Digital Cinematography: Fundamentals, Tools, Techniques, and Workflows

Cover
Half Title
Title Page
Copyright Page
Contents
Acknowledgements and Dedications
Foreword
	What This Book Is About
	What This Book Is Not About
	Why Should a Cinematographer Read This Book?
	Don’t Bluff with Buzzwords, Do Your Homework
	As a Cinematographer, You Must Ultimately Serve Three Masters
	Look Management
	Where We Are Now
Chapter 1 Understanding Digital Theory
	How Digital Cinema Cameras Work
	Human Visual Response to Light
	Sensing Light
	Analog to Digital (A to D) Conversion
	Encoding Luminance to Numerical Code Values
	The Problem with Linear Encoding
	The Just Noticeable Difference (JND) and Square Root Integral (SQRI)
	Linear vs. Gamma/Logarithmic Encodings
		Gamma γ A Video Power Function
	ITU-R Recommendation BT.709
	Logarithmic Encoding for Film: a History Lesson
	10-Bit Log Cineon/DPX File Format
	Cineon/DPX Encoding Ranges
	Logarithmic Encoding for Digital Cinema
	ARRI Log C
	SONY S-Log
	Display Referred vs. Scene Referred
	Sampling Rate
	Nyquist Shannon Sampling Theory
	Color
	Bayer Pattern CMOS Sensors
	Color in the Digital Realm: What Are Pixels?
	Color Bit Depth
	Photosites Are NOT Pixels!
	Color Bit Depth: How Many Crayons in the Box?
	The Math of Color Sampling
	The More Crayons, the Prettier the Pictures
	ACES
Chapter 2 Camera Sensors, DeBayering, Sensitivity, and Noise
	The Practical Differences between Film and Digital Sensors
	Sensor Size Has an Effect on the Image We See
	Bayer Pattern Sensors
	RAW File Formats
		De Bayering (De Mosaicing) RAW Bayer Pattern Images
		De Bayering Algorithms
			Nearest Neighbor
			Bilinear Interpolation
			Cubic Interpolation
			High Quality Linear Interpolation
			Smooth Hue Transition Interpolation
			Pattern Recognition Interpolation
			Adaptive Color Plane Interpolation
	Resolution in Bayer Pattern Cameras
	Converting RAW Images to RGB Images
		Dead Pixel Removal
		Noise Reduction
		Linearization
		Black Level Subtraction
		Demosaic to RGB
			Nearest Neighbor of Same Color
			Averaging Same Colors
			Using All Photosites
		Lens Corrections
		Cropping
		Scaling
		White Balance
		Color Conversion
		Color Enhancements
		Toning Curve
		Gamma Curve
		Clip to Fewer Bits
		Lossy Compression
		Cinema DNG Format
	On Board Image Processing
	Optical Low Pass Filtering (OLPF)
	Infrared (IR) Filtering
	Rolling Shutter vs. Global Shutter
		Skew
		Wobble, Jello
		Smear
		Partial Exposure
	Dark Frame Subtraction
	Dynamic range and Exposure Latitude
	How Much Picture Noise Is Acceptable in Digital Cinema?
	Noise and Lower Dynamic Range Issues
	Fixed Pattern Noise, Dark Noise, Readout Noise, Circuit Noise, and Photon Noise
	Highlight Handling and Headroom
	Fill Factor
	Microlenses on Photosites
	Sensitivity and ISO/ASA Rating
	Sensitivity
	ISO/ASA Rating/Exposure Index
	Dual Native ISO Cameras
Chapter 3 Color
	CIE XYZ 1931
	The CIE 1931 Chromaticity Diagram
	Color Temperature and White Balance
	Color Space as It Relates to Cinematography
	Color Gamut
		Pointer’s Gamut
		SWOP CMYK Color Space
		Rec 709 HDTV Color Space
		DCI P3 Color Space
		BT Rec 2020 UHDTV Color Space
		AMPAS ACES AP0 Color Space
	Camera Color Gamut
	Gamuts Compared
	Color Space Conversion or Transformation
	Color Sampling and Subsampling
	YCbCr and Y’CbCr Color
	Color Has Traditionally Been Device Dependent
	Scene Referred Color: ACES
		Academy Color Encoding System (ACES)
		ACES Components
		ACES Benefits
		For Cinematographers
		For Visual Effects and Post-Production Facilities
		For Content Owners
		ACES Color Space Encoding
		Viewing ACES
		Preparation for Using ACES
	Digital Cinema Color Spaces: P3, XYZ, X’Y’Z’, and ACES
Chapter 4 The Color–Space Conundrum
	The Beginnings of the Digital Intermediate
	What Is Color Space?
	Human Color Perception
	Quantifying Human Color Perception: CIE 1931
	Color Photography
	Color in Cinematography
	Color in Television
	CIE 1976: CIE L*a*b*
	The Birth of High Definition Video
	Managing the Digital Revolution
	The Birth of Digital Imaging
	Hybrid Workflows: Film and Digital Coexist
	Nyquist Sampling Theory
	Modulation Transfer Function and Contrast Sensitivity Function
	Preserving Image Quality across File Formats
	Look-Up Tables (LUTs)
	Compression
	Looking into the Digital Future
Chapter 5 MTF, Resolution, Contrast, and Nyquist Theory
	Raster and Resolution
	Modulation Transfer Function (MTF)
	MTF(v) = Mi (image)/Mo (object)
	Contrast Is Decreased as a Function of Frequency
	Modulation Transfer Function of a Solid State Camera
	Optical Low Pass Filters
	Cascading Nyquist MTF Percentages: a Loose and General Example
	Resolution Does Not Equal Sharpness
	Higher Contrast Images Will Be Perceived as Sharper than Lower Contrast Images
	Important Trends to Consider Regarding Picture Sharpness
	The Case for 4K
	There Is 4K and Then There Is 4K
	Resizing and Resampling
	MTF and the Final Step in the Imaging Chain: Projection
Chapter 6 Frame Rates, Aspect Ratios, High Dynamic Range, and Wide Color Gamut
	Temporal Resolution: Frame Rate
	The Range of Frame rates for Acquisition
	Progressive and Interlace Frame Rates
		Progressive Frame Rates
			24p and 23.976p
			25p
			29.97p/30p
			50p and 60p
		Interlace Frame Rates
			60i
			50i
	Interlace vs. Progressive Frames
	Problems Caused by Interlacing
		Combing
		Interline Twitter
	Resizing and Resampling of Interlaced Images
	Progressive Scan
		Advantages of Progressive Scan
	Variable Frame Rates and High Frame Rates
		Higher Frame Rates in Exhibition and 3D Exhibition
	Historical Perspectives
		Todd AO: 65mm at 30 fps
		Showscan at 60 Frames per Second in 65mm
	Coming Soon to a Theater Near You: Even Higher Frame Rates!
	Formats and Aspect Ratios
		Aspect Ratios
	Cinema Terminology
		1.33:1 or 4 × 3 Academy
		1.5:1, Full Frame, Large Format (LF), VistaVision
		1.66:1 or 3 × 2
		1.85:1
		2:1 or 18 × 9, Univision
		2.39:1 or Cinemascope, Scope, or Panavision
		1.78:1 or 16 × 9
		Why 16 × 9?
		1.9:1 or 17 × 9
		1.33:1 Pillar Boxed inside 1.78:1 Frame
		2.39:1 Letter Boxed inside 1.78:1 Frame
		2.39:1 Pan and Scanned to Fit inside a Narrower Screen Format
		Turnstyle 16 × 9 to 9 × 16
	Film Camera Aperture Sizes and Digital Cinema Sensor Sizes
	High Dynamic Range (HDR) and Wide Color Gamut (WCG) Video
	Hybrid Log Gamma (HLG)
	HDR10 and HDR10+
	Dolby Vision Perceptual Quantization (PQ)
	Wide Color Gamut: ITU-R Rec 2020
	History and High Dynamic Range Imaging
	Tips for Shooting for HDR
		Day Exterior Shooting
		Interiors with Windows
		Low Light Scenes
		Shooting Backings
		Makeup in HDR
		Other HDR Shooting Concerns
	Important Lens Criteria for Shooting HDR: Modulation Transfer Function (MTF)
	Higher Brightness Display Increases the Effect of 24/25p Judder
	Finishing in Dolby Vision and HDR
Chapter 7 Lenses
	Anamorphic vs. Spherical
	Distinctions that Go into Evaluating Lenses
		Resolution
		f-Stop/T-Stop
		Contrast/MTF
		Focal Length and Field of View
		Lens types
		Focal Length, Field of View, Distance, and Perspective
		Lens Illumination and Coverage
		ARRI Lens Illumination Guide
		Abel Cine FOV Tool 2.0
		CVP Lens Coverage and Comparison Tool
		On Line Lens Test Resources
		Telecentricity
		Color Matching
		Flare Characteristics
		Exposure Falloff, Uneven Field Illumination, Flat Field, Shading
		Close Focus
		Breathing
		Geometry and Distortion
	Chromatic Aberration, Coma, Astigmatism, and Diffraction
		Chromatic Aberration
		Coma
		Astigmatism
		Diffraction
	Bokeh
	Optics Design and Lens Groups
		Anamorphics
		Construction, Dimension, Durability, and Design
		Focus and Zoom Scaling
		Ramping
		Depth of Field
		Hyperfocal Distance
		Circle of Confusion
		Depth of Focus
		Focal Reducers, Expanders, Doublers, and Diopters
		Diopters/Closeup Lenses
		Filters
		Polarizing Filters
		Nodal Point or (More Correctly) the No-Parallax Point
		Finding the No-Parallax Point
	Lens Metadata
		Cooke /