The Resource Cinematography : theory and practice : imagemaking for cinematographers and directors, Blain Brown

Cinematography : theory and practice : imagemaking for cinematographers and directors, Blain Brown

Label
Cinematography : theory and practice : imagemaking for cinematographers and directors
Title
Cinematography
Title remainder
theory and practice : imagemaking for cinematographers and directors
Statement of responsibility
Blain Brown
Creator
Contributor
Author
Subject
Language
eng
Cataloging source
NhCcYBP
http://library.link/vocab/creatorName
Brown, Blain
Index
no index present
LC call number
TR850
LC item number
.B7598 2016
Literary form
non fiction
Nature of contents
dictionaries
http://library.link/vocab/relatedWorkOrContributorName
ProQuest (Firm)
http://library.link/vocab/subjectName
Cinematography
Label
Cinematography : theory and practice : imagemaking for cinematographers and directors, Blain Brown
Instantiates
Publication
Note
"A Focal Press book"--Cover
Carrier category
online resource
Carrier category code
  • cr
Carrier MARC source
rdacarrier
Content category
text
Content type code
  • txt
Content type MARC source
rdacontent
Contents
  • Machine generated contents note: Writing with Motion -- Building a Visual World -- The Visual Language of Cinematography -- The Frame as Definition -- The View of the Lens -- Color and Light -- Visual Texture -- Movement -- Establishing -- Point-of-View -- Detective POV -- Putting It All Together -- More Than Just a Picture -- Design Principles -- Unity -- Balance -- Visual Tension -- Rhythm -- Proportion -- Contrast -- Texture -- Directionality -- The Three-Dimensional Field -- Depth -- Overlap -- Relative Size -- Vertical Location -- Left/Right -- Linear Perspective -- Foreshortening -- Chiaroscuro -- Atmospheric Perspective -- Forces of Visual Organization -- The Line -- The Sinuous Line -- Compositional Triangles -- Horizontals, Verticals, and Diagonals -- The Power of the Edge: the Frame -- Open and Closed Frame -- Frame within a Frame -- Balanced and Unbalanced Frame -- Positive and Negative Space -- Movement in the Visual Field -- The Rule of Thirds -- Rules of Composition for People -- Headroom -- Noseroom -- Other Guidelines -- The Lens and the Frame -- Foreground/Midground/Background -- Lens Perspective -- Wide Lenses and Expansion of Space -- Deep Focus -- Compression of Space -- Manipulating Perspective -- Selective Focus -- Image Control at the Lens -- Filtration -- Lens Height -- High Angle -- Low Angle -- Dutch Tilt -- 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 -- What Is Cinematic? -- A Question of Perception -- Visual Subtext and Visual Metaphor -- The Frame -- Static Frame -- The Shots: Building Blocks of a Scene -- Wide Shot -- Establishing Shots -- Establishing the Geography -- Character Shots -- Full Shot -- Two Shot -- Medium Shot -- Close-ups -- Over-the-Shoulder -- Cutaways -- Reaction Shots -- Inserts -- Connecting Shots -- Pickups -- Transitional 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 -- The Fourth Wall and POV -- Continuity -- Shooting For Editing -- Thinking about Continuity -- Types of Continuity -- Continuity of Content -- Continuity of Movement -- Continuity of Position -- Continuity of Time -- The Prime Directive -- Screen Direction -- The Action Axis -- These Are the Rules-But Why? -- What Establishes the Line? -- The Purpose of Screen Direction -- Directional Conventions -- Exceptions to the Rule -- Reverse -- Turnaround -- Planning Coverage -- Cuttability -- The 20% and 30 Degree Rules -- Other Issues of Continuity -- Moving Shots -- Going Through a Door -- Entering and Exiting Frame -- Neutral Axis to Exit Frame -- Three Shots -- Keep the Nose Out -- Prop Continuity in Coverage -- Eye Sweeps -- Chase Scenes -- Cutaway Eyeline Continuity -- Eyelines in Over-the-Shoulder Coverage -- Eyelines for a Seated Character -- OTS and Inserts -- Moving Action -- Group Shots -- Introductions -- The Place & The Geography -- The Time -- The Characters -- Other Editorial Issues In Shooting -- Jump Cuts -- The Six Types of Cuts -- The Content Cut -- The Action Cut -- The POV Cut -- Executing a Subjective POV -- The Match Cut -- The Zero Cut -- Color Terminology -- Color Temperature: The Balances -- Warm and Cool -- White Balance, Black Balance, and Black Shading -- Magenta vs. Green -- The CIE Diagram -- Gamut -- Video Color Spaces -- Rec.709 and Rec. 2020 -- DCI P3 -- AMPAS ACES Color Space -- The Matrix -- Ten Numbers: ASC-CDL -- ACES: What It Is, What It Does -- The Stages -- ACES Terminology -- The Transforms -- Color Balance with Gels and Filters -- Conversion Gels -- Light Balancing Gels -- Color Correction Gels -- Correcting Off-Color Lights -- HMI -- Industrial Lamps -- Color as a Storytelling Tool -- The Digital Signal Path -- Digital Signal Processor -- HD, HD+ and UHD -- HD Recording -- Post High-def -- RAW vs. Baked In -- RAW Camera Signal Path -- Viewing Stream -- Definitions -- Digital Negative -- Chroma Subsampling -- Pixels -- Resolution -- Photosites -- Pixels and Photosites Are Not the Same Thing! -- Digitizing -- OLPF -- Digital Sensors -- CCD -- CMOS -- Other Types of Sensors -- 3-Chip -- Making Color from Black-and-White -- Bayer Filter -- Demosaicing/DeBayering -- Color Interpolation -- What Color Is Your Sensor? -- How Many Pixels Is Enough? -- 5K for 4K -- Shutters -- Spinning Mirror -- Rolling Shutter and Global Shutter -- Sensor Size and Depth-of-Field -- ISO in Digital Cameras -- Noise -- IR and Hot Mirror Filters -- Bit Rate -- Bit Depth -- Frame Rates -- The Film Look vs. The Video Look -- Film Cameras -- The Waveform Monitor -- External Sync -- Types of Display -- Color Bars In Detail -- Using the PLUGE in Monitor Calibration -- Monitor Probes -- Legal and Valid -- Hue/Phase -- The Vectorscope -- Using the Vectorscope On the Set -- Color Bars On the Vectorscope -- White Balance/Black Balance -- Gamut -- Video Test Cards -- The Deceptively Simple Neutral Gray Card -- The Gray Card and Color Balance in Film and Video -- Why Isn't 18% Gray Also 50%? -- Calibration Test Charts -- DSC Labs Test Charts -- The One Shot -- The X-Rite ColorChecker -- ChromaMatch & ScreenAlign -- Skin Tone -- Measuring Image Resolution -- Exposure Theory -- What Do We Want Exposure to Do for Us? -- Controlling Exposure -- Change the Bucket -- The Elements of Exposure -- Light -- F/Stops -- Shutter Speed/Frame Rate/Shutter Angle -- The Response Curve -- Underexposure -- Overexposure -- Correct Exposure -- Higher Brightness Range in the Scene -- Two Types of Exposure -- How Film and Video Are Different -- We'll Fix It in Post -- The Bottom Line -- Exposure in Shooting RAW Video -- Video Exposure -- The Tools of Exposure -- The Incident Meter -- The Reflectance Meter -- A Different World of Exposure -- Setting Exposure with the Waveform Monitor -- F/Stops On the Waveform -- The 18% Solution -- Exposure Indicators in The Camera -- Zebras -- Histogram -- Traffic Lights and Goal Posts -- False Color Exposure Display -- Arri Alexa False Colors -- Strategies of Exposure -- Don't Let It Clip, but Avoid the Noise -- Texture & Detail -- The Dilemma -- Using Light Meters -- Meter the Key -- Using the Waveform Monitor -- Placing Middle Gray -- Start at the Bottom or Start at the Top -- Expose to the Right -- Zebras -- The Monitor -- Know Thyself and Know Thy Camera -- Blackmagic Camera Exposure Advice -- HDRx -- Dynamic Range -- Linear Response -- An Ideal and a Problem -- Linear as Scene Referred -- The Classic S-Curve in the Image -- Film Gamma and Video Gamma -- Video Gamma -- The Coincidence -- Rec.709 -- Studio Swing Levels, Full Range, and Legal Video -- Gamma Control in Traditional HD -- Knee Control -- Black Stretch/Black Gamma -- Another Approach -- Hypergamma/Cinegamma/Film Rec -- Sony Hypergamma terminology -- Gamma in RAW Video -- The Inefficiency of Linear -- Log Encoding -- Superwhite -- What You See Is Not What You Get -- Log and RAW-Two Different Things -- Proprietary Log Curves -- Sony S-Log -- Arri Log C -- Canon-Log -- Redcode -- Red Log -- 18% Gray in Log -- Variation in Log Curves -- At the DIT Cart -- What Happens At the Cart Doesn't Stay At the Cart -- Color Correction and Color Grading -- Controllers and Control Surfaces -- Control Parameters -- Lift/Shadows -- Gamma/Midtones -- Gain/Highlights -- Curves -- Log Controls -- Log Offset Color and Master Controls -- Exporting and Reusing Grades -- LUTs And Looks -- LUT Formats -- Proper Use of LUTs in Color Correction -- Viewing LUTs -- LUTs and Looks: What's the Difference? -- Controlling the Image in Front of the Lens -- Camera Filter Types -- Diffusion and Effects Filters -- Contrast Filters -- Neutral Density Filters -- Effects Filters and Grads -- Conversion Filters -- Camera Lens Filters for Color Correction -- Warming and Cooling Filters -- Contrast Control in Black-And-White -- Polarizers -- IR Filters -- The Tools of Lighting -- Color Balance -- Color Rendering Index -- Daylight/Tungsten Sources -- LED Lights -- Remote Phosphor LEDs -- HMI Units -- Xenons -- Tungsten Lights -- Fresnels -- Open Face -- 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 -- The Fundamentals of Lighting -- The [conceptual] Tools of Lighting -- The Attributes of Light -- Hard vs. Soft -- Full Range of Tones -- Color Control and Color Balance -- Shape -- Separation -- Depth -- Texture -- Mood and Tone -- Exposure and Lighting -- Some Lighting Terminology -- Working with Hard Light and Soft Light -- Hard Light -- Soft Light -- Direction -- Avoiding Flat Front Lighting -- Light from the Upstage Side -- Backlight and Kicker -- Intensity -- Texture in Lighting -- Color -- Lighting Techniques -- Ambient -- Classical Lighting -- Bringing it through the windows -- Practicals and Motivated Lighting -- Basic Principles of Lighting -- Back Cross Keys -- Ambient Plus Accents -- Lighting with Practicals -- Lighting through the Window -- Available Natural Light -- Available Light Windows -- Motivated Light -- Carrying a Lamp -- Day Exteriors -- Fill -- Silks and Diffusion -- Open Shade and Garage Door Light -- Sun As Backlight -- Magic Hour -- The Physical Basis Of Optics -- Refraction -- Focal Length and Angle of View -- F/Stop -- Focus -- Mental Focus -- Circle of Confusion -- Depth-of-field -- How Not to Get More Depth-of-Field -- Hyperfocal Distance -- Nodal Points -- The Rear Nodal Point and Special Effects Shots -- Zooms and Depth-of-Field -- Macrophotography -- Exposure Compensation in Macrophotography --
  • Contents note continued: Depth-of-Field in Close-Up Work -- Calculating Depth-of-Field in Close-Up Work -- Close-Up Tools -- Diopters -- Extension Tubes or Bellows -- Macro Lenses -- Snorkels and Innovision -- Specialized Lenses -- Lens Extenders and Filter Factors -- Lens Care -- Back Focus -- Camera Movement in Filmmaking -- Motivation and Invisible Technique -- Basic Technique -- Types Of Moves -- Pan -- Tilt -- Move In/Move Out -- Zoom -- Punch-in -- Moving Shots -- Tracking -- Countermove -- Reveal with Movement -- Circle Track Moves -- Crane Moves -- Rolling Shot -- Camera Supports for Movement -- Drones -- Handheld -- Stabilizer Rigs -- Camera Heads -- The Tripod -- High-Hat -- Rocker Plate -- Tilt Plate -- The Crab Dolly -- Dolly Terminology -- Car Shots -- Camera Positions for Car Shots -- Vehicle to Vehicle Shooting -- Aerial Shots -- Other Types of Camera Mounts -- Steadicam -- Rickshaw, Wheelchair, and Garfield -- Cable-Cam -- Crash Cams -- Splash Boxes -- Underwater Housings -- Motion Control -- Making It Happen -- The Director of Photography -- The Cinematographer's Tools -- Gaffer Glass -- Laser Pointer -- Director's Viewfinder -- Digital Still Camera -- The Shot List -- Putting the Order Together -- Reading the Script -- Talking to the Director -- Location Scouts and Tech Scouts -- Coordinating with Other Departments -- The Team and The Order -- The Page Turn -- Tests -- Camera Crew -- Operator -- First AC Duties -- Second AC -- Loader -- DIT -- DIT Workflow -- Simple Data Workflow -- Advanced Workflow -- Digital Loader/Media Manager -- Utility -- Camera Crew Reports, Equipment & Tools -- Camera Reports -- Camera Assistant Tools and Supplies -- AC Prep -- Camera Prep Checklist -- The Team -- Lighting Technicians (Electricians or Sparks) -- Grips -- Other Units -- Set Procedures -- Block, Light, Rehearse, Shoot -- The Process -- Room Tone -- Set Etiquette -- Set Safety -- Lighting, Electrical, and Grip -- Crane Safety -- Slating Technique -- Verbal Slating -- Tail Slate -- MOS Slating -- Slating Multiple Cameras -- Timecode Slates -- Jamming the Slate -- What to Write on the Slate -- When to Change the Letter -- The European System of Slating -- Pickups, Series, and Reshoots -- VFX -- Bumping a Slate -- Insert Slates -- Finding the Sun -- Data Management -- Basic Principles -- Cover your Rear -- Standard Procedures -- Maintain Your Logs -- Procedure-Best Practices -- Locked and Loaded -- Get Your Signals Straight -- Always Scrub -- Three Drives -- Do Not Drag and Drop -- Logs -- File Management -- File Naming -- Download/Ingest Software -- ShotPut Pro -- Silverstack -- Double Data -- Proprietary Data Management Software -- External Recorders -- Hard Drives & RAIDS -- RAID -- Transfer/Shuttle Drives -- How Much Storage Do You Need? -- Shooting Greenscreen/Bluescreen -- Lighting for Greenscreen/Bluescreen -- Dimmers -- Dimming LEDs -- Dimmer Boards -- Working with Strobes -- High-Speed Photography -- Lighting For Extreme Close-Up -- Effects -- Smoke -- Fire -- TV and Projector Effects -- Day-for-Night -- Moonlight Effect -- Water EFX -- Rain -- Lightning -- Gunshots -- Safety with Guns -- Explosions -- Time-Lapse Photography -- Time Slicing -- Transferring Film To Video -- Framing Charts -- Flicker -- Virtual Reality -- Dedication -- Acknowledgments -- Aspect Ratios -- Widescreen -- Alternatives to Anamorphic -- 3 Perf
Dimensions
unknown
Edition
Third edition.
Extent
1 online resource.
Form of item
online
Isbn
9781317359272
Media category
computer
Media MARC source
rdamedia
Media type code
  • c
Reproduction note
Electronic reproduction.
Specific material designation
remote
Stock number
99979667285
System control number
(NhCcYBP)13209254
Label
Cinematography : theory and practice : imagemaking for cinematographers and directors, Blain Brown
Publication
Note
"A Focal Press book"--Cover
Carrier category
online resource
Carrier category code
  • cr
Carrier MARC source
rdacarrier
Content category
text
Content type code
  • txt
Content type MARC source
rdacontent
Contents
  • Machine generated contents note: Writing with Motion -- Building a Visual World -- The Visual Language of Cinematography -- The Frame as Definition -- The View of the Lens -- Color and Light -- Visual Texture -- Movement -- Establishing -- Point-of-View -- Detective POV -- Putting It All Together -- More Than Just a Picture -- Design Principles -- Unity -- Balance -- Visual Tension -- Rhythm -- Proportion -- Contrast -- Texture -- Directionality -- The Three-Dimensional Field -- Depth -- Overlap -- Relative Size -- Vertical Location -- Left/Right -- Linear Perspective -- Foreshortening -- Chiaroscuro -- Atmospheric Perspective -- Forces of Visual Organization -- The Line -- The Sinuous Line -- Compositional Triangles -- Horizontals, Verticals, and Diagonals -- The Power of the Edge: the Frame -- Open and Closed Frame -- Frame within a Frame -- Balanced and Unbalanced Frame -- Positive and Negative Space -- Movement in the Visual Field -- The Rule of Thirds -- Rules of Composition for People -- Headroom -- Noseroom -- Other Guidelines -- The Lens and the Frame -- Foreground/Midground/Background -- Lens Perspective -- Wide Lenses and Expansion of Space -- Deep Focus -- Compression of Space -- Manipulating Perspective -- Selective Focus -- Image Control at the Lens -- Filtration -- Lens Height -- High Angle -- Low Angle -- Dutch Tilt -- 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 -- What Is Cinematic? -- A Question of Perception -- Visual Subtext and Visual Metaphor -- The Frame -- Static Frame -- The Shots: Building Blocks of a Scene -- Wide Shot -- Establishing Shots -- Establishing the Geography -- Character Shots -- Full Shot -- Two Shot -- Medium Shot -- Close-ups -- Over-the-Shoulder -- Cutaways -- Reaction Shots -- Inserts -- Connecting Shots -- Pickups -- Transitional 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 -- The Fourth Wall and POV -- Continuity -- Shooting For Editing -- Thinking about Continuity -- Types of Continuity -- Continuity of Content -- Continuity of Movement -- Continuity of Position -- Continuity of Time -- The Prime Directive -- Screen Direction -- The Action Axis -- These Are the Rules-But Why? -- What Establishes the Line? -- The Purpose of Screen Direction -- Directional Conventions -- Exceptions to the Rule -- Reverse -- Turnaround -- Planning Coverage -- Cuttability -- The 20% and 30 Degree Rules -- Other Issues of Continuity -- Moving Shots -- Going Through a Door -- Entering and Exiting Frame -- Neutral Axis to Exit Frame -- Three Shots -- Keep the Nose Out -- Prop Continuity in Coverage -- Eye Sweeps -- Chase Scenes -- Cutaway Eyeline Continuity -- Eyelines in Over-the-Shoulder Coverage -- Eyelines for a Seated Character -- OTS and Inserts -- Moving Action -- Group Shots -- Introductions -- The Place & The Geography -- The Time -- The Characters -- Other Editorial Issues In Shooting -- Jump Cuts -- The Six Types of Cuts -- The Content Cut -- The Action Cut -- The POV Cut -- Executing a Subjective POV -- The Match Cut -- The Zero Cut -- Color Terminology -- Color Temperature: The Balances -- Warm and Cool -- White Balance, Black Balance, and Black Shading -- Magenta vs. Green -- The CIE Diagram -- Gamut -- Video Color Spaces -- Rec.709 and Rec. 2020 -- DCI P3 -- AMPAS ACES Color Space -- The Matrix -- Ten Numbers: ASC-CDL -- ACES: What It Is, What It Does -- The Stages -- ACES Terminology -- The Transforms -- Color Balance with Gels and Filters -- Conversion Gels -- Light Balancing Gels -- Color Correction Gels -- Correcting Off-Color Lights -- HMI -- Industrial Lamps -- Color as a Storytelling Tool -- The Digital Signal Path -- Digital Signal Processor -- HD, HD+ and UHD -- HD Recording -- Post High-def -- RAW vs. Baked In -- RAW Camera Signal Path -- Viewing Stream -- Definitions -- Digital Negative -- Chroma Subsampling -- Pixels -- Resolution -- Photosites -- Pixels and Photosites Are Not the Same Thing! -- Digitizing -- OLPF -- Digital Sensors -- CCD -- CMOS -- Other Types of Sensors -- 3-Chip -- Making Color from Black-and-White -- Bayer Filter -- Demosaicing/DeBayering -- Color Interpolation -- What Color Is Your Sensor? -- How Many Pixels Is Enough? -- 5K for 4K -- Shutters -- Spinning Mirror -- Rolling Shutter and Global Shutter -- Sensor Size and Depth-of-Field -- ISO in Digital Cameras -- Noise -- IR and Hot Mirror Filters -- Bit Rate -- Bit Depth -- Frame Rates -- The Film Look vs. The Video Look -- Film Cameras -- The Waveform Monitor -- External Sync -- Types of Display -- Color Bars In Detail -- Using the PLUGE in Monitor Calibration -- Monitor Probes -- Legal and Valid -- Hue/Phase -- The Vectorscope -- Using the Vectorscope On the Set -- Color Bars On the Vectorscope -- White Balance/Black Balance -- Gamut -- Video Test Cards -- The Deceptively Simple Neutral Gray Card -- The Gray Card and Color Balance in Film and Video -- Why Isn't 18% Gray Also 50%? -- Calibration Test Charts -- DSC Labs Test Charts -- The One Shot -- The X-Rite ColorChecker -- ChromaMatch & ScreenAlign -- Skin Tone -- Measuring Image Resolution -- Exposure Theory -- What Do We Want Exposure to Do for Us? -- Controlling Exposure -- Change the Bucket -- The Elements of Exposure -- Light -- F/Stops -- Shutter Speed/Frame Rate/Shutter Angle -- The Response Curve -- Underexposure -- Overexposure -- Correct Exposure -- Higher Brightness Range in the Scene -- Two Types of Exposure -- How Film and Video Are Different -- We'll Fix It in Post -- The Bottom Line -- Exposure in Shooting RAW Video -- Video Exposure -- The Tools of Exposure -- The Incident Meter -- The Reflectance Meter -- A Different World of Exposure -- Setting Exposure with the Waveform Monitor -- F/Stops On the Waveform -- The 18% Solution -- Exposure Indicators in The Camera -- Zebras -- Histogram -- Traffic Lights and Goal Posts -- False Color Exposure Display -- Arri Alexa False Colors -- Strategies of Exposure -- Don't Let It Clip, but Avoid the Noise -- Texture & Detail -- The Dilemma -- Using Light Meters -- Meter the Key -- Using the Waveform Monitor -- Placing Middle Gray -- Start at the Bottom or Start at the Top -- Expose to the Right -- Zebras -- The Monitor -- Know Thyself and Know Thy Camera -- Blackmagic Camera Exposure Advice -- HDRx -- Dynamic Range -- Linear Response -- An Ideal and a Problem -- Linear as Scene Referred -- The Classic S-Curve in the Image -- Film Gamma and Video Gamma -- Video Gamma -- The Coincidence -- Rec.709 -- Studio Swing Levels, Full Range, and Legal Video -- Gamma Control in Traditional HD -- Knee Control -- Black Stretch/Black Gamma -- Another Approach -- Hypergamma/Cinegamma/Film Rec -- Sony Hypergamma terminology -- Gamma in RAW Video -- The Inefficiency of Linear -- Log Encoding -- Superwhite -- What You See Is Not What You Get -- Log and RAW-Two Different Things -- Proprietary Log Curves -- Sony S-Log -- Arri Log C -- Canon-Log -- Redcode -- Red Log -- 18% Gray in Log -- Variation in Log Curves -- At the DIT Cart -- What Happens At the Cart Doesn't Stay At the Cart -- Color Correction and Color Grading -- Controllers and Control Surfaces -- Control Parameters -- Lift/Shadows -- Gamma/Midtones -- Gain/Highlights -- Curves -- Log Controls -- Log Offset Color and Master Controls -- Exporting and Reusing Grades -- LUTs And Looks -- LUT Formats -- Proper Use of LUTs in Color Correction -- Viewing LUTs -- LUTs and Looks: What's the Difference? -- Controlling the Image in Front of the Lens -- Camera Filter Types -- Diffusion and Effects Filters -- Contrast Filters -- Neutral Density Filters -- Effects Filters and Grads -- Conversion Filters -- Camera Lens Filters for Color Correction -- Warming and Cooling Filters -- Contrast Control in Black-And-White -- Polarizers -- IR Filters -- The Tools of Lighting -- Color Balance -- Color Rendering Index -- Daylight/Tungsten Sources -- LED Lights -- Remote Phosphor LEDs -- HMI Units -- Xenons -- Tungsten Lights -- Fresnels -- Open Face -- 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 -- The Fundamentals of Lighting -- The [conceptual] Tools of Lighting -- The Attributes of Light -- Hard vs. Soft -- Full Range of Tones -- Color Control and Color Balance -- Shape -- Separation -- Depth -- Texture -- Mood and Tone -- Exposure and Lighting -- Some Lighting Terminology -- Working with Hard Light and Soft Light -- Hard Light -- Soft Light -- Direction -- Avoiding Flat Front Lighting -- Light from the Upstage Side -- Backlight and Kicker -- Intensity -- Texture in Lighting -- Color -- Lighting Techniques -- Ambient -- Classical Lighting -- Bringing it through the windows -- Practicals and Motivated Lighting -- Basic Principles of Lighting -- Back Cross Keys -- Ambient Plus Accents -- Lighting with Practicals -- Lighting through the Window -- Available Natural Light -- Available Light Windows -- Motivated Light -- Carrying a Lamp -- Day Exteriors -- Fill -- Silks and Diffusion -- Open Shade and Garage Door Light -- Sun As Backlight -- Magic Hour -- The Physical Basis Of Optics -- Refraction -- Focal Length and Angle of View -- F/Stop -- Focus -- Mental Focus -- Circle of Confusion -- Depth-of-field -- How Not to Get More Depth-of-Field -- Hyperfocal Distance -- Nodal Points -- The Rear Nodal Point and Special Effects Shots -- Zooms and Depth-of-Field -- Macrophotography -- Exposure Compensation in Macrophotography --
  • Contents note continued: Depth-of-Field in Close-Up Work -- Calculating Depth-of-Field in Close-Up Work -- Close-Up Tools -- Diopters -- Extension Tubes or Bellows -- Macro Lenses -- Snorkels and Innovision -- Specialized Lenses -- Lens Extenders and Filter Factors -- Lens Care -- Back Focus -- Camera Movement in Filmmaking -- Motivation and Invisible Technique -- Basic Technique -- Types Of Moves -- Pan -- Tilt -- Move In/Move Out -- Zoom -- Punch-in -- Moving Shots -- Tracking -- Countermove -- Reveal with Movement -- Circle Track Moves -- Crane Moves -- Rolling Shot -- Camera Supports for Movement -- Drones -- Handheld -- Stabilizer Rigs -- Camera Heads -- The Tripod -- High-Hat -- Rocker Plate -- Tilt Plate -- The Crab Dolly -- Dolly Terminology -- Car Shots -- Camera Positions for Car Shots -- Vehicle to Vehicle Shooting -- Aerial Shots -- Other Types of Camera Mounts -- Steadicam -- Rickshaw, Wheelchair, and Garfield -- Cable-Cam -- Crash Cams -- Splash Boxes -- Underwater Housings -- Motion Control -- Making It Happen -- The Director of Photography -- The Cinematographer's Tools -- Gaffer Glass -- Laser Pointer -- Director's Viewfinder -- Digital Still Camera -- The Shot List -- Putting the Order Together -- Reading the Script -- Talking to the Director -- Location Scouts and Tech Scouts -- Coordinating with Other Departments -- The Team and The Order -- The Page Turn -- Tests -- Camera Crew -- Operator -- First AC Duties -- Second AC -- Loader -- DIT -- DIT Workflow -- Simple Data Workflow -- Advanced Workflow -- Digital Loader/Media Manager -- Utility -- Camera Crew Reports, Equipment & Tools -- Camera Reports -- Camera Assistant Tools and Supplies -- AC Prep -- Camera Prep Checklist -- The Team -- Lighting Technicians (Electricians or Sparks) -- Grips -- Other Units -- Set Procedures -- Block, Light, Rehearse, Shoot -- The Process -- Room Tone -- Set Etiquette -- Set Safety -- Lighting, Electrical, and Grip -- Crane Safety -- Slating Technique -- Verbal Slating -- Tail Slate -- MOS Slating -- Slating Multiple Cameras -- Timecode Slates -- Jamming the Slate -- What to Write on the Slate -- When to Change the Letter -- The European System of Slating -- Pickups, Series, and Reshoots -- VFX -- Bumping a Slate -- Insert Slates -- Finding the Sun -- Data Management -- Basic Principles -- Cover your Rear -- Standard Procedures -- Maintain Your Logs -- Procedure-Best Practices -- Locked and Loaded -- Get Your Signals Straight -- Always Scrub -- Three Drives -- Do Not Drag and Drop -- Logs -- File Management -- File Naming -- Download/Ingest Software -- ShotPut Pro -- Silverstack -- Double Data -- Proprietary Data Management Software -- External Recorders -- Hard Drives & RAIDS -- RAID -- Transfer/Shuttle Drives -- How Much Storage Do You Need? -- Shooting Greenscreen/Bluescreen -- Lighting for Greenscreen/Bluescreen -- Dimmers -- Dimming LEDs -- Dimmer Boards -- Working with Strobes -- High-Speed Photography -- Lighting For Extreme Close-Up -- Effects -- Smoke -- Fire -- TV and Projector Effects -- Day-for-Night -- Moonlight Effect -- Water EFX -- Rain -- Lightning -- Gunshots -- Safety with Guns -- Explosions -- Time-Lapse Photography -- Time Slicing -- Transferring Film To Video -- Framing Charts -- Flicker -- Virtual Reality -- Dedication -- Acknowledgments -- Aspect Ratios -- Widescreen -- Alternatives to Anamorphic -- 3 Perf
Dimensions
unknown
Edition
Third edition.
Extent
1 online resource.
Form of item
online
Isbn
9781317359272
Media category
computer
Media MARC source
rdamedia
Media type code
  • c
Reproduction note
Electronic reproduction.
Specific material designation
remote
Stock number
99979667285
System control number
(NhCcYBP)13209254

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