Book description
First published in 2014. Routledge is an imprint of Taylor & Francis, an informa company.
Table of contents
- Cover
- Half Title
- Title
- Copyright
- Contents
- Acknowledgments and Dedications
- Foreword
- A Note on the Color
- Chapter 1 What Is Digital
-
Chapter 2 Camera Sensors
- The Practical Differences Between Film and Digital Sensors
- Sensor Size Has an Effect on the Image We See
- CCD Versus CMOS
- 3-Chip 2/3-Inch Sensors
- Prisms Are Very Difficult to Engineer
- Chromatic Aberration
- Telecentricity in Lens Design
- CCD Image Smear
- Three Solutions to the Problem of CCD Image Smear
- Interline Transfer CCD Sensors
- Bayer Pattern Sensors Versus Co-Sited RGB Pixels
- Rolling Shutter Versus Global Shutter
- Dark Frame Subtraction
- Dynamic Range = Exposure Latitude
- How Much Picture Noise Is Acceptable in Digital Cinema?
- Noise and Lower Dynamic Range Issues
- Fixed Pattern Noise, Readout Noise, Circuit Noise, and Photon Noise
- Highlight Handling and Headroom
- Fill Factor
- Sensitivity and ASA Rating
- Sensitivity
- ISO, ASA Rating, and Exposure Index
-
Chapter 3 Color
- The CIE 1931 RGB Color-Matching Functions
- Color Space as It Relates to Cinematography
- Color Sampling and Subsampling
- YCbCr and Y’CbCr Color
- Color Space Conversion
- Color Has Traditionally Been Device-Dependent
- ACES Color Space
- One Possible Future Motion Picture Finishing Solution—ACES, the Academy Color Encoding System
- Digital Cinema Color Spaces: P3, XYZ, and ACES
-
Chapter 4 The Color-Space Conundrum
- What Is Color Space?
- Human Color Perception
- Quantifying Human Color Perception—CIE 1931
- Color Photography
- Color in Cinematography
- Color in Television
- CIE 1976—CIE L*a*b*
- The Birth of High-Definition Video
- Managing the Digital Revolution
- The Birth of Digital Imaging
- Hybrid Workflows—Film and Digital Coexist
- Nyquist Sampling Theory (Again!)
- Modulation Transfer Function and Contrast Sensitivity Function
- Preserving Image Quality Across File Formats
- Look-Up Tables (LUTs)
- Compression
- Looking Into the Digital Future
-
Chapter 5 MTF, Resolution, Contrast, and Nyquist Theory
- Contrast Is Decreased as a Function of Frequency
- Modulation Transfer Function of a Solid-State Camera
- Optical Low Pass Filters
- Important Factors to Consider in Achieving Picture Sharpness
- The Case for 4K
- There Is 4K and Then There Is 4K
- Resizing and Resampling
- MTF and the Final Step in the Imaging Chain: Projection
-
Chapter 6 Frame Rates and Aspect Ratios
- The Range of Frame Rates for Acquisition
- Progressive and Interlace Frame Rates
- Interlace Versus Progressive Frames
- Problems Caused by Interlacing
- Resizing and Resampling of Interlaced Images
- Progressive Scan
- Variable Frame Rates and High Frame Rates
- Higher Frame Rates in Exhibition and 3D Exhibition
- Historical Perspectives
- Coming Soon to a Theater Near You—Even Higher Frame Rates!
- Formats and Aspects Ratios
- Cinema Terminology
- Film Camera Aperture Sizes and HD Sensor Sizes
-
Chapter 7 Lenses
- Distinctions That Go Into Evaluating Lens Quality
- Angenieux Optimo Zoom Lenses
- Optimo Anamorphic 56–152mm 2× Squeeze Zoom Lens
- ARRI/Fujinon Alura Zoom Lenses
- Canon Cine Lenses
- Cooke Lenses
- What Value Does Lens Metadata Hold?
- Fujinon Cine Lenses
- Hawk 2× and 1.3× Squeeze Anamorphic Primes and Zooms
- Leica Summilux-C Lenses
-
Panavision Lenses
- Primo Standard Prime Lenses
- Primo “Classic Series” Prime Lenses
- Primo Close Focus Lenses
- Primo Zoom Lenses
- 4:1 Primo Zoom—SLZ
- 11:1 Primo Zoom—SLZ11
- 3:1 Primo Zoom—SLZ3
- Primo Macro Zoom—PMZ
- Primo Digital Lenses
- Panavision PVintage Lenses
- Standard Primes—SP
- Super Speeds and Ultra Speeds
- Super Speeds “Z” Series and Ultra Speeds “Z” Series
- Panavision Macro and Specialty Lenses
- Panavision Frazier Lens System
- 6mm T2.8 Fisheye Lens–SF6
- 6mm T3.5 Nikon Fisheye Lens–SPN6
- Portrait Lenses
- Flare Lenses
- Slant Focus Lenses
- Panavision/Century Swing Shift System—PVB
- Panavision Anamorphics
- G Series Anamorphic Prime Lenses
- E Series Anamorphic Prime Lenses
- C Series Anamorphic Prime Lenses
- Front Anamorphic Zooms—AWZ2 and ATZ
- Anamorphic Wide-Angle Zoom—AWZ2
- Anamorphic Telephoto Zoom—ATZ
- 3:1 Primo Anamorphic Zoom—ALZ3
- 11:1 Primo Anamorphic Zoom—ALZ11
- Specialty Anamorphic Lenses
- RED Prime Lenses and Zooms
- Schneider Lenses
- Sony CineAlta 4K Lenses
- UniQoptics
- Vantage ONE Lenses
- Zeiss Lenses
- Depth of Field
- Depth of Focus
- How Do Film Camera Aperture Sizes and HD Sensor Sizes Affect Lenses?
- Filter Factor
- Back Focus in 2/3-inch HD Lenses
- Focus with Zeiss Sharp Max
- Evaluating Lenses
- Lens Test Criteria and Methods
- Projecting Lenses for Evaluation
-
Chapter 8 Camera Issues
- Camera and Lens Package Types
- “Ready to Roll” Capabilities, Boot-Up Time, Pre-Roll On-Set Management of Expectations
- Viewing the Image While Shooting
- Viewfinders—A Cautionary Note
- Video Village
- Creating, Storing, and Recalling Camera Settings
- Weight and Balance Issues
- Onboard Video Recording Versus Outboard Recording
- Onboard Sound Recording Versus Outboard Sound Recording
- Onboard Camera Controls Versus Outboard Camera Controls
- Ease of Use of Camera Controls
- Accessory Design: Focusers, Matte Boxes, and More
- In-Camera, Behind-the-Lens Filtration
- Cables, Cables, and More Cables
- Camera Power
- Lens Mount/Optical Block and Back-Focus Problems
- Shooting Log and Shooting Raw
- Digital Still Cameras Used for HD Shooting
- Shooting Handheld
- Digital Media, X-Rays/Magnetometers, and the Transportation Security Administration
- Digital Cameras and Cosmic Rays
- Chapter 9 High-Resolution Digital Motion Picture Cameras
-
Chapter 10 Camera Setup and Operation
- Bars and Tone
- SMPTE Timecode
- Timecode On Set
- How Timecode Is Carried
- 29.97 Frames per Second?
- Drop-Frame and Non-Drop-Frame Timecode
- Five Running Modes for Generating Timecode
- Shutter and Exposure Time
- Exposure Time—Speed Versus Shutter Angles
- Going Beyond 180-Degree Maximum Shutter Angle
- Camera Setup and Operation—Menus
- HD-SDI Outputs
- Raw Output
- Viewing Output—A Cautionary Tale
- Dual-Link Outputs—A Cautionary Tale
- Sync and Black Burst
- Test Signal Outputs
- How to Use the Waveform Vectorscope
- How and Why to Use Color Charts
- DSC Color Charts
- Electronic Viewfinders
- The “One-Eyed Jack” Exposure Ball
- Sensor Cleaning—Shooting a Sensor Dust Check Image
- How to Clean the Sensor
- Dead or “Lit” Pixels
-
Chapter 11 Prep, Workflow Design, and Testing
- Failing to Prepare Is Preparing to Fail
- Sharing a Visual Language With Your Director
- Breaking Down the Script
- Location Scouting
- The Tools of Location Scouting
- Crew Size for Shooting Digital
- Hire a Great Gaffer
- Lighting Plots for Sets
- Hire a Great Key Grip
- Hire the Best Focus Puller You Can Get!
- Equipment Lists
- Digital Imaging Technician
- Workflow
- A Checklist for Determining a Workflow
- LTO, LTFS Offline/Online, and Conform from LTO
- Sample Workflows
- The Warner Brothers’ Next Generation Production Workflow Report
- Chapter 12 The Shoot
-
Chapter 13 Color Management, Compression, and Workflow
- Baked-In Look Versus Full Range Data
- On-Set Look Management
- The Need for Look Management
- The Look Management Challenge for Cameras That Exceed HD Video
- Look Management from On-Set and/or Near-Set Through Final Color Grading
- Viewing Environment and Monitor Calibration
- On-Set Color Correction—A Cautionary Tale
- LUTs, Exchange Spaces, and Working Spaces
- ASC CDL
- ASC CDL Transfer Functions
- Behavior for Different Image Encodings
- Video-Gamma and Linear (Gamma 1.0)
- Video-Gamma Examples
- Log
- Log Examples
- On-Set Look Management Hardware and Software
- Black Magic DaVinci Resolve
- Pandora Pluto/YoYo
- Workflow
- Compression
- Interframe Versus Intraframe Compression Schemes
- JPEG 2000 Wavelet Compression
- JPEG 2000 Decoding Architecture
- Delivering Materials From Acquisition to Editorial
- Who Is Making the Dailies and How?
- What Are ALE and XML Files?
-
Chapter 14 Recorders
- How Is the Project Being Recorded?
- AJA Recorders
- Astrodesign Recorders
- Atomos Recorder
- Blackmagic Recorders
- Cinedeck Recorders
- Convergent Design Gemini
- Keisoku Giken Recorders
- Panasonic Recorders
- Panavision SSR Solid-State Recorder
- Pix 240i
- RED Drive
- S-Two Recorders
- Sony Recorders
- Vision Research CineMag and CineStation
- Chapter 15 Displays
-
Chapter 16 Postproduction and Digital Intermediate
- The Digital Intermediate
- Color Correction Systems
- Primary Color Corrections
- Lift, Gamma, and Gain
- Secondary Color Corrections
- Color Correction and Decimation—Cautionary Notes
- Decimation, Downsampling, or Subsampling
- The Tools of Finishing—The Digital Intermediate Output
- What Possibilities Does ACES Hold for Color Grading?
- Additional Useful Resources AJA
-
Chapter 17 Delivering and Archiving Digital Movies
- Delivering a Motion Picture
- Archiving a Motion Picture in the Digital Age
- Taking Digital Out to Archival Film
- The Digital Dilemma
- The Digital Cinema Package
- The Migration From Film to Digital
- The Structure of Digital Exhibition—Virtual Print Fees
- A Simplified Motion Picture Studio Archival Deliverables List
- Index
Product information
- Title: Digital Cinematography
- Author(s):
- Release date: March 2014
- Publisher(s): Routledge
- ISBN: 9781136040412
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