book

Digital Cinematography

Name: Digital Cinematography
Author: David Stump
ISBN: 9781136040412

by David Stump

March 2014

Intermediate to advanced

459 pages

20h 31m

English

Routledge

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Cover
Half Title
Title
Copyright
Contents
Acknowledgments and Dedications
Foreword
What This Book Is AboutWhat This Book Is Not AboutWhy Should a Cinematographer Read This BookDo Not Bluff With Buzzwords, Do Your HomeworkAs a Cinematographer, You Must Ultimately Serve Three MastersYour DirectorYour ProducerThe Studio
A Note on the Color
Chapter 1 What Is Digital
What Are Pixels?Photosites Are Not Pixels!Analog to DigitalHow Many Crayons in the Box?The Issues of Encoding LuminanceThe Just Noticeable Difference (JND) and Square Root Integral (SQRI)The Problem With Linear EncodingGamma10-Bit Log Cineon/DPX File FormatCineon/DPX Encoding RangesThe Calculus of Color Sampling (Uh-Oh… Math Again!)Nyquist Sampling TheoryNyquist Sampling Theory Simplified
Chapter 2 Camera Sensors
The Practical Differences Between Film and Digital SensorsSensor Size Has an Effect on the Image We SeeCCD Versus CMOS3-Chip 2/3-Inch SensorsPrisms Are Very Difficult to EngineerChromatic AberrationTelecentricity in Lens DesignCCD Image SmearThree Solutions to the Problem of CCD Image SmearInterline Transfer CCD SensorsBayer Pattern Sensors Versus Co-Sited RGB PixelsBayer Pattern Color Filter ArraysOptical Low Pass FilteringInfrared FilteringUnderstanding Bayer Pattern Images“De-Bayering” ImagesResolution in Bayer Pattern CamerasConverting Raw Images to RGB ImagesDead pixel removalNoise reductionLinearizationBlack-level subtractionDe-mosaic to RGBLens correctionsCroppingScalingWhite balanceColor conversionColor enhancementsToning curveGamma curveClip to fewer bitsLossy compressionCinema DNG FormatRolling Shutter Versus Global ShutterSkewWobbleSmearPartial ExposureDark Frame SubtractionDynamic Range = Exposure LatitudeHow Much Picture Noise Is Acceptable in Digital Cinema?Noise and Lower Dynamic Range IssuesFixed Pattern Noise, Readout Noise, Circuit Noise, and Photon NoiseHighlight Handling and HeadroomFill FactorSensitivity and ASA RatingSensitivityISO, ASA Rating, and Exposure Index

Chapter 3 Color
The CIE 1931 RGB Color-Matching FunctionsColor Space as It Relates to CinematographyColor Sampling and SubsamplingYCbCr and Y’CbCr ColorColor Space ConversionColor Has Traditionally Been Device-DependentACES Color SpaceOne Possible Future Motion Picture Finishing Solution—ACES, the Academy Color Encoding SystemACES ComponentsACES BenefitsFor CinematographersFor Visual Effects and Postproduction FacilitiesFor Content OwnersACES Color Space EncodingViewing ACESPreparation for Using ACESDigital Cinema Color Spaces: P3, XYZ, and ACES
Chapter 4 The Color-Space Conundrum
What Is Color Space?Human Color PerceptionQuantifying Human Color Perception—CIE 1931Color PhotographyColor in CinematographyColor in TelevisionCIE 1976—CIE L*a*b*The Birth of High-Definition VideoManaging the Digital RevolutionThe Birth of Digital ImagingHybrid Workflows—Film and Digital CoexistNyquist Sampling Theory (Again!)Modulation Transfer Function and Contrast Sensitivity FunctionPreserving Image Quality Across File FormatsLook-Up Tables (LUTs)CompressionLooking Into the Digital Future
Chapter 5 MTF, Resolution, Contrast, and Nyquist Theory
Contrast Is Decreased as a Function of FrequencyModulation Transfer Function of a Solid-State CameraOptical Low Pass FiltersCascading Nyquist MTF Percentages—A Loose and General ExampleResolution Does Not Equal SharpnessImportant Factors to Consider in Achieving Picture SharpnessThe Case for 4KThere Is 4K and Then There Is 4KResizing and ResamplingMTF and the Final Step in the Imaging Chain: Projection
Chapter 6 Frame Rates and Aspect Ratios
The Range of Frame Rates for AcquisitionProgressive and Interlace Frame RatesProgressive Frame Rates24p and 23.976p25p29.97p/30p50p and 60pInterlace Frame Rates60i50iInterlace Versus Progressive FramesProblems Caused by InterlacingCombingInterline TwitterResizing and Resampling of Interlaced ImagesProgressive ScanAdvantages of Progressive ScanVariable Frame Rates and High Frame RatesHigher Frame Rates in Exhibition and 3D ExhibitionHistorical PerspectivesTodd-AO–65mm at 30 fpsShowscan at 60 Frames per Second in 65mm (Figure 6.12)Coming Soon to a Theater Near You—Even Higher Frame Rates!Formats and Aspects RatiosAspect RatioCinema Terminology1.33:1 or 4 × 3 Academy1.66:1 or 3 × 21:85:12.39:1 or CinemaScope, Scope, or Panavision1.78:1 or 16 × 9Why 16 × 9?1.33:1 Pillar Boxed Inside of 1.78:1 Frame2.39:1 Letterboxed Inside 1.78:1 Frame2.39:1 Panned and Scanned to Fit Inside a Narrower Screen FormatFilm Camera Aperture Sizes and HD Sensor Sizes
Chapter 7 Lenses
Distinctions That Go Into Evaluating Lens QualityResolutionSpeedContrastColor MatchingFlare CharacteristicsClose FocusBreathingLens DesignGeometryChromatic AberrationBokehFlat Field/Uniformity Across the Entire Stop RangeLens GroupFocus and Zoom ScalingConstruction, Dimension, Durability, and DesignAngenieux Optimo Zoom LensesOptimo Anamorphic 56–152mm 2× Squeeze Zoom LensARRI/Fujinon Alura Zoom LensesCanon Cine LensesCanon EF Cinema Zoom LensesCanon EF Cinema Prime LensesCooke LensesCooke 5/i Prime Lenses, T1.4Cooke Anamorphic/i Prime LensesCooke S4/i Prime LensesCooke mini S4/iCooke Zoom Lenses/i TechnologyWhat Value Does Lens Metadata Hold?Fujinon Cine LensesFujinon PL Mount Cine LensesFujinon E Series 2/3-Inch 3CCD B4 Mount HD Prime LensesFujinon E Series 2/3-Inch B4 Mount HD Zoom LensesFujinon C Series 2/3-Inch B4 Mount HD Zoom LensesHawk 2× and 1.3× Squeeze Anamorphic Primes and ZoomsHawk V-Lite 2× Squeeze Anamorphic LensesHawk V-Lite Vintage ’74 PrimesHawk V-Plus Series 2× Squeeze Anamorphic LensesHawk V Series and C Series 2× Squeeze Anamorphic LensesHawk V-Lite 1.3 Squeeze Anamorphic LensesHawk V-Lite 16 Anamorphic LensesLeica Summilux-C LensesPanavision LensesPrimo Standard Prime LensesPrimo “Classic Series” Prime LensesPrimo Close Focus LensesPrimo Zoom Lenses4:1 Primo Zoom—SLZ11:1 Primo Zoom—SLZ113:1 Primo Zoom—SLZ3Primo Macro Zoom—PMZPrimo Digital LensesPanavision PVintage LensesStandard Primes—SPSuper Speeds and Ultra SpeedsSuper Speeds “Z” Series and Ultra Speeds “Z” SeriesPanavision Macro and Specialty LensesMacro SM Series LensesPanavision Frazier Lens System6mm T2.8 Fisheye Lens–SF66mm T3.5 Nikon Fisheye Lens–SPN6Portrait LensesFlare LensesSlant Focus LensesPanavision/Century Swing Shift System—PVBPanavision AnamorphicsG Series Anamorphic Prime LensesE Series Anamorphic Prime LensesC Series Anamorphic Prime LensesFront Anamorphic Zooms—AWZ2 and ATZAnamorphic Wide-Angle Zoom—AWZ2Anamorphic Telephoto Zoom—ATZ3:1 Primo Anamorphic Zoom—ALZ311:1 Primo Anamorphic Zoom—ALZ11Specialty Anamorphic LensesRED Prime Lenses and ZoomsSchneider LensesSchneider Cine Xenar I, II, III LensesSchneider Full Frame Prime LensesSony CineAlta 4K LensesUniQopticsVantage ONE LensesZeiss LensesZeiss Master PrimesZeiss Master ZoomARRI Lens Data SystemZeiss UltraprimesZeiss Master AnamorphicsZeiss Compact PrimesZeiss Compact Prime Super SpeedsZeiss Compact Zooms and Lightweight ZoomZeiss DigiPrimes and DigiZoomsZeiss DigiZoomsDepth of FieldHyperfocal DistanceDepth of FieldDepth of FocusHow Do Film Camera Aperture Sizes and HD Sensor Sizes Affect Lenses?Filter FactorBack Focus in 2/3-inch HD LensesFocus with Zeiss Sharp MaxSetting Back Focus With the SharpMax and Similar Portable CollimatorsSetting Back Focus With a Focus ChartEvaluating LensesLens Test Criteria and MethodsProjecting 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 ExpectationsViewing the Image While ShootingViewfinders—A Cautionary NoteVideo VillageCreating, Storing, and Recalling Camera SettingsWeight and Balance IssuesOnboard Video Recording Versus Outboard RecordingOnboard Sound Recording Versus Outboard Sound RecordingOnboard Camera Controls Versus Outboard Camera ControlsEase of Use of Camera ControlsAccessory Design: Focusers, Matte Boxes, and MoreIn-Camera, Behind-the-Lens FiltrationCables, Cables, and More CablesCamera PowerLens Mount/Optical Block and Back-Focus ProblemsShooting Log and Shooting RawDigital Still Cameras Used for HD ShootingShooting HandheldDigital Media, X-Rays/Magnetometers, and the Transportation Security AdministrationDigital Cameras and Cosmic Rays
Chapter 9 High-Resolution Digital Motion Picture Cameras
ARRI CamerasARRI ALEXA/ALEXA XTALEXA WorkflowsALEXA XT PlusALEXA XT MALEXA XT StudioBlackmagic CamerasBlackmagic CameraBlackmagic Production Camera 4KCanon CamerasCanon EOS C100Canon EOS C300Canon EOS C500Ikonoscop A-Cam dIIPanasonic AJ-HPX 3700Panavision GenesisRED Cameras6K RED DRAGONTM SensorRED OneRED Epic-X/M CamerasRED Scarlet CameraSilicon Imaging SI-2KSony CamerasSony PMW-F3Sony NEX-FS700USony F23Sony F35Sony PMW-F5Sony PMW-F55Sony F65Vision Research Phantom High Speed CamerasPhantom FlexVision Research Phantom 65Vision Research Phantom HD GoldVision Research Phantom 4KWeisscam HS-2
Chapter 10 Camera Setup and Operation
Bars and ToneSMPTE TimecodeTimecode On SetHow Timecode Is Carried29.97 Frames per Second?Drop-Frame and Non-Drop-Frame TimecodeFive Running Modes for Generating TimecodeShutter and Exposure TimeExposure Time—Speed Versus Shutter AnglesGoing Beyond 180-Degree Maximum Shutter AngleCamera Setup and Operation—MenusWhite BalanceBlack BalanceGammaGainKneeMaster BlackMaster Black GammaWhite ClipDetailMatrixHueSaturationLens ShadingGamutLog Output SignalsARRI Log CPanalogSony S-LogHyperGamma CurvesHD-SDI OutputsRaw OutputViewing Output—A Cautionary TaleDual-Link Outputs—A Cautionary TaleSync and Black BurstTest Signal OutputsHow to Use the Waveform VectorscopeHow and Why to Use Color ChartsDSC Color ChartsElectronic ViewfindersViewfinder MagnificationZebrasCrispening and PeakingFalse ColorHistogramThe “One-Eyed Jack” Exposure BallSensor Cleaning—Shooting a Sensor Dust Check ImageHow to Clean the SensorDead or “Lit” Pixels
Chapter 11 Prep, Workflow Design, and Testing
Failing to Prepare Is Preparing to FailSharing a Visual Language With Your DirectorBreaking Down the ScriptLocation ScoutingThe Tools of Location ScoutingCrew Size for Shooting DigitalHire a Great GafferLighting Plots for SetsHire a Great Key GripHire the Best Focus Puller You Can Get!Equipment ListsDigital Imaging TechnicianWorkflowA Checklist for Determining a WorkflowLTO, LTFS Offline/Online, and Conform from LTOSample WorkflowsThe Warner Brothers’ Next Generation Production Workflow ReportRepresentative Samples of Workflow DiagramsCategory 1: “Custom Configured” WorkflowCategory 2: “Plug and Play” WorkflowCategory 3: “Facility provided solutions” WorkflowHow Much Data?Bandwidth10-Gig E/Fibre ChannelWAN TransportSohonetLatisys/DatacentersAspera, Netflight, Ekinops, and OthersPIX SystemsTest, Test, Test!The 2009 Camera Assessment SeriesThe 2012 Image Control Assessment SeriesMakeup TestsWardrobe TestsLighting TestsColor Temperature Is Not the Same Thing as Spectral Power DistributionLocation TestsWorkflow TestsFilmout Tests
Chapter 12 The Shoot
Monitors, Tents, and DirectorsYou Are the Producer’s Business PartnerYou Are the Director’s Hardest Working Best FriendThe Studio—What Time Did You Get the First Shot of the Day?Making a ShotPicking Up the Pieces at the End of the Day—The CrewDailies
Chapter 13 Color Management, Compression, and Workflow
Baked-In Look Versus Full Range DataOn-Set Look ManagementThe Need for Look ManagementThe Look Management Challenge for Cameras That Exceed HD VideoLook Management from On-Set and/or Near-Set Through Final Color GradingViewing Environment and Monitor CalibrationOn-Set Color Correction—A Cautionary TaleLUTs, Exchange Spaces, and Working SpacesASC CDLASC CDL Transfer FunctionsSlopeOffsetPowerSaturationBehavior for Different Image EncodingsVideo-Gamma and Linear (Gamma 1.0)SlopeOffsetPowerSaturationVideo-Gamma ExamplesLogSlopeOffsetPowerSaturationLog ExamplesASC CDL Interchange FormatsOn-Set Look Management Hardware and SoftwareAdobe SpeedGrade On SetAssimilate ScratchBlack Magic DaVinci ResolveCineTal DAVIO LUT BoxColorfront On-Set Dailies and Express DailiesFilmLight TruelightFilmLight Image Processor (FLIP)FotoKem nextLabFujifilm CCBOXXGamma & Density 3cPLUTher BoxMTI Film Control DailiesPanavision Genesis Display ProcessorPandora Pluto/YoYoPomfort LiveGradeTechnicolor DP LightsWorkflowCompressionInterframe Versus Intraframe Compression SchemesInterframe CompressionIntraframe CompressionJPEG 2000 Wavelet CompressionHow JPEG 2000 Works (Figure 13.56)Pre-ProcessingThe Discrete Wavelet TransformCompression of the Wavelet CoefficientsThe Entropy Coding UnitRate ControlData OrderingJPEG 2000 Decoding ArchitectureJPEG 2000 ParserEntropy DecoderInverse QuantizerExternal MemoryInverse Discrete Wavelet Transform (IDWT)Multiple Component Transformation (MCT)Error HandlingProcess ControlDelivering Materials From Acquisition to EditorialWho Is Making the Dailies and How?Codecs and WrappersAVID CodecsApple ProRes CodecsWhat Are ALE and XML Files?ALE FilesXML FilesAAF FilesEDL FilesMetadata
Chapter 14 Recorders
How Is the Project Being Recorded?AJA RecordersAJA Ki ProAJA Ki Pro Rack MountAJA Ki Pro MiniAJA Ki Pro QuadAstrodesign RecordersAstrodesign HR-7502-AAstrodesign HR-7510Atomos RecorderAtomos SamuraiAtomos Ronin RecorderAtomos Samurai Blade RecorderBlackmagic RecordersBlackmagic HyperDeck Shuttle 2 and Studio DecksBlackmagic HyperDeck Studio Pro DeckCinedeck RecordersCinedeck EXCinedeck RXCinedeck MXCodex Digital Onboard S RecorderCodex Digital Onboard M RecorderCodex Digital ARRIRAW RecorderConvergent Design GeminiKeisoku Giken RecordersKeisoku Giken UDR D100Keisoku Giken UDR-5SKeisoku Giken UDR-10SKeisoku Giken UDR-20SKeisoku Giken UDR-N50APanasonic RecordersPanasonic AG-HPD24PJPanasonic AG-HPG20Panasonic AJ-HPM200Panasonic AJ-HPD2500Panavision SSR Solid-State RecorderPix 240iRED DriveS-Two RecordersS-Two OB-1 On-Camera RecorderS-Two DFR2K-AR RecorderSony RecordersSony SRR4 RecorderSony SR-R1 RecorderSony HDCam SRW-1SxS CardsSony Solid-State XDCAM and XDCAM EX RecordersVision Research CineMag and CineStation
Chapter 15 Displays
The Waveform Monitors and VectorscopesDisplay TechnologiesCathode Ray Tube MonitorsLiquid Crystal DisplaysLight-Emitting Diode DisplaysGas Plasma DisplaysOrganic Light-Emitting Diode DisplaysCalibrationManual Monitor CalibrationDatacolor Imaging ResourceNEC SpectraviewTHX CineSpaceX-RiteMonitors for Use On SetOnboard MonitorsSmall Viewing MonitorsOn-Set MonitorsDigital Projection for Dailies, Previews, and Digital CinemaDailies ProjectorsDigital Projectors—DCI and SMPTE CompliantPR 730 Spectroradiometer
Chapter 16 Postproduction and Digital Intermediate
The Digital IntermediateThe Tools of Finishing—The Digital Media IngestThe Tools of Finishing—The Digital Intermediate Color CorrectionColor Correction SystemsAdobe SpeedgradeApple ColorAssimilate ScratchAutodesk LustreAvid Artist ColorBlackmagic DaVinci ResolveDigital Vision NucodaFilmLight BaselightPandora RevolutionMistikaQuantel PabloRed Giant Magic Bullet Colorista IIPrimary Color CorrectionsColor Correction ParametersLift, Gamma, and GainLift, OffsetGammaGainHueSaturationSecondary Color CorrectionsPower Windows and ShapesColor VectorsColor CurvesMasks, Mattes, and KeysDynamicsColor Correction and Decimation—Cautionary NotesDecimation, Downsampling, or SubsamplingThe Tools of Finishing—The Digital Intermediate OutputWhat Possibilities Does ACES Hold for Color Grading?Images Corrected in a 10-Bit Log EnvironmentImages Corrected in a 16-Bit ACES EnvironmentAdditional Useful Resources AJABlackmagic DesignGluetoolsPomfortPIX Systems and VICI Post Solutions
Chapter 17 Delivering and Archiving Digital Movies
Delivering a Motion PictureArchiving a Motion Picture in the Digital AgeTaking Digital Out to Archival FilmThe Digital DilemmaThe Digital Cinema PackageThe Migration From Film to DigitalThe Structure of Digital Exhibition—Virtual Print FeesA Simplified Motion Picture Studio Archival Deliverables ListMediaDistribution ElementsEditorial ItemsSound Elements (on Firewire Drive and DVDR)International ElementsTrailer MaterialVideotape Master MaterialPublicity MaterialsDVD Blu-ray Bonus MaterialsClearance DocumentsLegal Materials
Index

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Digital Cinematography

by David Stump

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