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Front Cover Cinematography Copyright Page Contents Introduction The Scope of this Book Titles and Terminology Writing with motion Writing with Motion Building a Visual World The [Conceptual] Tools of Cinematography The Frame The Lens Light and Color Texture Movement Establishing Point-of-View Putting It All Together Shooting methods What Is Cinematic? A Question of Perception Visual Subtext and Visual Metaphor The Frame Static Frame Cinema as a Language The Shots: Building Blocks of a Scene Establishing the Geography Character Shots Invisible Technique The Shooting Methods The Master Scene Method Coverage Overlapping or Triple-Take Method In-One Freeform Method Montage Involving the Audience: POV Visual language More Than Just a Picture Design Principles The Three-Dimensional Field Forces of Visual Organization Movement in the Visual Field The Rule of Third Miscellaneous Rules of Composition Basic Composition Rules for People Language of the lens The Lens and the Frame Foreground/Midground/Background Lens Perspective Deep Focus Selective Focus Image Control at the Lens Lens Height Dutch Tilt Visual storytelling Visual Metaphor Telling Stories with Pictures Lighting as Storytelling Film Noir Light as Visual Metaphor Light and Shadow / Good and Evil Fading Flashbulbs Visual Poetry Cinematic continuity Shooting for Editing Thinking about Continuity Types of continuity The Prime Directive Turnaround Cheating the Turnaround Planning Coverage Cuttability The 20% and 30 Degree Rules Other Issues in Continuity Introductions Other Editorial Issues In Shooting Jump Cuts The Six Types of Cuts The Content Cut The Action Cut The POV Cut The Match Cut The Conceptual Cut The Zero Cut Lighting basics The Fundamentals of Lighting What are the Goals of Good Lighting? Exposure and Lighting Some Lighting Terminology Aspects of Light Hard Light and Soft Light Direction Intensity Texture Color Basic Lighting Techniques Back Cross Keys Ambient Plus Accents Lighting with Practicals Lighting through the Window Available Natural Light Motivated Light Day Exteriors Fill Silks and Diffusion Open Shade and Garage Door Light Sun as Backlight Lighting For High Def Video Lighting sources The Tools of Lighting Daylight Sources HMI Units Xenons LED Lights Tungsten Lights Fresnels PARs HMI PARs Soft Lights Barger Baglights Color-Correct Fluorescents Other Types of Units Softsun Cycs, Strips, Nooks and Broads Chinese Lanterns and Spacelights Self-Contained Crane Rigs Ellipsoidal Reflector Spots Balloon Lights Handheld Units Day Exteriors Controlling Light with Grip Equipment For More Information on Lighting HD cinematography High Def and Standard Def Analog and Digital Video Analog Digital Video Types of Video Sensors Three-Chip vs Bayer Filter Sensors Digital Video Standard Def High Def Shooting Formats 2K, 4K and Higher Resolution Formats Digital Compression RAW Monitoring On the set The Waveform Monitor and Vectorscope Waveform Monitors The Vectorscope Video Latitude Clipping Video Noise and Grain The Digital Intermediate (DI) The Video Signal Interlace Video Progressive Video NTSC and ATSC Colorspace SDI Setting up a Color Monitor Monitor Setup Procedure Camera White Balance Digital Video Encoding Is It Broadcast Quality? Do It in the Camera or in Post? The Decision Matrix 10 Things to Remember When Shooting HD Timecode and Edgecode Video Frame Rate Drop-Frame and Non-Drop-Frame 29.97 Video How Drop Frame Solves the Problem To Drop or Not to Drop? Timecode Slating Tapeless Production Metadata Tapeless Workflows Digital File Types Container Files: Quicktime and MXF Compression and Codecs Intra-frame versus Interframe Compression Bit Depth MPEG Other Codecs The Curve Controlling the HD Image Gain/ISO Gamma Black Gamma/Black Stretch Knee Color Saturation Matrix Color Balance Exposure Exposure: the Easy Way What Do We Want Exposure to Do for Us? Controlling Exposure The Four Elements of Exposure The Bottom Line How Film and Video Are Different Two Types of Exposure Light as Energy F/Stops Exposure, ISO, and Lighting Relationships Inverse Square Law and Cosine Law ISO/ASA Light and Film The Latent Image Chemical Processing Color Negative Film’s Response to Light Densitometry The Log E Axis Brightness Perception Contrast “Correct” Exposure Higher Brightness Range in the Scene Determining Exposure Video Exposure The Tools The Incident Meter The Reflectance Meter The Zone System Zones in a Scene The Gray Scale Why 18%? Place and Fall Reading Exposure with Ultraviolet Exposure and the Camera Shutter Speed versus Shutter Angle Camera movement Motivation and Invisible Technique Basic Technique Types of Moves Pan Tilt Move In / Move Out Zoom Punch-in Moving Shots Tracking Countermove Reveal Circle Track Moves Crane Moves Rolling Shot Camera Mounting Handheld Camera Head Fluid Head Geared Head Remote Head Underslung Heads Dutch Head The Tripod High-Hat Rocker Plate Tilt Plate The Crab Dolly Dolly Terminology Dance Floor Extension Plate Low Mode Front Porch Side Boards Risers Steering Bar or Push Bar Cranes Crane/Jib Arm Crane Operation Non-booming Platforms Camera on a Ladder Remote on Cranes Technocrane Cranes on Top of Cranes Car Shots Camera Positions for Car Shots Vehicle to Vehicle Shooting Aerial Shots Mini-Helicopters Cable-Cam Other Types of Camera Mounts Rickshaw, Wheelchair and Garfield Steadicam Low-Mode Prism Crash Cams Splash Boxes Underwater Housings Motion Control Color Color in Visual Storytelling The Nature of Light The Tristimulus Theory Functions of the Eye Light and Color Basic Qualities of Color The Color Wheel Controlling Color Color Temperature Color Balance with Gels and Filters Light Balancing Gels Conversion Gels Light Balancing Gels Color Correction Gels Correcting Off-Color Lights Stylistic Choices in Color Control Image control Color Printing Controlling Color and Contrast In the Lab Bleach-Bypass and Other Processes LookUp Tables 1D LUTs 3D LUTs Camera Filter Types Diffusion and Effects Filters Contrast Filters Effects Filters and Grads Color Temperature and Filtration Conversion Filters Warming and Cooling Filters Contrast Control In Black-and-White Polarizers Density Filters IR Filters Controlling The Look Of Your Project Image Control With The Camera Frame Rate Shutter Angle Time Lapse Optics & focus Physical Basis Of Optics Refraction Focus Mental Focus Circle of Confusion Depth-of-field Depth-of-Field Calculations How Not to Get More Depth-of-Field Zooms and Depth-of-Field Macrophotography Close-Up Tools Lens Care Set operations The Shot List The Director of Photography The Team Camera Crew Operator First AC Second AC Loader Data Wrangler DIT Slating Technique TimeCode Slates Camera Reports Electricians Grips Other Units Coordinating with Other Departments Set Procedures Technical issues Flicker Filming Practical Monitors Monitors and MOS Shooting Shooting Process Photography Greenscreen/Bluescreen Lighting for Bluescreen/Greenscreen Dimmers Working with Strobes High-Speed Photography Lighting for Extreme Close-Up Underwater Filming Measures of Image Quality Effects Time-Lapse Photography Time Slicing Sun Location with a Compass Transferring Film to Video Prepping for Telecine Shooting a Gray Card Reference Framing Charts Film formats Aspect Ratios Academy Aperture 1.66:1 and 1.85:1 Wide Screen Alternatives to Anamorphic 3-Perf 2-Perf Techniscope 16mm Acknowledgments The cinematography website Bibliography Index The world of cinematography has changed more in the last few years than it has since 1929, when sound recording was introduced. New technology, new tools and new methods have revolutionized the art and craft of telling stories visually. While some aspects of visual language, lighting and color are eternal, shooting methods, workflow and cameras have changed radically. Even experienced film artists have a need to update and review new methods and equipment. These changes affect not only the director of photography but also the director, the camera assistants, gaffers, and digital imaging technicians. Cinematography: Theory and Practice covers both the artistry and craftsmanship of cinematography and visual storytelling. Few art forms are as tied to their tools and technology as is cinematography. Take your mastery of these new tools, techniques, and roles to the next level with this cutting-edge roadmap from author and filmmaker Blain Brown. Whether you are a student of filmmaking, just breaking into the business, currently working in the industry and looking to move up to the next level, or an experienced professional who wants to update their knowledge of tools and techniques, this book provides both a basic introduction to these issues as well as more advanced and in-depth coverage of the subject. The companion website features additional material, including lighting demonstrations, basic methods of lighting, using diffusion and other topics.--Back cover. There's more to being a DP than holdng a light meter! With this book as your guide, you are on your way to learning not only about the equipment and technology, but also about the concepts and thought processes that will enable you to shoot professionally, efficiently, and with artistic mastery. A leading book in the field, Cinematography has been translated into many languages and is a staple at the world's top film schools. Lavishly produced and illustrated, it 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 classic tried and true methods. There's more to being a DP than holdng a light meter! With this book as your guide, you are on your way to learning not only about the equipment and technology, but also about the concepts and thought processes that will enable you to shoot professionally, efficiently, and with artistic mastery. A leading book in the field, Cinematography has been translated into many languages and is a staple at the world's top film schools. Lavishly produced and illustrated, it 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 classic tried and true methods "There's more to being a DP than holding a light meter! With this book as your guide, you are on your way to learning not only about the equipment and technology, but also about the concepts and thought processes that will enable you to shoot professionally, efficiently, and with artistic mastery. A leading book in the field, Cinematography has been translated into many languages and is a staple at the world's top film schools. Lavishly produced and illustrated, it 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 ..."--Publisher description