Cinematography: Theory and Practice
| Book | Cinematography: Theory and Practice |
| Publisher | Focal Press |
| Photo Credit | The Kobal Collection, London Films |
| Photography | Spencer Rowell |
| Copyright Holder | Elsevier |
| Format | Paperback |
| Language | English |
| Copyright | 2002 |
| Pages / Font | 303 pages |
| ISBN 13 | 978-0-240-80500-9 |
| ISBN 10 | 0-240-80500-3 |
| Barcode | 9 780240 805009 |
| EAN 5 | 90000 |
| Printer's Key | 10 9 8 7 6 5 |
| Chapters | INTRODUCTION FILMSPACE Cinematic technique Subjective and objective POV The building blocks of scenes Character shots The fine art of cheating The master scene method Transitions Coverage Plán scene Hitchcock's rule Triple take or overlapping method Montage Conclusion: a mixture of techniques VISUAL LANGUAGE Design principles The three dimensional field Depth Forces of visual organization Film and video composition Basic composition rules for people LENS LANGUAGE The lens and the frame Lens perspective Deep focus Compression of space Manipulating perspective Selective focus Image control CAMERA DYNAMICS Motivationa and invisible technique Types of moves Moving shots Camera mounting Dolly terminology Cranes Car shots Aerial shots Other types of camera mounts Steadicam Motion control CINEMATIC CONTINUITY Types of continuity Continuity of content Continuity of movement Continuity of position Continuity of time The line What establishes the line? Screen direction Deliberately breaking the rules Reverse Cheating the turnaround Cuttability Other issues in continuity Introductions Other editorial issues in shooting Jump cuts The six types of cuts EXPOSURE Light as energy F/stop Exposure, ISO and lighting relationships Inverse square law and cosine law ISO speeds Light and film Densitometry Brightness perception Contrast Determining exposure The tools The Zone System The grey scale Place and fall Exposure and the camera COLOR THEORY The nature of light Color perception The color wheel Hue, chroma and value Color mixing Complementary Advancing and retreating color Film and video colorspace Color harmonies & the interaction of color Color models Additive colors Subtractive colors The CIE color system Digital and electronic color THE TOOLS OF LIGHTING HMI Xenons Carbon arcs Tungsten fresnels PARs HMI PARs Soft lights Color corrected fluorescents Cycs, strips, nooks and broads Chinese lanterns and spacelights Self contained crane rigs Lekos Balloon lights Portable units Day exteriors LIGHTING AS STORYTELLING Origins of motion picture lighting Film noir Light as visual metaphor CONTROLLING COLOR Color temperature Color balance of film Correcting light balance Light balancing filters Correcting off-color lights Stylistic choices in color control OPTICS Physical basis of optics F/stop Focus Circle of confusion Dpeth-of-field How not to get more depth-of-field Hyperfocal distance Macrophotgraphy Frazier lens and Revolution Lens tests VIDEO AND HIGH DEF Basics of video The video signal The waveform monitor and vectorscope SMPTE color bars The vectorscope Setting up a color monitor The PLUGE Camera white balance Analog and digital colorspace Digital video encoding Is it broadcast quality? Timecode and edgecode Video frame rate Drop-frame and non drop-frame Shooting High Def video 10 things to remember when shooting High Def Lighting for High Def video Shooting digital video Transferring video to film NTSC and 3:2 pulldowns Prepping for telecine IMAGE CONTROL Color printing Controlling color and contrast How flashing works Varicon Bleach bypass and other processes Skip bleach Exposure compensation in bleach-bypass Other techniques Cross processing Printing negative as interpositive Transfer from print Filter types Difussion and effects filters Nets Contrast filters Conversion filters Using filters in black-and-white photography Polarizers Density filters SET OPERATIONS The shot list The Director of Photography The team Camera crew Electricians Grips Set procedures TECHNICAL ISSUES Sun location with a compass Flicker Filming practical monitors Chroma key and Ultimatte Lighting for bluescreen/greenscreen Dimmers Working with strobes High speed photography Lighting for extreme close-up Underwater filming Effects PROFESSIONAL FORMATS ACKNOWLEDGEMENTS BIBLIOGRAPHY FILMOGRAPHY INDEX |
| Notes | Top, front cover film still, Third Man, The (1949, directed by Sir Carol Reed); The Kobal Collection / London Films Bottom, front cover immage, Search Party with Flashlights in the Fog, photographed by Vcl/Spencer Rowell from the Taxi collection of Gettyimages. Printed in the United States of America |
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