book

Introduction to Cinematography

Name: Introduction to Cinematography
Author: Tania Hoser
ISBN: 9781315305295

by Tania Hoser

October 2018

Beginner

416 pages

17h 4m

English

Routledge

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Cover
Half Title
Title
Copyright
Contents
Acknowledgments
Preface
Section A: The Bigger Picture
1 Cinematography: The Bigger Picture
Learning OutcomesThe Cinematography Triangle: Technology, Technique and TasteDeveloping Your Visual LanguageHow and Where to Learn CinematographyLearning in EducationLearning in a Professional EnvironmentLearning IndependentlyTechniques for Developing Creativity and ImaginationWorking Creatively Within the Limits of a ProductionThe Creative WorkflowCollaboration TechniquesProgress and the Learning CycleAssessing Your Work
Section B: Essential Working Knowledge for Cinematographers and Camera Assistants

2a Working on Set: Professional Practice
Learning OutcomesThe Role of the Production DepartmentThe Role of the Camera Assistant in Pre-ProductionThe Role of the Cinematographer in Pre-ProductionThe Camera CrewThe Camera Department HierarchyThe Role of the 2nd AC and TraineeThe Role of the 1st ACThe Role of the Camera OperatorThe Role of the DPThe Role of the Digital Imaging Technician (DIT)The Role of the Dolly GripShoot Procedure Step-by-StepHow to Survive the ShootProtecting the Camera Equipment
2b Camera Assistant Skills
Learning OutcomesFocus and Focus PullingBest Practice for Putting on the Clapper BoardRecord Keeping: Notes and Camera SheetsManaging Batteries and Power SupplySetting Up and Calibrating the MonitorData Management and Rushes DeliveryTo Backup DataDirectory Structure and Folders Layout
3 Fundamental Photographic Knowledge for Cinematography
Learning OutcomesUnderstanding ExposureThe Camera and the Camera SensorImage NoiseISO and How the Sensor Responds to LightClipping and Avoiding ClippingRecording Color and Bit DepthRecording FormatsRAWLogLUTMoiréExposureZebrasHistogramsMonitors and IRE LevelsExposure Problems and SolutionsControling the Look of the Image with Aperture and Shutter SpeedAperture and Depth of FieldShutter Speed and Motion BlurAperture Shutter Speed and ISO: Ideals and CompromisesWhite BalanceBlack Balance/ShadingFlarePolarizationSummary
4a Assembling the Camera and Preparing to Shoot
Learning OutcomesSelecting an Appropriate CameraAssembling the CameraMounting the LensCamera SupportsTripodCamera HeadsLeveling the Camera HeadHand-Held Supports and ApparatusSecurely Connecting the CameraAssembling Camera AccessoriesFollow FocusMatte Box and EyebrowFiltersBalancing the CameraCamera Menu Set-UpsCleaning the Camera and EquipmentThe Cinematographer’s ToolbagThe Camera Assistant’s Kit
4b Camera Preparation and Testing
Learning OutcomesChecking and Prepping the EquipmentDead Pixel TestLens Performance TestsLens Sharpness and Color Fringing TestFocus TestsZoom Lens and Drift TestBokeh TestAnamorphic Lens TestsLens Flare TestFilter TestsIR Pollution Tests For ND FiltersVariable ND TestsColor TestsDynamic Range TestLow Light Test
5 Understanding and Managing the Digital Workflow from Camera to Screen
Learning OutcomesWorkflow Step-by-StepChoosing the CameraResolutionDynamic RangeThe Impact of High Dynamic Range on Camera ChoiceBit DepthRecording Choices and CompressionRecording In RAWRecording in LogDSLR Log EquivalentsRecording in LUTChoice of Codec and Bit RateThe Importance of Bit RateThe Post-Production WorkflowEditingPreparation Files for Grading: Display and Scene Referred TransformsACESConversion LUTsThe Master GradeChoosing a Color SpaceColor CorrectingColor GradeVFXFinal Grade and Conforming for DisplayArchivingExporting for DeliverySupporting Concepts and TheoriesMethods of CompressionPixels, Photosites and ScreensShape Squeeze and Crop
Section C: Storytelling: Shots, Scenes and Time
6 Storytelling in Shots: Lenses and Composition
Learning OutcomesFocal Length and CompositionThe Two Effects of Focal LengthWide-Angle LensesStandard/Normal LensesLong LensesFocal Length and Aspect RatioThe Z-AxisHow Sensor Sizes Affect the Angle of ViewHow Sensor Size Affects Depth of FieldLens ChoicesSpecialist and Macro LensesT-Stops or F-StopsLens Manufacturers and Lens MountsComposition and StorytellingChoosing Shot SizesUsing Depth of Field and Focus Pulling for StorytellingScreen Direction: Right to Left and Left to RightHeadroomLeadroomAspect Ratio, Genre and CompositionFrame Height Power and PerspectivePhotographic Composition GuidelinesArrangement of Objects Within the Frame
7 Storytelling in Scenes: Constructing the Scene and Working with the Director
Learning OutcomesGenre and StereotypeGenreStereotypes and Theories of RepresentationThe Gap Between Intentions and RealityWorking with the DirectorBlocking and Shooting the SceneShooting Order and Shooting EfficientlyThe Shooting RatioThe Master ShotHandlesContinuity CoverageThe LineRecurring or Developing Elements in Scenes throughout the FilmRecurring Metaphors and MotifsDeveloping and Changing the Positioning of PeoplePositioning and Movement of Background Elements and ActionViewer’s Perspective and EyelineThe Flow of Time and Pacing the SceneDeveloping Shots and OnersCamera MovementWhere the Camera MovesHow the Camera MovesSpeed of MovementChoosing When to Start or Stop MovementCamera Movement ExercisesProduction ConstraintsStylizingThe Magic Bullet
8 Speed and Time
Learning OutcomesStory Time, Film Time and Screen TimeReal TimeLinear Story StructureNon-Linear Story StructureControling the Flow of TimeSpeeding Up TimeMontageFast MotionExpanding or Slowing Down TimeSimultaneous TimeNoticing What Would Otherwise Go UnnoticedHigh Speed/Slow Motion ShotsThe Effect of Shutter Speed, Shutter Angle and Frame Rate on the Look of a FilmInterlaced or Progressive FramesFlicker Flicker Flicker: Lamp Choices, Shutter Speeds Hz, Flicker and PhasingFlicker and High Speed CinematographyRemoving Flicker or Rolling Bars When Shooting MonitorsUnderstanding and Avoiding the Rolling Shutter EffectExercises
Section D: Shooting Creatively and Efficiently When Working Alone
9 Solo Shooting: Documentary and Television
Learning OutcomesThe Freedom and Scope of Working AloneTypes and Modes of DocumentaryExpository or Traditional DocumentaryObservational DocumentaryThe Participatory ModeThe Performative ModeThe Reflexive ModeThe Poetic ModePreparationStoryStyleContentPermissionsWorkflow and Recording SettingsLens Choice and Camera SettingsEquipment Choices, Safety and PreparationShoot ProcedureCovering a Scene and Shooting for the EditCreating Scenes When Shooting Observational DocumentarySolo Shooting TechniquesOperatingFocusExposureLighting and Lighting EquipmentSafetyLighting and Color Temperature in Observational DocumentaryLighting and Shooting InterviewsCinematographer’s Guide to Recording SoundDocumentary Filming Assessment Rubric
Section E: Camera Operating and Methods of Moving the Camera
10 Camera Operating
Learning OutcomesBenefits of Having a Dedicated Camera OperatorThe Effect of Camera Movement on the ViewerDevising ShotsWorking with OthersWorking with the GripWorking with the ACPositioning ArtistsPositioning PropsFramingLeadroomHeadroomScanning the FrameEyelinesCrossing the LineSelecting EquipmentWhat Type of Camera Head for Which Type of MovementWhich Camera Supports for What Type of MovementSlidersTechniques and Tools for Shooting Hand-HeldChoosing the Optimal Focal LengthHow to Operate Smoothly and Steadily While MovingLearning to Move Safely Within a SpaceWorking with ActorsKey Points, for Self-Assessment
Section F: Light and Lighting
11a Lighting: The Fundamentals of Lighting, Light Metering and Exposure
Learning OutcomesKey LightHard Key LightSoft Key LightFill Light and Lighting RatiosFlat LightMonitoring and Measuring LightIREFalse ColorWaveform MonitorVectorscopeLight Metering and MeasurementLight MeasurementsStopsExposure ValuesSetting a MeterIncident MetersSpot MetersExposureHigh Dynamic Range and Standard Dynamic RangeUnderstanding and Using the Sensitometric/Response CurveDynamic Range, Latitude and ExposureThree Techniques for ExposureChanging the Aperture in Shot
11b Lighting: Natural and Available Light
Learning OutcomesNatural LightAvailable LightAssessing Locations for Natural LightAssessing Locations for Available LightAssessing Locations for Lighting by ContrastWorking with the WeatherShooting in the RainShooting Day ExteriorsUsing Butterfly Frames and Five-in-One Kits and ReflectorsShooting Exteriors Without a Reflector or Diffusion KitReversesMagic Hour, Evening and Night ShootsMagic HourBlue HourWhen to Shoot Moonlit ScenesShooting in FirelightDay Interiors in Available LightLighting InterviewsAvailable Light Night InteriorsDay for nightExteriorsInteriors
12 Shaping and Controling Light
Learning OutcomesCreating Motivated Light and Emulating Light SourcesControling Shape with LightDirection3/4 Front Lighting3/4 Back LightingLight and TextureMotivated Key LightIntensity, Distance, Drop-Off and the Inverse-Square LawTechniques for Creating Fill LightBounce FillLit FillNegative FillRim Lighting with Back LightControling and Modifying LightShade and ShadowsHow and When to Use Flags and Barn DoorsCreating Shadows of Blinds and WindowsBreaking Up LightReducing Softening or Sharpening LightReducing Light LevelsDiffusing Light to Soften ItBouncing Light to Soften ItMaking Light HarderReflectionRefractionLamp Choices, Personal Preferences and Lighting StylesLighting ControlHow to Select Appropriate LampsBulb TypesLamp Housings
13 Lighting Locations and Studio Sets
Learning OutcomesDifferences Between Lighting Studio Sets and LocationsTiming Priorities and PlanningProduction Design and PlanningLighting PlansColor Temperature PlanningThe Order and Process of LightingLighting for Wide ShotsLighting Medium ShotsLighting Close-UpsSetting LampsKey LightBalancing Set Lighting and Key LightFill LightBack LightDrawing Attention to Different Parts of the FramePractical LampsFlags, Nets and CookiesCreating Slivers and AccentsColor Temperature TweaksDiffusing with Smoke – FogDay ExteriorsDay InteriorsNight InteriorsNight ExteriorsWet DownsLight Changes During a ShotLighting Green-ScreenCar InteriorsStairs and HallsLighting with Very Little TimeWorking with the Lighting DepartmentShooting and Managing the Power Supply Without a GafferWorking with a Gaffer
Section G: Color, Image Control and Creating the ‘Look’ of the Film: Combining and Using All Aspects of Cinematography Creatively
14 Color, Image Control and the ‘Look’ of the Film
Learning OutcomesImagination and VisualizationControling the Look: From Outside to InsideWhat to Create During the Shoot and What to Leave to PostColorColor and MeaningThe Color Wheel and Color ChoicesColored Light, Color Temperature and Creative White BalanceUsing Charts and Communicating with the ColoristBlack-and-White CinematographySharpening or Softening the ImageControling Image SharpnessControling Image SoftnessCamera Diffusion FiltersLamp Diffusion FiltersSmoke, Fog, Mist and HazeFlareHalation or BloomingSaturation and GlowPolarizationChoice of LensesCamera ChoiceShooting on FilmImage Control and Grading
Section H: Working in the Film and Television Industries
15 Starting and Developing a Career in Cinematography
Learning OutcomesThe Personal PictureThe Bigger PictureGetting a Foot in the DoorCVs and Online PresenceMentors and SupportPersonality and General ApproachFitting in With the Camera DepartmentSelf-Assessment: The Learning CycleGetting Established in the IndustryFactors That Affect How Well You Fit InWhat Happens When You Are One of Them, Not One of UsSolutionsLiving Where the Industry Is SmallSpecialist RoutesBecoming a CinematographerThe Director’s PerspectiveThe Producer and Production Department’s PerspectiveConfidence, Charisma and ControlStarting as a DPMoving Up from AC to DPDeveloping Your Career As a DP
Appendices
1 Camera Department Roles and Relationships Overview
2 Assessment Rubric
3 What’s the Problem?
4 Don’t Do That, Kevin
Index

Content preview from Introduction to Cinematography

Appendix 3 What’s the Problem?

Set this scene outside. You may change the names or the gender of either or both characters.

EXT. ANYWHERE – DAY

SEAN So, what’s the problem?

BARRY No problem.

SEAN If there was no problem, you wouldn’t be behaving like that.

BARRY I always do this.

SEAN Sure, you always do that when you’re unhappy. What you unhappy about?

BARRY Nothing.

Barry walks away from Sean.

SEAN Barry.

BARRY It isn’t what I expected.

SEAN What do you mean by that?

BARRY I thought it would be different.

SEAN OK, so it’s different to what you expected. If it had been what you expected, would that make everything OK?

BARRY Of course.

SEAN Really?

BARRY Well, probably.

SEAN So you wanted ...

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Cinematography: Theory and Practice, 2nd Edition

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Introduction to Cinematography

by Tania Hoser

Appendix 3 What’s the Problem?

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