Cinematography. Theory and practice. imagemaking for cinematographers and directors.

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