneMeasuring Image Resolution
Exposure TheoryWhat Do We Want Exposure to Do for Us?Controlling ExposureChange the BucketThe Elements of ExposureLightF/StopsShutter Speed/Frame Rate/Shutter AngleThe Response CurveUnderexposureOverexposureCorrect ExposureHigher Brightness Range in the SceneTwo Types of ExposureHow Film and Video Are DifferentWe’ll Fix It in PostThe Bottom LineExposure in Shooting RAW VideoDigital ExposureThe Tools of ExposureThe Incident MeterThe Reflectance MeterA Different World of ExposureSetting Exposure with the Waveform MonitorF/Stops On the WaveformThe 18% SolutionExposure Indicators in The CameraZebrasHistogramTraffic Lights and Goal PostsFalse Color Exposure DisplayArri Alexa False ColorsStrategies of ExposureDon’t Let It Clip, but Avoid the NoiseTexture & DetailThe DilemmaUsing Light MetersMeter the KeyUsing the Waveform MonitorPlacing Middle GrayStart at the Bottom or Start at the TopExpose to the RightZebrasThe MonitorKnow Thyself and Know Thy CameraBlackmagic Camera Exposure Advice
Dynamic RangeLinear ResponseAn Ideal and a ProblemLinear as Scene ReferredThe Classic S-Curve In the ImageFilm Gamma and Video GammaVideo GammaThe CoincidenceRec.709 and Rec. 2020The Rec.709 Transfer FunctionRec. 2020Studio Swing Levels, Full Range and Legal VideoThe Code 100 ProblemHypergamma/Cinegamma/Film RecSony Hypergamma terminologyGamma in RAW VideoThe Inefficiency of LinearLog EncodingBrief History of LogSuperwhiteWhat You See Is Not What You GetLog and RAW—Two Different ThingsProprietary Log CurvesSony S-LogArri Log CCanon-LogPanalogRedCodeRed Log18% Gray In LogVariation in Log Curves
Color TerminologyColor Temperature: The BalancesWarm and CoolWhite Balance, Black Balance, and Black ShadingMagenta vs. GreenThe CIE DiagramGamutVideo Color SpacesRec.709 and Rec. 2020DCI P3AMPAS ACES Color SpaceThe MatrixColor Balance with Gels and FiltersConversion GelsLight Balancing GelsColor Correction GelsCorrecting Off-Color LightsHMIIndustrial LampsColor as a Storytelling ToolFilm Color Palettes
Getting the Look You WantAt the DIT CartWhat Happens At the CartColor Correction and Color GradingLift/ShadowsGamma/MidtonesGain/HighlightsCurvesLog ControlsLog Offset Color and Master ControlsExporting and Reusing GradesLUTs And Looks1D LUTS3D LUTSLUTs and Looks: What’s the Difference?Controlling the Image in Front of the LensDiffusion and Effects FiltersCamera Lens Filters for Color CorrectionWarming and Cooling FiltersContrast Control in Black-And-WhitePolarizersIR Filters
The Tools of LightingColor BalanceColor Rendering IndexDaylight/Tungsten SourcesLED LightsRemote Phosphor LEDsHMI UnitsXenonsTungsten LightsFresnelsOpen FacePARsSoft LightsBarger BaglightsColor-Correct FluorescentsOther Types of UnitsSoftSunCycs, Strips, Nooks, and BroadsChinese Lanterns and SpacelightsSelf-Contained Crane RigsEllipsoidal Reflector SpotsBalloon LightsHandheld UnitsEquipment for Day ExteriorsImprovising LightsBox LightsChristmas Tree LightsProjector BulbsFor More Information On Lighting
The Fundamentals of LightingThe [conceptual] Tools of LightingThe Attributes of LightHard vs. SoftWhat are the Goals of Good Lighting?Full Range of TonesColor Control and Color BalanceShapeSeparationDepthTextureMood and ToneShadowsReveal and ConcealExposure and LightingSome Lighting TerminologyWorking with Hard Light and Soft LightHard LightSoft LightDirectionAvoiding Flat Front LightingLight from the Upstage SideBacklight and KickerIntensityTexture in LightingColorLighting TechniquesAmbientClassical LightingBringing it through the windowsPracticals and Motivated LightingBasic Principles of LightingLight From the Upstage Side—Reverse KeyBack Cross KeysAmbient Plus AccentsLighting with PracticalsLighting through the WindowAvailable Natural LightAvailable Light WindowsMotivated LightCarrying a LampDay ExteriorsFillSilks and DiffusionOpen Shade and Garage Door LightSun As BacklightMagic HourThe Same Scene Lit Seven Different Ways
Hard Light and Soft LightScrims and BarndoorsFlags, Solids, and NetsChimeras and SnootsSoftboxesEggcratesThe Window ProblemCookies, Celos, and GobosDimmersLED DimmersHand Squeezers
DefinitionsReflectorsFlags and CuttersNetsCuculoris (Cookies)Grids and EggcratesOpen FramesDiffusersButterflies and OverheadsHoldingGrip Heads and C-StandsHighboysClampsWall Plates, Baby Plates, and Pigeons2K Receivers and TurtlesSide Arms and Offset ArmsOther Grip GearSandbagsApple boxesWedgesCandle SticksStudded Chain Vise Grips
Camera Movement in FilmmakingCamera OperatingMotivated vs. Unmotivated MovementBasic TechniqueTypes Of MovesPanTiltMove In / Move OutZoomPunch-inMoving ShotsTrackingCountermoveReveal with MovementCircle Track MovesCrane MovesRolling ShotCamera Supports for MovementDronesHandheldStabilizer RigsCamera HeadsThe TripodHigh-HatRocker PlateTilt PlateThe Crab DollyDolly TerminologyCar ShotsAerial ShotsOther Types of Camera MountsSteadicamCable-CamSplash BoxesUnderwater HousingsMotion Control
The Physical Basis Of OpticsRefractionFocal Length and Angle of ViewF/StopFocusMental FocusCircle of ConfusionDepth-of-fieldHow Not to Get More Depth-of-FieldHyperfocal DistanceNodal PointsThe Rear Nodal Point and Special Effects ShotsZooms and Depth-of-FieldMacrophotographyExposure Compensation in MacrophotographyDepth-of-Field in Close-Up WorkCalculating Depth-of-Field in Close-Up WorkClose-Up ToolsDioptersExtension Tubes or BellowsMacro LensesSnorkels and InnovisionSpecialized LensesLens Extenders and Filter FactorsLens CareBack Focus
Making It HappenThe Director of PhotographyThe Cinematographer’s ToolsGaffer GlassLaser PointerDirector’s ViewfinderDigital Still CameraThe Shot ListPutting the Order TogetherReading the ScriptTalking to the DirectorLocation Scouts and Tech ScoutsCoordinating with Other DepartmentsThe Team and The OrderThe Page TurnTestsCamera CrewOperatorFirst AC DutiesSecond ACLoaderDITCamera Crew Reports, Equipment & ToolsCamera ReportsCamera Assistant Tools and SuppliesAC PrepCamera Prep ChecklistThe TeamLighting Technicians (Electricians or Sparks)GripsOther UnitsSet ProceduresBlock, Light, Rehearse, ShootThe ProcessRoom ToneSet EtiquetteSet SafetyLighting, Electrical, and GripCrane SafetySlating TechniqueVerbal SlatingTail SlateMOS SlatingSlating Multiple CamerasTimecode SlatesJamming the SlateWhat to Write on the SlateWhen to Change the LetterThe European System of SlatingPickups, Series, and ReshootsVFXInsert SlatesFinding the Sun
Data ManagementBasic PrinciplesCover your RearStandard ProceduresMaintain Your LogsProcedure—Best PracticesLocked and LoadedGet Your Signals StraightAlways ScrubThree DrivesDo Not Drag and DropLogsFile ManagementFile NamingDownload/Ingest SoftwareShotPut ProSilverstackProprietary Data Management SoftwareExternal RecordersTen Numbers: ASC-CDLGoodbye, KnobsPrimary Correction OnlySOP and SACES: What It Is, What It DoesAMPAS and ACESThe StagesACES Terminology
Measurement of ElectricityPotentialPaper AmpsElectrical Supply SystemsSingle-phaseThree-phasePower SourcesStage ServiceGeneratorsLarge Generator OperationGuidelines for Running Small GeneratorsParalleling Small GeneratorsTie-insTie-in SafetyDetermining KVAWall PluggingLoad Calculations and Paper AmpsAmpacityColor CodingThe NeutralDistribution EquipmentTie-in ClampsBusbar LugsConnectorsBull SwitchesFeeder CableDistribution BoxesLunch Boxes, Snake Bites, and GangboxesExtensions (Stingers)Zip ExtensionsPlanning a Distribution SystemBalancing the LoadCalculating Voltage DropElectrical SafetyWet WorkHMI SafetyGrounding SafetyGFCI
Shooting Greenscreen/BluescreenLighting for Greenscreen/BluescreenDimmersDimming LEDsDimmer BoardsWorking with StrobesHigh-Speed PhotographyLighting For Extreme Close-UpEffectsSmokeFireTV and Projector EffectsDay-for-NightMoonlight EffectWater EFXRainLightningGunshots and ExplosionsTime-Lapse PhotographyTime SlicingTransferring Film To VideoFlickerShooting Virtual RealityDealing with AudioDouble System vs. Single System SoundLock It Up!MicrophonesMic on the Camera? No!Directional MicsShotgun MicsMic MountsWireless LavsPhantom PowerMic vs. Line InputAudio BasicsRule #1Rule #2Scratch TrackWild TrackFoleyRoom ToneADR Is ExpensiveShooting To PlaybackTimecode Slate
DedicationAbout the AuthorAcknowledgmentsAbout the Website

Content preview from Cinematography: Theory and Practice, 4th Edition

08exposure

Frankly, exposure can get pretty technical, so it’s important to grasp the basic concepts first before we plunge into the world of exposure control for technical and artistic purposes. Let’s take a look at exposure the simple way just to ease into it. As a cinematographer or DIT, you may think you completely understand exposure (and you may well do), but it is also very possible that there’s a lot more to it than you may have thought.

This introduction is a bit simplified, but it will provide a working understanding of exposure that is useful without being too technical. First of all, there is one notion that has to be put away right now: some people think of exposure as nothing more than “it’s too dark” or “it’s ...