book

Cinematography: Theory and Practice, 3rd Edition

Name: Cinematography: Theory and Practice, 3rd Edition
Author: Blain Brown
ISBN: 9781317359265

by Blain Brown

September 2016

Beginner

422 pages

16h 30m

English

Routledge

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Coverpage
Halftitle
Titlepage
Copyright
Table of Contents
Introduction
Writing with Motion
Writing with MotionBuilding a Visual WorldThe Visual Language of CinematographyThe Frame as DefinitionThe View of the LensColor and LightVisual TextureMovementEstablishingPoint-of-ViewDetective POVPutting it all Together
Visual Language
More than Just a PictureDesign PrinciplesUnityBalanceVisual TensionRhythmProportionContrastTextureDirectionalityThe Three-Dimensional FieldDepthOverlapRelative SizeVertical LocationLeft/RightLinear PerspectiveForeshorteningChiaroscuroA tmospheric PerspectiveForces of Visual OrganizationThe LineThe sinuous LineCompositional TrianglesHorizontals, Verticals, and DiagonalsThe Power of the Edge: the FrameOpen and Closed FrameFrame within a FrameBalanced and unbalanced FramePositive and Negative SpaceMovement in the Visual FieldThe Rule of ThirdsRules of Composition for PeopleHeadroomNoseroomOther Guidelines
Language of the Lens
The Lens and the FrameForeground/Midground/BackgroundLens PerspectiveWide Lenses and Expansion of SpaceDeep FocusCompression of SpaceManipulating PerspectiveSelective FocusImage Control Atthe LensFiltrationLens HeightHigh AngleLow AngleDutch Tilt
Visual Storytelling
Visual MetaphorTelling Stories with PicturesLighting as StorytellingFilm NoirLight as Visual MetaphorLight and Shadow / Good and EvilFading FlashbulbsVisual Poetry

Coverage & Continuity
What is Cinematic?A Question of PerceptionVisual Subtext and Visual MetaphorThe FrameStatic FrameThe Shots: Building Blocks of a SceneWide ShotEstablishing ShotsEstablishing the GeographyCharacter ShotsFull ShotTwo ShotMedium ShotClose-upsOver-the-ShoulderCutawaysReaction ShotsInsertsConnecting ShotsPickupsTransitional ShotsInvisible TechniqueThe Shooting MethodsThe Master Scene MethodCoverageOverlapping or Triple-Take MethodIn-OneFreeform MethodMontageInvolving the Audience: PovThe Fourth Wall and POVContinuityShooting For EditingThinking about ContinuityTypes of ContinuityContinuity of ContentContinuity of MovementContinuity of PositionContinuity of TimeThe Prime DirectiveScreen DirectionThe Action AxisThese Are the Rules—But Why?What Establishes the Line?The Purpose of screen DirectionDirectional ConventionsExceptions to the RuleReverseTurnaroundPlanning CoverageCuttabilityThe 20% and 30 Degree RulesOther Issues of ContinuityMoving ShotsGoing Through a DoorEntering and Exiting FrameNeutral Axis to Exit FrameThree ShotsKeep the Nose OutProp Continuity in CoverageEye SweepsChase ScenesCutaway Eyeline ContinuityEyelines in Over-the-Shoulder CoverageEyelines for a Seated CharacterOts and InsertsMoving ActionGroup ShotsIntroductionsThe Place & The GeographyThe TimeThe CharactersOther Editorial Issues in ShootingJump CutsThe Six Types of CutsThe Content CutThe Action CutThe POV CutExecuting a Subjective POVThe Match CutThe Zero Cut
Color
Color TerminologyColor Temperature: The BalancesWarm and CoolWhite Balance, Black Balance, and Black ShadingMagenta vs. GreenThe Cie DiagramGamutVideo Color SpacesRec.709 and Rec. 2020DCIP3Ampas Aces Color SpaceThe MatrTen Numbers: Asc-CdlAces: What it is, What it DoesThe StagesACES TerminologyThe TransformsColor Balance with Gels and FiltersConversion GelsLight Balancing GelsColor Correction GelsCorrecting Off-Color LightsHMIIndustrial LampsColor as a Storytelling Tool
Cameras & Aensors
The Digital Signal PathDigital Signal ProcessorHD, HD+ AND UHDHD RecordingPost High-defRaw Vs. Baked inRAW Camera Signal PathViewing StreamDefinitionsDigital NegativeChroma SubsamplingPixelsResolutionPhotositesPixels and Photosites Are Not the same Thing!DigitizingOlpfDigital SensorsCCDCMOSOther Types of Sensors3-ChipMaking Color from Black-and-WhiteBayer FilterDemosaicing/DeBayeringColor InterpolationWhat Color Is Your Sensor?How Many Pixels is Enough?5K for 4KShuttersSpinning MirrorRolling Shutter and Global ShutterSensor Size and Depth-of-FieldISO in Digital CamerasNoiseIR and Hot Mirror FiltersBit RateBit DepthFrame RatesThe Film Look vs. the Video LookFilm Cameras
Measurement
The Waveform MonitorExternal SyncTypes of DisplayColor Bars in DetailUsing the PLUGE in Monitor CalibrationMonitor ProbesLegal and ValidHue/PhaseThe VectorscopeUsing the Vectorscope on the SetColor Bars on the VectorscopeWhite Balance/Black BalanceGamutVideo Test CardsThe Deceptively simple Neutral Gray CardThe Gray Card and Color Balance in Film and VideoWhy Isn’t 18% Gray Also 50%?Calibration Test ChartsDSC Labs Test ChartsThe One ShotThe X-Rite ColorCheckerChromaMatch & screenAlignSkin ToneMeasuring Image Resolution
Exposure
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 VideoVideo 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 AdviceHDRX
Linear, Gamma, Log
Dynamic RangeLinear ResponseAn Ideal and a ProblemLinear as Scene ReferredThe Classic S-Curve in the ImageFilm Gamma and Video GammaVideo GammaThe CoincidenceRec. 709Studio Swing Levels, Full Range, and Legal VideoGamma Control In Traditional HDKnee ControlBlack Stretch/Black GammaAnother ApproachHypergamma/Cinegamma/Film RecSony Hypergamma terminologyGamma in RAW VideoThe Inefficiency of LinearLog EncodingSuperwhiteWhat You See Is Not What You GetLog and RAW—Two Different ThingsProprietary Log CurvesSony S-LogArri Log CCanon-LogRedcodeRed Log18% Gray in LogVariation in Log Curves
Image Control & Grading
At the Dit CartWhat Happens at the Cart Doesn’t Stay at the CartColor Correction and Color GradingControllers and Control SurfacesControl ParametersLift/ShadowsGamma/MidtonesGain/HighlightsCurvesLog ControlsLog Offset Color and Master ControlsExporting and Reusing GradesLuts and LooksLUT FormatsProper Use of LUTs in Color CorrectionViewing LutsLUTs and Looks: What’s the Difference?Controlling the Image in Front of the LensCamera Filter TypesDiffusion and Effects FiltersContrast FiltersNeutral Density FiltersEffects Filters and GradsConverse FiltersCamera Lens Filters for Color CorrectionWarming and Cooling FiltersContrast Control in Black-And-WhitePolarizersIR Filters
The Tools of Lighting
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 UnitsDay ExteriorsControlling Light with Grip EquipmentFor More Information on Lighting
Lighting Basics
The Fundamentals of LightingThe [Conceptual] Tools of LightingThe Attributes of LightHard vs. SoftFull Range of TonesColor Control and Color BalanceShapeSeparationDepthTextureMood and ToneExposure 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 LightingBack 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 Hour
Optics & Focus
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
Camera Movement
Camera Movement in FilmmakingMotivation and Invisible TechniqueBasic 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 ShotsCamera Positions for Car ShotsVehicle to Vehicle ShootingAerial ShotsOther Types of Camera MountsSteadicamRickshaw, Wheelchair, and GarfieldCable-CamCrash CamsSplash BoxesUnderwater HousingsMotion Control
Set Operations
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 ACLoaderDITDIT WorkflowSimple Data WorkflowAdvanced WorkflowDigital Loader/Media ManagerUtilityCamera 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 ReshootsVFXBumping a SlateInsert SlatesFinding the Sun
Data Management
Data ManagementBasic PrinciplesCover your RearStandard ProceduresMaintain Your LogsProcedure—Best PracticesLocked and LoadedGet Your Signals StraightAlways ScrubThree DrivesDo Nor Drag and DropLogsFile ManagementFile NamingDownload/Ingest SoftwareShotPut ProSilverstackDouble DataProprietary Data Management SoftwareExternal RecordersHard Drives & RaidsRAIDTransfer/Shuttle DrivesHow Much Storage Do You Need?
Technical Issues
Shooting Greenscreen/BluescreenLighting for Greenscreen/BluescreenDimmersDimming LEDsDimmer BoardsWorking with StrobesHigh-Speed PhotographyLighting for Extreme Close-UpEffectsSmokeFireTV and Projector EffectsDay-for-NightMoonlight EffectWater EFXRainLightningGunshotsSafety with GunsExplosionsTime-Lapse PhotographyTime SlicingTransferring Film to VideoFraming ChartsFlickerVirtual Reality
About the Author
DedicationAcknowledgmentsAbout the Website
Bibliography
Index
Appendix—film formats
Aspect RatiosWidescreenAlternatives to Anamorphic3 Perf2-Perf Techniscope

Content preview from Cinematography: Theory and Practice, 3rd Edition

index

Page numbers in italics refer to figures. Page numbers in bold refer to tables.

AC duties 333–8, 335–8, 342
Academy Color Encoding System (ACES) 105–6, 107, 109–11, 111
Academy of Motion Picture Arts and Sciences (AMPAS) 105, 109
acceptable focus 290, 292
action axis 77–9, 78
action cuts 92
Adams, Ansel 191
Adams, Art 107, 194, 195, 207, 324, 326, 355, 359
advanced workflow 337–8
aerial shots 319
Alton, John 273
ambient light 241, 265, 270, 271, 272–3, 280
American Society of Cinematographers (ASC) 108
amplitude (strength) 152
analog device 136, 138
analog dimming 383
analog in voltage 126
analog video equipment 157
analog wave 136
Angel Heart 4, 5
Angenieux lens 90
answering shots 68, 82
aperture 38, 160, 173–5, 178, 401, 401–3
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Cinematography: Theory and Practice, 3rd Edition

by Blain Brown

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