J I / Imagemaking For Cinematographers And Directors .

cinematoqraphytheory and practice-JI/imagemaking for cinematographers and directorssecond editionblain brownPARIS SAN DIEGO SAN FRANCISCO SINGAPORE SYDNEY TOKYOELSEVIERFocal Press is an imprint of Elsevier

contentsIntroductionThe Scope of this BookTitles and Terminologywriting with motionWriting with MotionBuilding a Visual WorldThe [Conceptual] Tools of CinematographyThe FrameThe LensLight and ng It All Togethershooting methodsWhat Is Cinematic?A Question of PerceptionVisual Subtext and Visual MetaphorThe FrameStatic FrameCinema as a LanguageThe Shots: Building Blocks of a SceneEstablishing the GeographyCharacter ShotsInvisibleTechniqueThe Shooting MethodsThe Master Scene MethodCoverageOverlapping or Triple-Take MethodIn-OneFreeform MethodMontageInvolving The Audience: POVvisual languageMore Than Just a PictureDesign PrinciplesTheThree-Dimensional FieldForces Of Visual OrganizationMovement in the Visual FieldThe Rule of ThirdsMiscellaneous Rules of CompositionBasic Composition Rules for Peoplelanguage of the lensThe Lens and the FrameForeground/Midground/BackgroundLens PerspectiveDeep FocusSelective FocusImage Control at the LensLens HeightDutch Tilt

Visual storytellingVisual MetaphorTelling Stories with PicturesLighting As StorytellingFilm NoirLight As Visual MetaphorLight and Shadow / Good and EvilFading FlashbulbsVisual Poetrycinematic continuityShooting For EditingThinking about ContinuityTypes of continuityThe Prime DirectiveScreen DirectionTurnaroundCheating the TurnaroundPlanning CoverageCuttabilityThe 20% and 30 Degree RulesOther Issues In ContinuityIntroductionsOther Editorial Issues In ShootingJump CutsThe Six Types Of CutsThe Content CutThe Action CutThePOVCutThe Match CutThe Conceptual CutThe Zero Cutlighting basicsThe Fundamentals of LightingWhat are the Goals of Good LightingExposure and LightingSome Lighting TerminologyAspects Of LightHard Light and Soft LightDirectionIntensityTextureColorBasic Lighting TechniquesBack Cross KeysAmbient Plus AccentsLighting with PracticalsLighting through the WindowAvailable Natural LightMotivated LightDay ExteriorsFillSilks and DiffusionOpen Shade and Garage Door LightSun as BacklightLighting For High Def Video

lighting sourcesThe Tools of LightingDaylight SourcesHMI UnitsXenonsLED LightsTungsten LightsFresnelsPARsHMI PARsSoft LightsBarger BaglightsColor-Correct FluorescentsOtherTypes of UnitsSoftsunCycs, Strips, Nooks and BroadsChinese Lanterns and SpacelightsSelf-Contained Crane RigsEllipsoidal Reflector SpotsBalloon LightsHandheld UnitsDay ExteriorsControlling Light with Grip EquipmentFor More Information On LightingHD cinematographyHigh Defand Standard DefAnalog and Digital VideoAnalogDigital VideoTypes of Video SensorsThree-Chip vs Bayer Filter SensorsDigital VideoStandard DefHigh DefShooting Formats2K, 4K and Higher Resolution FormatsDigital CompressionRAWMonitoring On the setThe Waveform Monitor and VectorscopeWaveform MonitorsThe VectorscopeVideo LatitudeClippingVideo Noise and GrainThe Digital Intermediate (Dl)The Video SignalInterlace VideoProgressive VideoNTSC and ATSCColorspaceSDISetting Up A Color MonitorMonitor Setup ProcedureCamera White 0160160161162162162164cinematographyvii

Digital Video EncodingIs It Broadcast Quality?Do It in the Camera or in Post?The Decision Matrix10 Things to Remember When Shooting HDTimecode and EdgecodeVideo Frame RateDrop-Frame and Non-Drop-Frame29.97 VideoHow Drop Frame Solves the ProblemTo Drop or Not to Drop?Timecode SlatingTapeless ProductionMetadataTapeless WorkflowsDigital File TypesContainer Files: Quicktime and MXFCompression and CodecsIntra-frame versus Interframe CompressionBit DepthMPEGOther CodecsThe CurveControlling the HD ImageGain/ISOGammaBlack Gamma/Black StretchKneeColor SaturationMatrixColor BalanceexposureExposure: the Easy WayWhat Do We Want Exposure to Do for Us?Controlling ExposureThe Four Elements of ExposureThe Bottom LineHow Film and Video Are DifferentTwo Types of ExposureLight As EnergyF/StopsExposure, ISO, and Lighting RelationshipsInverse Square Law and Cosine LawISO/ASALight and FilmThe Latent ImageChemical ProcessingColor NegativeFilm's Response to LightDensitometryThe Log E AxisBrightness PerceptionContrast"Correct" ExposureHigher Brightness Range in the SceneDetermining 89190190191193194194197198198

Video ExposureThe ToolsThe Incident MeterThe Reflectance MeterThe Zone SystemZones in a SceneThe Gray ScaleWhy 18%?Place and FallReading Exposure with UltravioletExposure and the CameraShutter Speed versus Shutter Angle198199199200200203203203205207207208era movement209Motivation and InvisibleTechniqueBasic TechniqueTypes Of MovesPanTiltMove In/Move OutZoomPunch-inMoving ShotsTrackingCountermoveRevealCircle Track MovesCrane MovesRolling ShotCamera MountingHandheldCamera HeadFluid HeadGeared HeadRemote HeadUnderslung HeadsDutch HeadThe TripodHigh-HatRocker PlateTilt PlateThe Crab DollyDolly TerminologyDance FloorExtension PlateLow ModeFront PorchSide BoardsRisersSteering Bar or Push BarCranesCrane/Jib ArmCrane OperationNon-booming PlatformsCamera on a LadderRemote on CranesTechnocraneCranes on Top of CranesCar aphyix

Camera Positions for Car ShotsVehicle to Vehicle ShootingAerial ShotsMini-HelicoptersCable-CamOtherTypesOf Camera MountsRickshaw, Wheelchair and GarfieldSteadicamLow-Mode PrismCrash CamsSplash BoxesUnderwater HousingsMotion ControlcolorColor In Visual StorytellingThe Nature of LightThe Tristimulus TheoryFunctions of the EyeLight and ColorBasic Qualities of ColorThe Color WheelColor ModelsControlling ColorColor TemperatureColor Balance with Gels and FiltersLight Balancing GelsConversion GelsLight Balancing GelsColor Correction GelsCorrecting Off-Color LightsStylistic Choices in Color Controlimage controlColor PrintingControlling Color and ContrastIn the LabBleach-Bypass and Other ProcessesLookUp Tables1D LUTs3D LUTsCamera Filter TypesDiffusion and Effects FiltersContrast FiltersEffects Filters and GradsColorTemperatureand FiltrationConversion FiltersWarming and Cooling FiltersContrast Control In Black-and-WhitePolarizersDensity FiltersIR FiltersControlling The Look Of Your ProjectImage Control With The CameraFrame RateShutter AngleTime 63264264266266267268

optics & focusPhysical Basis Of OpticsRefractionFocusMental FocusCircle of ConfusionDepth-of-fieldDepth-of-Field CalculationsHow Not to Get More Depth-of-FieldZooms and Depth-of-FieldMacrophotographyClose-Up ToolsLens CareLens adapters for Videoset operationsThe Shot ListThe Director Of PhotographyThe TeamCamera CrewOperatorFirst ACSecond ACLoaderData WranglerDITSlating TechniqueTimeCode SlatesCamera ReportsElectriciansGripsOther UnitsCoordinating with Other DepartmentsSet Procedurestechnical issuesFlickerFilming Practical MonitorsMonitors and MOS ShootingShooting Process PhotographyGreenscreen/BluescreenLighting for Bluescreen/GreenscreenDimmersWorking With StrobesHigh-Speed PhotographyLighting For Extreme Close-UpUnderwater FilmingMeasures of Image QualityEffectsTime-Lapse PhotographyTime SlicingSun Location With A CompassTransferring Film To VideoPrepping forTelecineShooting a Gray Card ReferenceFraming 327328331331332334cinematographyxi

film formatsAspect RatiosAcademy Aperture1.66:1 and 1.85:1Wide ScreenAlternatives to 36336337338338340acknowledgments343the cinematography website343bibliography344index347

Crane Operation Non-booming Platforms Camera on a Ladder Remote on Cranes . Cable-Cam 224 OtherTypesOf Camera Mounts 224 Rickshaw, Wheelchair and Garfield 224 . Underwater Housings 226 Motion Control 226 color 227 Color In Visual Storytelling 228 The Nature of Light 228 The Tristimulus Theory 228 Functions of the Eye 229 Light and Color 230 .