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Digital Filmmaking Handbook

by
Edition:
2nd
ISBN13:

9781584500988

ISBN10:
1584500980
Format:
Paperback
Pub. Date:
7/12/2002
Publisher(s):
Cengage Learning

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Summary

The second edition of this best-seller has been updated and reorganized to better reflect a typical DV production workflow. Extensive new material on writing, budgeting, and the latest software and hardware is covered. New editing tutorials, and a new chapter on video technology basics are also included, plus each chapter now includes exercises for further practice and exploration. A complete film school in a book. Companion DVD includes practice footage and projects.

Author Biography

Ben Long (San Francisco, CA) is a writer, producer, videographer Sonja Schenk (Venice, CA) is a freelance producer and film video editor who has worked on a number of popular television shows and movies

Table of Contents

Introduction
1(12)
What Type of Equipment Do You Need?
5(1)
What Is Digital Video?
6(2)
What Is Digitizing?
6(2)
Why Digital Video?
8(2)
What This Book Covers
10(1)
Pre-Production
10(1)
Production
10(1)
Post-Production
10(1)
Exercise
11(1)
Summary
11(2)
SECTION I PREPRODUCTION 13(94)
Writing and Scheduling
15(20)
Writing for DV
16(10)
Finding a Story
17(1)
Structure
18(2)
Writing Visually
20(1)
Script Format
21(5)
Finishing Up
26(1)
Scheduling
26(6)
Breaking Down a Script
27(1)
Choosing a Shooting Order
27(3)
Production Boards
30(2)
Exercises
32(1)
Summary
33(2)
Video Technology Basics
35(22)
What Is Video?
36(9)
Tracks
36(2)
Frames
38(1)
Video Standards
38(1)
Video Resolution
39(2)
Scanning Methods
41(1)
Native Aspect Ratio
42(1)
Videotape Formats
43(1)
Physical Characteristics of Videotape
44(1)
Digital Video Primer
45(7)
Color Sampling
45(1)
Compression
46(1)
CODECs
47(2)
Data Rate
49(1)
Pixel Shape
50(2)
Types of Digital Video Files
52(1)
Audio Basics
52(3)
Mono, Stereo, and Surround Sound
52(1)
Audio Sampling
53(1)
Types of Digital Audio Files
54(1)
Quality Isn't Everything
55(1)
Exercises
55(1)
Summary
56(1)
Choosing a Camera
57(30)
Choosing a Format
58(5)
Delivery Is Everything
59(4)
Evaluating Image Quality
63(7)
CCD
63(5)
Lenses
68(2)
Camera Features
70(12)
Ergonomics
70(2)
Batteries
72(1)
Manual Override
72(2)
Audio
74(2)
Progressive Scan
76(1)
Image Stabilization
77(2)
Widescreen
79(1)
Viewfinder
80(1)
Special Effects
81(1)
Video Standard
82(1)
Use Your Director of Photography
82(1)
Accessorizing
82(2)
Tripods, Steadicams, and Dollies
83(1)
Microphones
84(1)
Filters
84(1)
All the Other Accessories
84(1)
Exercises
85(1)
Summary
85(2)
Planning Your Shoot
87(20)
Storyboarding
88(8)
Shots and Coverage
90(4)
Less Is More
94(2)
Location Scouting
96(3)
Production Design
99(3)
Art Directing Basics
100(1)
Building a Set
101(1)
Set Dressing and Props
102(1)
Effects Planning
102(2)
Creating Rough Effects Shots
103(1)
Exercises
104(1)
Summary
105(2)
SECTION II PRODUCTION 107(102)
Lighting
109(24)
Lighting Basics
110(1)
Film-Style Lighting
110(1)
The Art of Lighting
111(1)
Three-Point Lighting
111(1)
Types of Light
112(8)
Color Temperature
114(1)
Wattage
115(1)
Controlling the Quality of Light
116(4)
Lighting Your Actors
120(3)
Interior Lighting
123(3)
Power Supply
124(1)
Mixing Daylight and Interior Light
124(1)
Using Household Lights
125(1)
Dealing with Overlit Situations
125(1)
Exterior Lighting
126(2)
Special Lighting Situations
128(3)
Using Lights to Create a Scene
129(1)
Lighting for Blue and Green Screen
129(2)
Exercise
131(1)
Summary
131(2)
Shooting Digital Video
133(46)
Using the Camera
134(22)
The Lens
134(14)
White Balance
148(2)
Lens Filters
150(2)
Other Camera Features
152(2)
Aspect Ratios
154(1)
Know Thy Camera
155(1)
Technical Tips
156(3)
Preparing Your Equipment
156(3)
Managing the Set
159(5)
Rehearsals
160(1)
Camera Diagrams and Shot Lists
160(2)
The Protocol of Shooting
162(1)
Respect for Acting
162(1)
Script Supervising
163(1)
Shooting
164(12)
Composition
165(7)
Camera Movement
172(4)
Exercises
176(1)
Summary
177(2)
Production Sound
179(30)
What You Want to Record
180(1)
Microphones
181(14)
What a Mic Hears
182(3)
How a Mic Hears
185(5)
Mixing
190(1)
Connecting It All Up
190(3)
Double-System Recording
193(2)
Setting Up
195(10)
Placing Your Mics
195(7)
Getting the Right Sound for the Picture
202(1)
Testing Sound
202(2)
Managing Your Set
204(1)
Selecting an Audio Mode on Your Camera
205(1)
Recording Your Sound
205(1)
Room Tone
206(1)
Exercises
206(1)
Summary
207(2)
SECTION III POST-PRODUCTION 209(312)
Building A Workstation
211(22)
Choosing a Platform
212(1)
Macintosh OS
212(1)
Windows
212(1)
Choosing a Video Interface
213(5)
Digital Video Interfaces
214(1)
Analog Video Interfaces
215(1)
Audio Interfaces
216(2)
Choosing a Computer
218(11)
CPU
220(1)
RAM
220(1)
Storage
221(1)
Computer Monitors
221(2)
Accessorizing
223(2)
Building a Macintosh System
225(1)
Building a Windows System
226(1)
Portable Editing
227(2)
Managing Your RAM
229(2)
Exercises
231(1)
Summary
231(2)
Non-Linear Editing Software
233(24)
Editing Software Basics
234(9)
The Interface
234(2)
Editing Features
236(4)
Other Features
240(2)
Organizational Tools
242(1)
Logging, Capturing, and Importing
243(1)
Effects and Titles
244(5)
Types of Effects
245(2)
Titles
247(2)
Audio Tools
249(1)
The Final Product
250(3)
Videotape Masters
251(1)
Digital Video Files
251(1)
EDLs
251(1)
Film Cut lists
252(1)
Exercises
253(2)
Summary
255(2)
Editing Hardware
257(18)
Hardware Peripherals
258(2)
Don't Panic!
260(1)
Video Decks
260(6)
Tape Format
262(1)
SDI, FireWire, or Analog I/0
262(1)
Device Control
263(1)
Frame Accuracy
264(1)
Audio Features
264(1)
VTR Checklist
265(1)
Audio Equipment
266(3)
Audio CDs
267(1)
DAT and MiniDisc
267(1)
Audio Mixers
267(1)
Speakers
268(1)
Video Monitors
269(2)
Professional Video Monitor Features
269(2)
Hardware Connectors
271(1)
Exercises
272(1)
Summary
273(2)
Preparing to Edit
275(36)
How to Organize Your Project
276(3)
Create a Numbering System
276(1)
Make Sure All Your Videotape Has Timecode
277(1)
Keep a Database of All Your Media
277(1)
Log Each Tape Thoroughly
278(1)
Use the Organizational Tools of Your Editing Software
278(1)
Timecode
279(4)
Drop Frame and Non-Drop Frame Timecode
280(1)
Timecode Standards
280(1)
Types of Timecode
281(1)
Timecode for Film Sources
281(2)
Logging
283(5)
How to log by Content
284(4)
Capturing Quality
288(1)
How Good Does Your Project Need to Look?
288(1)
Digital Online and Offline
288(1)
Audio Quality
289(6)
Audio Levels
291(1)
Clipping and Distortion
292(1)
Equalization
293(2)
Image Quality
295(9)
Video levels
296(8)
Troubleshooting
304(2)
Problems and Solutions
304(2)
Importing Digital Files
306(3)
Getting Audio from a CD
307(2)
Media Management
309(1)
Exercises
309(1)
Summary
309(2)
Editing
311(26)
The Invisible Art
312(1)
Building Blocks
312(20)
Transitions between Scenes
329(2)
Solving Technical Problems
331(1)
Fine-Cutting
332(2)
Editing for Style
333(1)
Duration
333(1)
The Big Picture
334(1)
Exercises
334(1)
Summary
335(2)
Sound Editing
337(26)
Sounding Off
338(2)
Setting Up
340(2)
Editing Sound in Your NLE
340(2)
Dedicated Sound Editing Apps
342(6)
Audio Hardware
347(1)
Editing Sound
348(5)
Unintelligible Dialog
348(1)
Changes in Tone
349(1)
Is There Extraneous Noise in the Shot?
349(1)
Are There Bad Video Edits That Can Be Reinforced with Audio?
350(1)
Is There Bad Audio?
350(1)
Are There Vocal Problems You Need to Correct?
351(2)
EQ Is Your Friend
353(4)
Special Filter
356(1)
Choosing Sound Effects
357(1)
Music
358(4)
License to Play
359(2)
Finding a Composer
361(1)
Do It Yourself
361(1)
Exercises
362(1)
Summary
362(1)
Color Correction
363(18)
To Compress, or Not to Compress
364(5)
Color Correction
369(10)
Correcting Bad White Balance
371(5)
Matching Footage from Different Cameras and Shoots
376(1)
Using Tracks and Layers to Adjust Color
377(2)
Don't Expect Miracles
379(1)
Correcting Color for Film
379(1)
One More Thing
380(1)
Exercises
380(1)
Summary
380(1)
Titling and Simple Compositing
381(44)
Titles and Simple Graphics
382(5)
Making Titles in Your NLE
382(5)
Creating Titles in Photoshop
387(1)
Compositing 101
387(27)
Keys
389(12)
Mattes
401(2)
Pixel Aspect Ratios
403(7)
More Sophisticated Mattes
410(4)
Moving Pictures
414(10)
Basic Movement
415(9)
Exercises
424(1)
Summary
424(1)
Rotoscoping and More Compositing
425(54)
Rotoscoping
426(38)
Painting on Frames
427(6)
Better Rotoscoping through Filters
433(2)
Rotoscoping an Alpha Channel
435(9)
Creating Animated Alpha Channels (or ``You, Too, Can Make Travelling Mattes'')
444(7)
Building Effects with Multiple Layers
451(13)
Special Effects
464(3)
Fixing a Drop-Out
464(2)
Fixing Lost Video
466(1)
Compositing Elements from a 3D Animation Package
466(1)
Making Your Video Look Like Film
467(8)
Creating Film Texture
468(7)
Exercises
475(3)
Summary
478(1)
Output
479(42)
Mastering Your Outputs
480(2)
The Best-Case Scenario
480(2)
The Big Decision
482(1)
Videotape Masters
482(12)
Preparing for a Professional Online
483(7)
The Do-It-Yourself Digital Online
490(4)
The Final Audio Mix
494(3)
Preparing for a Professional Audio Mix
495(1)
Do-It-Yourself Final Mixes
496(1)
Outputting to CD-ROM
497(9)
Compression
498(8)
Creating a Video CD
506(1)
Outputting for the Web
506(3)
DVD Authoring
509(5)
Getting Your 35mm Film Release Print
514(5)
Film Editing and Cut Lists
515(1)
The Film Printing Process
516(2)
Getting Your Video Transferred to Film
518(1)
Exercises
519(1)
Summary
520(1)
Glossary 521(30)
About the DVD 551(2)
Index 553


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