| introduction |
|
ix | |
|
|
|
1 | (28) |
|
|
|
2 | (4) |
|
Subjective and objective POV |
|
|
6 | (3) |
|
The building blocks of scenes |
|
|
9 | (3) |
|
|
|
12 | (3) |
|
|
|
15 | (2) |
|
|
|
17 | (2) |
|
|
|
19 | (3) |
|
|
|
22 | (3) |
|
|
|
25 | (1) |
|
|
|
26 | (1) |
|
Triple take or overlapping method |
|
|
27 | (1) |
|
|
|
28 | (1) |
|
Conclusion: a mixture of techniques |
|
|
28 | (1) |
|
|
|
29 | (16) |
|
|
|
31 | (3) |
|
The three dimensional field |
|
|
34 | (1) |
|
|
|
34 | (3) |
|
Forces of visual organization |
|
|
37 | (6) |
|
Film and video composition |
|
|
43 | (1) |
|
Basic composition rules for people |
|
|
44 | (1) |
|
|
|
45 | (16) |
|
|
|
46 | (1) |
|
|
|
47 | (7) |
|
|
|
48 | (1) |
|
|
|
49 | (1) |
|
|
|
50 | (1) |
|
|
|
51 | (3) |
|
|
|
54 | (7) |
|
|
|
61 | (18) |
|
Motivation and invisible technique |
|
|
62 | (2) |
|
|
|
64 | (2) |
|
|
|
66 | (2) |
|
|
|
68 | (1) |
|
|
|
69 | (3) |
|
|
|
72 | (2) |
|
|
|
74 | (1) |
|
|
|
75 | (1) |
|
Other types of camera mounts |
|
|
76 | (1) |
|
|
|
76 | (1) |
|
|
|
77 | (2) |
|
|
|
79 | (24) |
|
|
|
80 | (3) |
|
|
|
80 | (1) |
|
|
|
80 | (1) |
|
|
|
81 | (1) |
|
|
|
81 | (2) |
|
|
|
83 | (1) |
|
What establishes the line? |
|
|
84 | (1) |
|
|
|
84 | (6) |
|
Deliberately breaking the rules |
|
|
85 | (2) |
|
|
|
87 | (1) |
|
|
|
88 | (2) |
|
|
|
90 | (1) |
|
Other issues in continuity |
|
|
90 | (6) |
|
|
|
96 | (2) |
|
Other editorial issues in shooting |
|
|
98 | (1) |
|
|
|
98 | (1) |
|
|
|
99 | (4) |
|
|
|
103 | (24) |
|
|
|
104 | (1) |
|
|
|
104 | (1) |
|
Exposure, ISO and lighting relationships |
|
|
104 | (2) |
|
Inverse square law and cosine law |
|
|
105 | (1) |
|
|
|
105 | (1) |
|
|
|
106 | (10) |
|
|
|
109 | (4) |
|
|
|
113 | (1) |
|
|
|
113 | (3) |
|
|
|
116 | (1) |
|
|
|
117 | (1) |
|
|
|
118 | (3) |
|
|
|
121 | (6) |
|
|
|
124 | (1) |
|
|
|
125 | (2) |
|
|
|
127 | (14) |
|
|
|
128 | (3) |
|
|
|
129 | (2) |
|
|
|
131 | (4) |
|
|
|
133 | (2) |
|
|
|
135 | (1) |
|
|
|
135 | (1) |
|
Advancing and retreating color |
|
|
135 | (1) |
|
Film and video colorspace |
|
|
135 | (1) |
|
Color harmonies & the interaction of color |
|
|
135 | (3) |
|
|
|
138 | (2) |
|
|
|
138 | (1) |
|
|
|
138 | (1) |
|
|
|
139 | (1) |
|
Digital and electronic color |
|
|
140 | (1) |
|
|
|
141 | (16) |
|
|
|
142 | (3) |
|
|
|
145 | (1) |
|
|
|
146 | (1) |
|
|
|
147 | (2) |
|
|
|
149 | (2) |
|
|
|
151 | (1) |
|
|
|
151 | (1) |
|
Color corrected fluorescents |
|
|
151 | (1) |
|
Cycs, strips, nooks and broads |
|
|
152 | (1) |
|
Chinese lanterns and spacelights |
|
|
153 | (1) |
|
Self contained crane rigs |
|
|
154 | (1) |
|
|
|
154 | (1) |
|
|
|
154 | (1) |
|
|
|
155 | (1) |
|
|
|
156 | (1) |
|
|
|
157 | (10) |
|
Origins of motion picture lighting |
|
|
159 | (2) |
|
|
|
159 | (2) |
|
|
|
161 | (6) |
|
|
|
167 | (10) |
|
|
|
168 | (2) |
|
|
|
170 | (1) |
|
|
|
171 | (1) |
|
|
|
171 | (3) |
|
Correcting off-color lights |
|
|
174 | (2) |
|
Stylistic choices in color control |
|
|
176 | (1) |
|
|
|
177 | (16) |
|
|
|
178 | (1) |
|
|
|
179 | (1) |
|
|
|
180 | (2) |
|
|
|
182 | (1) |
|
|
|
183 | (4) |
|
How not to get more depth-of-field |
|
|
183 | (1) |
|
|
|
184 | (3) |
|
|
|
187 | (4) |
|
Frazier lens and Revolution |
|
|
191 | (1) |
|
|
|
192 | (1) |
|
|
|
193 | (26) |
|
|
|
194 | (7) |
|
|
|
194 | (3) |
|
The waveform monitor and vectorscope |
|
|
197 | (1) |
|
|
|
198 | (1) |
|
|
|
199 | (2) |
|
Setting up a color monitor |
|
|
201 | (1) |
|
|
|
201 | (1) |
|
|
|
202 | (1) |
|
Analog and digital colorspace |
|
|
203 | (1) |
|
|
|
204 | (1) |
|
|
|
205 | (1) |
|
|
|
205 | (3) |
|
|
|
205 | (1) |
|
Drop-frame and non drop-frame |
|
|
206 | (2) |
|
|
|
208 | (2) |
|
10 things to remember when shooting High Def |
|
|
210 | (1) |
|
Lighting for High Def video |
|
|
210 | (1) |
|
|
|
211 | (1) |
|
Transferring video to film |
|
|
212 | (7) |
|
|
|
212 | (1) |
|
|
|
212 | (7) |
|
|
|
219 | (22) |
|
|
|
220 | (1) |
|
Controlling color and contrast |
|
|
221 | (4) |
|
|
|
221 | (1) |
|
|
|
222 | (3) |
|
Bleach bypass and other processes |
|
|
225 | (3) |
|
|
|
228 | (1) |
|
Exposure compensation in bleach-bypass |
|
|
228 | (1) |
|
|
|
228 | (3) |
|
|
|
228 | (1) |
|
Printing negative as interpositive |
|
|
229 | (1) |
|
|
|
229 | (2) |
|
|
|
231 | (5) |
|
Diffusion and effects filters |
|
|
231 | (1) |
|
|
|
232 | (1) |
|
|
|
233 | (3) |
|
|
|
236 | (2) |
|
Using filters in black-and-white photography |
|
|
238 | (1) |
|
|
|
238 | (1) |
|
|
|
238 | (3) |
|
|
|
241 | (16) |
|
|
|
243 | (1) |
|
The Director of Photography |
|
|
244 | (1) |
|
|
|
245 | (9) |
|
|
|
245 | (6) |
|
|
|
251 | (1) |
|
|
|
251 | (3) |
|
|
|
254 | (3) |
|
|
|
257 | (26) |
|
Sun location with a compass |
|
|
258 | (2) |
|
|
|
260 | (3) |
|
Filming practical monitors |
|
|
263 | (2) |
|
|
|
265 | (3) |
|
Lighting for bluescreen/greenscreen |
|
|
266 | (2) |
|
|
|
268 | (2) |
|
|
|
270 | (2) |
|
|
|
272 | (1) |
|
Lighting for extreme close-up |
|
|
272 | (1) |
|
|
|
273 | (2) |
|
|
|
275 | (8) |
| professional formats |
|
283 | (6) |
| acknowledgments |
|
289 | (1) |
| bibliography |
|
290 | (2) |
| filmography |
|
292 | (1) |
| index |
|
293 | |