Introduction to Cinematography: Learning Through Practice

Cover
Half Title
Title
Copyright
Contents
Acknowledgments
Preface
Section A: The Bigger Picture
	1 Cinematography: The Bigger Picture
		Learning Outcomes
		The Cinematography Triangle: Technology, Technique and Taste
		Developing Your Visual Language
		How and Where to Learn Cinematography
			Learning in Education
			Learning in a Professional Environment
			Learning Independently
		Techniques for Developing Creativity and Imagination
			Working Creatively Within the Limits of a Production
		The Creative Workflow
			Collaboration Techniques
			Progress and the Learning Cycle
		Assessing Your Work
Section B: Essential Working Knowledge for Cinematographers and Camera Assistants
	2a Working on Set: Professional Practice
		Learning Outcomes
		The Role of the Production Department
		The Role of the Camera Assistant in Pre-Production
		The Role of the Cinematographer in Pre-Production
		The Camera Crew
			The Camera Department Hierarchy
			The Role of the 2nd AC and Trainee
			The Role of the 1st AC
			The Role of the Camera Operator
			The Role of the DP
			The Role of the Digital Imaging Technician (DIT)
			The Role of the Dolly Grip
		Shoot Procedure Step-by-Step
		How to Survive the Shoot
		Protecting the Camera Equipment
	2b Camera Assistant Skills
		Learning Outcomes
		Focus and Focus Pulling
		Best Practice for Putting on the Clapper Board
		Record Keeping: Notes and Camera Sheets
		Managing Batteries and Power Supply
		Setting Up and Calibrating the Monitor
		Data Management and Rushes Delivery
			To Backup Data
			Directory Structure and Folders Layout
	3 Fundamental Photographic Knowledge for Cinematography
		Learning Outcomes
		Understanding Exposure
		The Camera and the Camera Sensor
		Image Noise
		ISO and How the Sensor Responds to Light
		Clipping and Avoiding Clipping
		Recording Color and Bit Depth
		Recording Formats
			RAW
			Log
			LUT
		Moiré
		Exposure
			Zebras
			Histograms
			Monitors and IRE Levels
		Exposure Problems and Solutions
		Controling the Look of the Image with Aperture and Shutter Speed
			Aperture and Depth of Field
			Shutter Speed and Motion Blur
			Aperture Shutter Speed and ISO: Ideals and Compromises
		White Balance
		Black Balance/Shading
		Flare
		Polarization
		Summary
	4a Assembling the Camera and Preparing to Shoot
		Learning Outcomes
		Selecting an Appropriate Camera
		Assembling the Camera
			Mounting the Lens
		Camera Supports
			Tripod
			Camera Heads
			Leveling the Camera Head
		Hand-Held Supports and Apparatus
		Securely Connecting the Camera
		Assembling Camera Accessories
			Follow Focus
			Matte Box and Eyebrow
			Filters
		Balancing the Camera
		Camera Menu Set-Ups
		Cleaning the Camera and Equipment
		The Cinematographer’s Toolbag
		The Camera Assistant’s Kit
	4b Camera Preparation and Testing
		Learning Outcomes
		Checking and Prepping the Equipment
		Dead Pixel Test
		Lens Performance Tests
			Lens Sharpness and Color Fringing Test
			Focus Tests
			Zoom Lens and Drift Test
			Bokeh Test
			Anamorphic Lens Tests
			Lens Flare Test
		Filter Tests
			IR Pollution Tests For ND Filters
			Variable ND Tests
		Color Tests
		Dynamic Range Test
		The Low Light Test
	5 Understanding and Managing the Digital Workflow from Camera to Screen
		Learning Outcomes
		Workflow Step-by-Step
		Choosing the Camera
			Resolution
			Dynamic Range
			The Impact of High Dynamic Range on Camera Choice
			Bit Depth
		Recording Choices and Compression
			Recording In RAW
			Recording in Log
			DSLR Log Equivalents
			Recording in LUT
			Choice of Codec and Bit Rate
			The Importance of Bit Rate
		The Post-Production Workflow
			Editing
			Preparation Files for Grading: Display and Scene Referred Transforms
			ACES
			Conversion LUTs
		The Master Grade
			Choosing a Color Space
			Color Correcting
			Color Grade
			VFX
			Final Grade and Conforming for Display
			Archiving
		Exporting for Delivery
		Supporting Concepts and Theories
			Methods of Compression
			Pixels, Photosites and Screens
			Shape Squeeze and Crop
Section C: Storytelling: Shots, Scenes and Time
	6 Storytelling in Shots: Lenses and Composition
		Learning Outcomes
		Focal Length and Composition
			The Two Effects of Focal Length
			Wide-Angle Lenses
			Standard/Normal Lenses
			Long Lenses
			Focal Length and Aspect Ratio
		The Z-Axis
		How Sensor Sizes Affect the Angle of View
		How Sensor Size Affects Depth of Field
		Lens Choices
			Specialist and Macro Lenses
		T-Stops or F-Stops
		Lens Manufacturers and Lens Mounts
		Composition and Storytelling
		Choosing Shot Sizes
		Using Depth of Field and Focus Pulling for Storytelling
		Screen Direction: Right to Left and Left to Right
		Headroom
		Leadroom
		Aspect Ratio, Genre and Composition
		Frame Height Power and Perspective
		Photographic Composition Guidelines
		Arrangement of Objects Within the Frame
	7 Storytelling in Scenes: Constructing the Scene and Working with the Director
		Learning Outcomes
		Genre and Stereotype
			Genre
			Stereotypes and Theories of Representation
		The Gap Between Intentions and Reality
		Working with the Director
		Blocking and Shooting the Scene
			Shooting Order and Shooting Efficiently
			The Shooting Ratio
			The Master Shot
			Handles
		Continuity Coverage
			The Line
		Recurring or Developing Elements in Scenes throughout the Film
			Recurring Metaphors and Motifs
			Developing and Changing the Positioning of People
		Positioning and Movement of Background Elements and Action
		Viewer’s Perspective and Eyeline
		The Flow of Time and Pacing the Scene
		Developing Shots and Oners
		Camera Movement
			Where the Camera Moves
			How the Camera Moves
			Speed of Movement
			Choosing When to Start or Stop Movement
			Camera Movement Exercises
		Production Constraints
			Stylizing
		The Magic Bullet
	8 Speed and Time
		Learning Outcomes
		Story Time, Film Time and Screen Time
			Real Time
			Linear Story Structure
			Non-Linear Story Structure
		Controling the Flow of Time
		Speeding Up Time
			Montage
			Fast Motion
		Expanding or Slowing Down Time
			Simultaneous Time
			Noticing What Would Otherwise Go Unnoticed
			High Speed/Slow Motion Shots
		The Effect of Shutter Speed, Shutter Angle and Frame Rate on the Look of a Film
		Interlaced or Progressive Frames
		Flicker Flicker Flicker: Lamp Choices, Shutter Speeds Hz, Flicker and Phasing
			Flicker and High Speed Cinematography
			Removing Flicker or Rolling Bars When Shooting Monitors
		Understanding and Avoiding the Rolling Shutter Effect
		Exercises
Section D: Shooting Creatively and Efficiently When Working Alone
	9 Solo Shooting: Documentary and Television
		Learning Outcomes
		The Freedom and Scope of Working Alone
		Types and Modes of Documentary
			Expository or Traditional Documentary
			Observational Documentary
			The Participatory Mode
			The Performative Mode
			The Reflexive Mode
			The Poetic Mode
		Preparation
			Story
			Style
			Content
		Permissions
		Workflow and Recording Settings
		Lens Choice and Camera Settings
		Equipment Choices, Safety and Preparation
		Shoot Procedure
		Covering a Scene and Shooting for the Edit
		Creating Scenes When Shooting Observational Documentary
		Solo Shooting Techniques
			Operating
			Focus
			Exposure
		Lighting and Lighting Equipment
			Safety
			Lighting and Color Temperature in Observational Documentary
		Lighting and Shooting Interviews
		Cinematographer’s Guide to Recording Sound
		Documentary Filming Assessment Rubric
Section E: Camera Operating and Methods of Moving the Camera
	10 Camera Operating
		Learning Outcomes
		Benefits of Having a Dedicated Camera Operator
		The Effect of Camera Movement on the Viewer
		Devising Shots
		Working with Others
			Working with the Grip
			Working with the AC
			Positioning Artists
			Positioning Props
		Framing
			Leadroom
			Headroom
			Scanning the Frame
		Eyelines
		Crossing the Line
		Selecting Equipment
			What Type of Camera Head for Which Type of Movement
			Which Camera Supports for What Type of Movement
			Sliders
		Techniques and Tools for Shooting Hand-Held
			Choosing the Optimal Focal Length
			How to Operate Smoothly and Steadily While Moving
			Learning to Move Safely Within a Space
			Working with Actors
		Key Points, for Self-Assessment
Section F: Light and Lighting
	11a Lighting: The Fundamentals of Lighting, Light Metering and Exposure
		Learning Outcomes
		Key Light
			Hard Key Light
			Soft Key Light
		Fill Light and Lighting Ratios
		Flat Light
		Monitoring and Measuring Light
			IRE
			False Color
			Waveform Monitor
			Vectorscope
		Light Metering and Measurement
			Light Measurements
			Stops
			Exposure Values
			Setting a Meter
			Incident Meters
			Spot Meters
		Exposure
			High Dynamic Range and Standard Dynamic Range
			Understanding and Using the Sensitometric/Response Curve
			Dynamic Range, Latitude and Exposure
		Three Techniques for Exposure
		Changing the Aperture in Shot
	11b Lighting: Natural and Available Light
		Learning Outcomes
		Natural Light
		Available Light
		Assessing Locations for Natural Light
		Assessing Locations for Available Light
		Assessing Locations for Lighting by Contrast
		Working with the Weather
			Shooting in the Rain
		Shooting Day Exteriors
			Using Butterfly Frames and Five-in-One Kits and Reflectors
			Shooting Exteriors Without a Reflector or Diffusion Kit
			Reverses
		Magic Hour, Evening and Night Shoots
			Magic Hour
			Blue Hour
			When to Shoot Moonlit Scenes
			Shooting in Firelight
		Day Interiors in Available Light
		Lighting Interviews
		Available Light Night Interiors
		Day for night
			Exteriors
			Interiors
	12 Shaping and Controling Light
		Learning Outcomes
		Creating Motivated Light and Emulating Light Sources
		Controling Shape with Light
			Direction
			3/4 Front Lighting
			3/4 Back Lighting
			Light and Texture
		Motivated Key Light
		Intensity, Distance, Drop-Off and the Inverse-Square Law
		Techniques for Creating Fill Light
			Bounce Fill
			Lit Fill
			Negative Fill
		Rim Lighting with Back Light
		Controling and Modifying Light
			Shade and Shadows
			How and When to Use Flags and Barn Doors
			Creating Shadows of Blinds and Windows
			Breaking Up Light
		Reducing Softening or Sharpening Light
			Reducing Light Levels
			Diffusing Light to Soften It
			Bouncing Light to Soften It
			Making Light Harder
		Reflection
		Refraction
		Lamp Choices, Personal Preferences and Lighting Styles
		Lighting Control
		How to Select Appropriate Lamps
			Bulb Types
			Lamp Housings
	13 Lighting Locations and Studio Sets
		Learning Outcomes
		Differences Between Lighting Studio Sets and Locations
		Timing Priorities and Planning
		Production Design and Planning
			Lighting Plans
			Color Temperature Planning
		The Order and Process of Lighting
			Lighting for Wide Shots
			Lighting Medium Shots
			Lighting Close-Ups
		Setting Lamps
			Key Light
			Balancing Set Lighting and Key Light
			Fill Light
			Back Light
		Drawing Attention to Different Parts of the Frame
			Practical Lamps
			Flags, Nets and Cookies
			Creating Slivers and Accents
		Color Temperature Tweaks
		Diffusing with Smoke – Fog
		Day Exteriors
		Day Interiors
		Night Interiors
		Night Exteriors
		Wet Downs
		Light Changes During a Shot
		Lighting Green-Screen
		Car Interiors
		Stairs and Halls
		Lighting with Very Little Time
		Working with the Lighting Department
			Shooting and Managing the Power Supply Without a Gaffer
			Working with a Gaffer
Section G: Color, Image Control and Creating the ‘Look’ of the Film: Combining and Using All Aspects of Cinematography Creatively
	14 Color, Image Control and the ‘Look’ of the Film
		Learning Outcomes
		Imagination and Visualization
		Controling the Look: From Outside to Inside
		What to Create During the Shoot and What to Leave to Post
		Color
			Color and Meaning
			The Color Wheel and Color Choices
			Colored Light, Color Temperature and Creative White Balance
		Using Charts and Communicating with the Colorist
		Black-and-White Cinematography
		Sharpening or Softening the Image
			Controling Image Sharpness
			Controling Image Softness
			Camera Diffusion Filters
			Lamp Diffusion Filters
			Smoke, Fog, Mist and Haze
			Flare
			Halation or Blooming
			Saturation and Glow
		Polarization
		Choice of Lenses
		Camera Choice
		Shooting on Film
		Image Control and Grading
Section H: Working in the Film and Television Industries
	15 Starting and Developing a Career in Cinematography
		Learning Outcomes
		The Personal Picture
		The Bigger Picture
			Getting a Foot in the Door
			CVs and Online Presence
			Mentors and Support
			Personality and General Approach
			Fitting in With the Camera Department
			Self-Assessment: The Learning Cycle
			Getting Established in the Industry
		Factors That Affect How Well You Fit In
			What Happens When You Are One of Them, Not One of Us
			Solutions
		Living Where the Industry Is Small
		Specialist Routes
		Becoming a Cinematographer
			The Director’s Perspective
			The Producer and Production Department’s Perspective
			Confidence, Charisma and Control
		Starting as a DP
		Moving Up from AC to DP
		Developing Your Career As a DP
Appendices
	Appendix 1 Camera Department Roles and Relationships Overview
	Appendix 2 Assessment Rubric
	Appendix 3 What’s the Problem?
	Appendix 4 Don’t Do That, Kevin
Index