Film Production Technique

by Mamer, Bruce

• ISBN13: 9780534564773
• ISBN10: 0534564771
• Format: Paperback
• Copyright: 2002-07-26
• Publisher: Wadsworth Publishing

Summary

The text includes coverage of cutting-edge technologies as well as traditional techniques as it discusses lighting, cameras, editing, crew organization, and the production process. An outstanding art program helps students understand difficult material and visualize the equipment and methods currently used in the film industry.

Table of Contents

Preface	xv
PART I Blocking for the Camera	1	(98)
Initiating the Process	2	(16)
The Future of Film	2	(2)
The Shape of Film Editing	4	(2)
Shooting, Editing, and Finishing on Film	6	(4)
Shooting, Editing, and Finishing on Video	10	(4)
Shooting on Film, Editing and Finishing on Video	14	(1)
Shooting on Film, Editing on Video, and Finishing on Film	15	(1)
Shooting, Editing, and Finishing on Video and Transferring to Film	16	(2)
Creating the Shots	18	(24)
The Language of the Camera	18	(1)
The Shots	19	(1)
Proxemics	19	(6)
Long Shot	20	(1)
Medium Shot	20	(1)
Close-up	21	(1)
Angles	22	(1)
Low-Angle Shot	22	(1)
High-Angle Shot	23	(1)
Eye-Level Shot	24	(1)
Bird's-eye View	24	(1)
Oblique Shot (Dutch Angle)	24	(1)
Point-of-view Shot	25	(1)
Movement	25	(9)
Pans and Tilts	26	(1)
Wheeled Camera Supports	27	(1)
Dollies	27	(3)
Cranes	30	(1)
Arms	31	(2)
Handheld Camera	33	(1)
Specialized Rigs	34	(1)
Focus Effects	34	(3)
Deep Focus	35	(1)
Shallow Focus	35	(1)
Shifting Focus	36	(1)
Lens Perspective and Characteristics	37	(5)
Wide-Angle	37	(1)
Normal	38	(1)
Telephoto	39	(1)
Zoom	39	(3)
Constructing the Scene	42	(18)
The Director	42	(1)
The Menu	43	(1)
Basic Scene Structure	44	(3)
Dramatic Emphasis	44	(2)
Master Scene Technique	46	(1)
Shot/Reverse Shot	46	(1)
Continuity	47	(5)
Continuity Shooting	48	(1)
Types of Continuity	49	(3)
The Line	52	(8)
Sightlines	52	(3)
Action	55	(1)
Conceptual Errors	56	(2)
Screen Direction	58	(2)
Crew Organization	60	(13)
The Sequence of Events	60	(3)
The Production Crew	63	(2)
Team Spirit	64	(1)
The Crew's Responsibilities	65	(1)
The Producer's Team	66	(1)
Production Manager	66	(1)
Craft Services	67	(1)
The Director's Team	67	(3)
Assistant Director	68	(1)
Talent	68	(2)
Production Assistants	70	(1)
The Camera Crew	70	(3)
The Director/DP Relationship	70	(1)
Grip/Electric	71	(1)
The Art Department	71	(2)
Previsualization	73	(26)
Preparation	73	(1)
Methods of Previsualization	74	(3)
Overheads	74	(2)
Storyboards	76	(1)
Shooting Scripts and Shot Lists	76	(1)
A Typical Scene	77	(3)
Coverage	78	(1)
A Caveat	79	(1)
Production Design and Costume	80	(2)
Organization on the Set	82	(4)
The Production Board	82	(1)
Storyboards and Organization	83	(1)
The Lined Script	84	(1)
Production Forms	84	(2)
Another Typical Scene	86	(13)
The Line	97	(1)
Organizational Considerations	97	(2)
PART II The Camera	99	(84)
The Camera Body	100	(42)
Movement and Perception	100	(1)
The Basic Mechanism	101	(7)
Frames per Second	106	(1)
Motors	107	(1)
Formats	108	(2)
35mm	109	(1)
16mm	109	(1)
Super 16	110	(1)
Camera Loads	110	(2)
Daylight Spools	110	(2)
Core Loads	112	(1)
Cameras	112	(2)
Basic Threading Procedures	114	(3)
Magazines	117	(2)
Single and Dual Compartments	117	(1)
Coaxial	118	(1)
Viewing Systems	119	(3)
Rangefinders	119	(1)
Reflex Viewing	119	(2)
Viewing Screens	121	(1)
Diopters	121	(1)
Camera Options	122	(2)
Variable Frame Rates	122	(2)
Single Framing	124	(1)
Camera Features	124	(1)
Cleaning and Care	125	(5)
Cleaning Kit	126	(1)
Cleaning Method	126	(3)
Batteries	129	(1)
Tripods	130	(4)
Legs	130	(1)
Heads	131	(1)
Attaching the Camera	132	(1)
Leveling the Head	133	(1)
Camera Safety Checklist	133	(1)
Video and the Digital Domain	134	(2)
Analog and Digital	135	(1)
The Video Image and the Video Camera	136	(6)
Technical Specifications	137	(1)
Equipment and Formats	138	(3)
Using a Digital Camera	141	(1)
The Lens	142	(17)
Focus	143	(2)
f-stop	145	(2)
Focal Length	147	(2)
Depth of Field	149	(6)
Determining Depth of Field	150	(2)
Depth of Field and Setting Focus	152	(2)
Notes on Depth and Movement	154	(1)
Prime Versus Zoom	155	(1)
Lens Mounts	155	(1)
Front-Filters and Matte Boxes	156	(1)
Care and Maintenance	157	(2)
Film Stocks, Processing, and Video Transfer and Capture	159	(24)
Construction of the Film Stock	159	(2)
Negative and Reversal	160	(1)
Exposure Index	161	(1)
Color Balance	161	(3)
Raw Stocks	164	(2)
Color Stocks	164	(1)
Black-and-white Stocks	165	(1)
Processing	166	(5)
Printing	167	(2)
Edge Numbers	169	(1)
Viewing Dailies	170	(1)
Video Applications	171	(1)
Film-to-Video Transfer and Digital Editing	172	(3)
The Big Question	172	(1)
The Telecine	173	(2)
Basic Definitions	175	(5)
Broadcast Quality	175	(1)
Off-Line and On-Line	175	(1)
Resolution and Storage	175	(1)
Time Code	176	(1)
Three: Two Pull-Down	176	(1)
A, B, C, and D Frames	177	(1)
Pull-Up/Pull-Down	178	(1)
Formats	179	(1)
Flex Files and Organization	179	(1)
Capturing Video	180	(3)
PART III Shooting	183	(70)
Composition	184	(21)
The Director of Photography	184	(1)
The Frame	185	(7)
Balance and the Frame, and the Rule of Thirds	185	(2)
General Design Characteristics	187	(1)
Composition and Content	188	(1)
Composition and Stress	189	(1)
Stress and Photographic Factors	190	(2)
Lining Up the Shots	192	(9)
Headroom and Eyeroom	192	(1)
Cleaning the Image	193	(1)
Cheating	194	(1)
Movement and Anticipatory Camera	194	(3)
Movement and Compositional Balance	197	(1)
Subject Movement Toward or Away from the Camera	197	(1)
Camera Movement Toward or Away from a Subject	198	(1)
Movement to Create Space	199	(1)
Character Movement to Balance Composition	200	(1)
Movement and Meaning	200	(1)
Practical Considerations	201	(2)
Composition and Compromise	201	(1)
Camera and Performance	202	(1)
Informal Camera Styles	203	(1)
Notes and Suggestions	203	(2)
Procedures and Equipment	205	(12)
The Take	205	(1)
The Slate	206	(3)
Executing the Shots	206	(1)
Sync and MOS	207	(1)
Camera Reports	208	(1)
The Camera Assistant	209	(6)
Camera Preparation	209	(1)
Magazines and Loading	209	(2)
Racking Focus	211	(1)
Racking Focus and Depth of Field	212	(1)
A Note on Movement and Efficiency	213	(1)
Lens Flares	214	(1)
Scratch Tests	214	(1)
Lab Instructions	214	(1)
Equipment	215	(2)
Equipment Checklist	215	(2)
Sound	217	(36)
Toward a Final Sound Track	217	(2)
Applications	218	(1)
Single- and Double-System Sound	219	(2)
Synchronization	221	(1)
The Character of Sound	222	(4)
Sync Recorders	224	(1)
Nagra	224	(1)
DAT	225	(1)
Microphones	226	(11)
Audio Connectors and Microphone Cords	228	(3)
Recorder Features and Accessories	231	(6)
The Production Sound Crew	237	(2)
Riding Gain	239	(1)
Recording a Scene	240	(8)
Complicating Factors	240	(4)
Sync Recording	244	(3)
Automated Dialogue Replacement	247	(1)
Sound Effects	248	(2)
Recording Effects on Location	249	(1)
Foley	249	(1)
Sound Transfers	250	(1)
Cleaning and Repair	251	(2)
PART IV Lighting and Exposure	253	(94)
Concepts and Equipment	254	(21)
The Importance of Lighting	254	(1)
Basic Three-Point Lighting	255	(2)
Key Light	255	(1)
Fill Light	255	(1)
Backlight	256	(1)
High-key and Low-key	257	(2)
High-key	257	(1)
Low-key	258	(1)
Lighting Styles	259	(1)
Types of Lighting Instruments	260	(6)
Focusable Spots	261	(3)
Floodlights	264	(2)
Other Types of Sources	266	(1)
Ellipsoidal Spots	266	(1)
Practicals	266	(1)
Reflectors	267	(1)
Light Meters	267	(4)
Shutter Speed	269	(1)
The Computer	270	(1)
Manipulation of Lights	271	(4)
Problem	271	(1)
Solutions	271	(4)
Exposure and Latitude	275	(21)
Exposure Index, Foot-candles, and f-stops	275	(1)
Using the Light Meter	276	(5)
Halving and Doubling	280	(1)
The Central Confusion	281	(1)
Evaluating Existing Light	281	(4)
Latitude	285	(7)
Reflectant Quality	292	(3)
t-stops	295	(1)
Planning the Lighting	296	(22)
Thinking Out the Process	296	(1)
Lighting: A Basic Strategy	296	(2)
f-stop Choice	297	(1)
Lighting Applications	298	(4)
Guidelines	298	(1)
Tests	299	(3)
Problems and Solutions	302	(5)
Shooting an Existing Situation	302	(3)
Averaging	305	(1)
Working with Artificial Light	305	(2)
The Setup: Decision Making	307	(3)
The Setup: Fine-tuning	310	(8)
Direction and Shadow	313	(2)
Natural Light	315	(1)
Night Shooting	316	(2)
Executing the Lighting	318	(29)
A Checklist	318	(1)
Lighting Continuity	318	(3)
f -stops and Consistency	321	(3)
Controlling Focus	324	(1)
Matching Color Sources	325	(4)
Electricity	329	(2)
Printing, Processing, and Exposure Manipulations	331	(3)
Reference Charts	331	(2)
Force Processing and Flashing	333	(1)
Slow Motion and Fast Motion	334	(2)
Filming Various Skin Tones	336	(2)
Safety	338	(2)
Planning and Preparation	340	(3)
Transferring to Video	343	(1)
Video and Latitude	343	(1)
Video and the Characteristic Curve	343	(1)
Video Image Manipulation	344	(1)
f-stop Choice and the Checklist Revisited	344	(2)
A Typical Scene	346	(1)
PART V Editing	347	(81)
Principles, Procedures, and Equipment	348	(22)
Film Editing and Digital Nonlinear Editing	348	(1)
The Purposes of Editing	348	(1)
General Editing Principles	349	(3)
Transitional Devices	349	(1)
Economy and Pace	350	(2)
Structuring the Editing	352	(4)
The Basic Rule	352	(1)
Cutting on Action	352	(1)
The 30-Degree Rule	353	(1)
Emphasis	354	(1)
Visual Interest	355	(1)
Variety	355	(1)
Continuity Problems	355	(1)
Basic Terms	356	(2)
Procedures in Film Editing	358	(2)
The Editorial Staff	358	(1)
Organization	359	(1)
Approaching the Edit	359	(1)
Film Equipment and Supplies	360	(5)
Projectors	360	(2)
The Bench	362	(1)
Supplies	363	(2)
The Shape of Digital Nonlinear Editing	365	(1)
Finishing	366	(4)
NTSC	366	(1)
Temporal Accuracy Versus Frame Accuracy	366	(1)
24-Frame Digital Video	367	(3)
Cutting Picture and Sound	370	(35)
The Film Edit	370	(2)
The Control Panel	371	(1)
Practical Cutting Considerations	371	(1)
The NLE System Edit	372	(2)
Film: Preparing to Edit Sync Sound	374	(9)
Syncing Up	375	(4)
Coding and Edge Numbering	379	(1)
First Assembly	380	(3)
NLE: Preparing to Edit Sync Sound	383	(1)
Syncing Up	383	(1)
First Assembly	384	(1)
Dialogue Cutting	384	(6)
Straight Cuts: Film and NLE	385	(3)
Overlapping Cuts: Film and NLE	388	(2)
Cutting Nonsync Sound and Picture	390	(6)
Film: Cutting Sound Effects	391	(2)
Film: Cutting to Music	393	(1)
Film: Cutting Voice-overs	394	(1)
NLE: Cutting Sound Effects, Music, and Voice-overs	395	(1)
MOS Inserts: Film and NLE	396	(1)
A & B Rolling Sync Sound	397	(3)
A Typical Scene	400	(3)
Audio Finishing	403	(2)
Finishing the Film	405	(23)
Titling	406	(1)
Film: Preparing Leaders	406	(1)
Final Sound Mixing	406	(5)
Film: Mixtrack Configurations	407	(1)
The ``Conventional'' Film Audio Mix	408	(2)
The NLE Mix	410	(1)
Preparation for the Negative Cutter	411	(3)
Film: Marking the Workprint	411	(2)
NLE: Creating an EDL	413	(1)
Negative Cutting	414	(9)
The Clean Room	414	(1)
Cement Splicing	414	(2)
A & B Rolling Picture	416	(3)
Cutting the Original	419	(1)
Notes and Cautions	420	(3)
The Final Print	423	(5)
Reversal Versus Negative	424	(1)
The Printing Program	424	(2)
The First Answer Print	426	(2)
Glossary	428	(10)
Index	438