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Cinematography : Theory and Practice - Image Making for Cinematographers, Directors and Videographers,9780240805009

Cinematography : Theory and Practice - Image Making for Cinematographers, Directors and Videographers

by
ISBN13:

9780240805009

ISBN10:
0240805003
Format:
Paperback
Pub. Date:
10/9/2002
Publisher(s):
Elsevier Science
List Price: $51.95
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  • Cinematography: Theory and Practice : Image Making for Cinematographers and Directors
    Cinematography: Theory and Practice : Image Making for Cinematographers and Directors




Summary

Lavishly produced and illustrated, Cinematography covers the entire range of the profession. The book is not just a comprehensive guide to current professional practice; it goes beyond to explain the theory behind the practice, so you understand how the rules came about and when it's appropriate to break them. In addition, directors will benefit from the book's focus on the body of knowledge they should share with their Director of Photography. cinematography presents the basics and beyond, employing clear explanations of standard practice together with substantial illustrations and diagrams to reveal the real world of film production. Recognizing that professionals know when to break the rules and when to abide by them, this book discusses many examples of fresh ideas and experiments in cinematography. Covering the most up-to-date information on the film/digital interface, new formats, the latest cranes and camera support and other equipment, it also illustrates the older tried and true methods.

Author Biography

Blain Brown is a cinematographer based in Los Angeles. He has been Director of Photography on feature films, commercials, music videos, and documentaries shot on film, High Def, 24p, and digital

Table of Contents

introduction ix
filmspace
1(28)
Cinematic technique
2(4)
Subjective and objective POV
6(3)
The building blocks of scenes
9(3)
Character shots
12(3)
The fine art of cheating
15(2)
The master scene method
17(2)
Transitions
19(3)
Coverage
22(3)
Plan scene
25(1)
Hitchcock's rule
26(1)
Triple take or overlapping method
27(1)
Montage
28(1)
Conclusion: a mixture of techniques
28(1)
visual language
29(16)
Design principles
31(3)
The three dimensional field
34(1)
Depth
34(3)
Forces of visual organization
37(6)
Film and video composition
43(1)
Basic composition rules for people
44(1)
lens language
45(16)
The lens and the frame
46(1)
Lens perspective
47(7)
Deep focus
48(1)
Compression of space
49(1)
Manipulating perspective
50(1)
Selective focus
51(3)
Image control
54(7)
camera dynamics
61(18)
Motivation and invisible technique
62(2)
Types of moves
64(2)
Moving shots
66(2)
Camera mounting
68(1)
Dolly terminology
69(3)
Cranes
72(2)
Car shots
74(1)
Aerial shots
75(1)
Other types of camera mounts
76(1)
Steadicam
76(1)
Motion control
77(2)
cinematic continuity
79(24)
Types of continuity
80(3)
Continuity of content
80(1)
Continuity of movement
80(1)
Continuity of position
81(1)
Continuity of time
81(2)
The line
83(1)
What establishes the line?
84(1)
Screen direction
84(6)
Deliberately breaking the rules
85(2)
Reverse
87(1)
Cheating the turnaround
88(2)
Cuttability
90(1)
Other issues in continuity
90(6)
Introductions
96(2)
Other editorial issues in shooting
98(1)
Jump cuts
98(1)
The six types of cuts
99(4)
exposure
103(24)
Light as energy
104(1)
F/stop
104(1)
Exposure, ISO and lighting relationships
104(2)
Inverse square law and cosine law
105(1)
ISO speeds
105(1)
Light and film
106(10)
Densitometry
109(4)
Brightness perception
113(1)
Contrast
113(3)
Determining exposure
116(1)
The tools
117(1)
The Zone System
118(3)
The grey scale
121(6)
Place and fall
124(1)
Exposure and the camera
125(2)
color theory
127(14)
The nature of light
128(3)
Color perception
129(2)
The color wheel
131(4)
Hue, chroma and value
133(2)
Color mixing
135(1)
Complementary
135(1)
Advancing and retreating color
135(1)
Film and video colorspace
135(1)
Color harmonies & the interaction of color
135(3)
Color models
138(2)
Additive colors
138(1)
Subtractive colors
138(1)
The CIE color system
139(1)
Digital and electronic color
140(1)
the tools of lighting
141(16)
HMI
142(3)
Xenons
145(1)
Carbon arcs
146(1)
Tungsten fresnels
147(2)
PARs
149(2)
HMI PARs
151(1)
Soft lights
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)
Lekos
154(1)
Balloon lights
154(1)
Portable units
155(1)
Day exteriors
156(1)
lighting as storytelling
157(10)
Origins of motion picture lighting
159(2)
Film noir
159(2)
Light as visual metaphor
161(6)
controlling color
167(10)
Color temperature
168(2)
Color balance of film
170(1)
Correcting light balance
171(1)
Light balancing filters
171(3)
Correcting off-color lights
174(2)
Stylistic choices in color control
176(1)
optics
177(16)
Physical basis of optics
178(1)
F/stop
179(1)
Focus
180(2)
Circle of confusion
182(1)
Depth-of-field
183(4)
How not to get more depth-of-field
183(1)
Hyperfocal distance
184(3)
Macrophotography
187(4)
Frazier lens and Revolution
191(1)
Lens tests
192(1)
video and high def
193(26)
Basics of video
194(7)
The video signal
194(3)
The waveform monitor and vectorscope
197(1)
SMPTE color bars
198(1)
The vectorscope
199(2)
Setting up a color monitor
201(1)
The PLUGE
201(1)
Camera white balance
202(1)
Analog and digital colorspace
203(1)
Digital video encoding
204(1)
Is it broadcast quality?
205(1)
Timecode and edgecode
205(3)
Video frame rate
205(1)
Drop-frame and non drop-frame
206(2)
Shooting High Def video
208(2)
10 things to remember when shooting High Def
210(1)
Lighting for High Def video
210(1)
Shooting digital video
211(1)
Transferring video to film
212(7)
NTSC and 3:2 pulldown
212(1)
Prepping for telecine
212(7)
image control
219(22)
Color printing
220(1)
Controlling color and contrast
221(4)
How flashing works
221(1)
Varicon
222(3)
Bleach bypass and other processes
225(3)
Skip bleach
228(1)
Exposure compensation in bleach-bypass
228(1)
Other techniques
228(3)
Cross processing
228(1)
Printing negative as interpositive
229(1)
Transfer from print
229(2)
Filter types
231(5)
Diffusion and effects filters
231(1)
Nets
232(1)
Contrast filters
233(3)
Conversion filters
236(2)
Using filters in black-and-white photography
238(1)
Polarizers
238(1)
Density filters
238(3)
set operations
241(16)
The shot list
243(1)
The Director of Photography
244(1)
The team
245(9)
Camera crew
245(6)
Electricians
251(1)
Grips
251(3)
Set procedures
254(3)
technical issues
257(26)
Sun location with a compass
258(2)
Flicker
260(3)
Filming practical monitors
263(2)
Chroma key and Ultimatte
265(3)
Lighting for bluescreen/greenscreen
266(2)
Dimmers
268(2)
Working with strobes
270(2)
High speed photography
272(1)
Lighting for extreme close-up
272(1)
Underwater filming
273(2)
Effects
275(8)
professional formats 283(6)
acknowledgments 289(1)
bibliography 290(2)
filmography 292(1)
index 293


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