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| Introduction | |
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| Filmspace | |
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| Cinematic technique | |
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| Subjective and objective POV | |
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| The building blocks of scenes | |
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| Character shots | |
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| The fine art of cheating | |
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| The master scene method | |
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| Transitions | |
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| Coverage | |
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| Plan scene | |
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| Hitchcock's rule | |
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| Triple take or overlapping method | |
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| Montage | |
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| Conclusion: a mixture of techniques | |
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| Visual language | |
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| Design principles | |
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| The three dimensional field | |
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| Depth | |
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| Forces of visual organization | |
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| Film and video composition | |
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| Basic composition rules for people | |
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| Lens language | |
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| The lens and the frame | |
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| Lens perspective | |
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| Deep focus | |
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| Compression of space | |
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| Manipulating perspective | |
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| Selective focus | |
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| Image control | |
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| Camera dynamics | |
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| Motivation and invisible technique | |
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| Types of moves | |
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| Moving shots | |
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| Camera mounting | |
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| Dolly terminology | |
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| Cranes | |
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| Car shots | |
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| Aerial shots | |
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| Other types of camera mounts | |
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| Steadicam | |
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| Motion control | |
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| Cinematic continuity | |
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| Types of continuity | |
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| Continuity of content | |
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| Continuity of movement | |
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| Continuity of position | |
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| Continuity of time | |
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| The line | |
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| What establishes the line? | |
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| Screen direction | |
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| Deliberately breaking the rules | |
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| Reverse | |
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| Cheating the turnaround | |
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| Cuttability | |
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| Other issues in continuity | |
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| Introductions | |
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| Other editorial issues in shooting | |
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| Jump cuts | |
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| The six types of cuts | |
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| Exposure | |
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| Light as energy | |
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| F/stop | |
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| Exposure, ISO and lighting relationships | |
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| Inverse square law and cosine law | |
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| ISO speeds | |
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| Light and film | |
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| Densitometry | |
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| Brightness perception | |
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| Contrast | |
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| Determining exposure | |
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| The tools | |
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| The Zone System | |
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| The grey scale | |
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| Place and fall | |
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| Exposure and the camera | |
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| Color theory | |
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| The nature of light | |
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| Color perception | |
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| The color wheel | |
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| Hue, chroma and value | |
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| Color mixing | |
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| Complementary | |
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| Advancing and retreating color | |
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| Film and video colorspace | |
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| Color harmonies & the interaction of color | |
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| Color models | |
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| Additive colors | |
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| Subtractive colors | |
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| The CIE color system | |
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| Digital and electronic color | |
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| The tools of lighting | |
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| HMI | |
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| Xenons | |
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| Carbon arcs | |
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| Tungsten fresnels | |
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| PARs | |
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| HMI PARs | |
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| Soft lights | |
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| Color corrected fluorescents | |
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| Cycs, strips, nooks and broads | |
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| Chinese lanterns and spacelights | |
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| Self contained crane rigs | |
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| Lekos | |
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| Balloon lights | |
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| Portable units | |
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| Day exteriors | |
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| Lighting as storytelling | |
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| Origins of motion picture lighting | |
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| Film noir | |
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| Light as visual metaphor | |
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| Controlling color | |
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| Color temperature | |
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| Color balance of film | |
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| Correcting light balance | |
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| Light balancing filters | |
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| Correcting off-color lights | |
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| Stylistic choices in color control | |
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| Optics | |
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| Physical basis of optics | |
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| F/stop | |
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| Focus | |
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| Circle of confusion | |
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| Depth-of-field | |
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| How not to get more depth-of-field | |
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| Hyperfocal distance | |
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| Macrophotography | |
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| Frazier lens and Revolution | |
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| Lens tests | |
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| Video and high def | |
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| Basics of video | |
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| The video signal | |
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| The waveform monitor and vectorscope | |
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| SMPTE color bars | |
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| The vectorscope | |
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| Setting up a color monitor | |
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| The PLUGE | |
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| Camera white balance | |
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| Analog and digital colorspace | |
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| Digital video encoding | |
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| Is it broadcast quality? | |
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| Timecode and edgecode | |
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| Video frame rate | |
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| Drop-frame and non drop-frame | |
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| Shooting High Def video | |
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| 10 things to remember when shooting High Def | |
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| Lighting for High Def video | |
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| Shooting digital video | |
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| Transferring video to film | |
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| NTSC and 3:2 pulldown | |
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| Prepping for telecine | |
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| Image control | |
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| Color printing | |
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| Controlling color and contrast | |
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| How flashing works | |
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| Varicon | |
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| Bleach bypass and other processes | |
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| Skip bleach | |
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| Exposure compensation in bleach-bypass | |
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| Other techniques | |
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| Cross processing | |
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| Printing negative as interpositive | |
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| Transfer from print | |
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| Filter types | |
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| Diffusion and effects filters | |
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| Nets | |
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| Contrast filters | |
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| Conversion filters | |
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| Using filters in black-and-white photography | |
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| Polarizers | |
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| Density filters | |
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| Set operations | |
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| The shot list | |
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| The Director of Photography | |
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| The team | |
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| Camera crew | |
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| Electricians | |
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| Grips | |
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| Set procedures | |
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| Technical issues | |
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| Sun location with a compass | |
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| Flicker | |
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| Filming practical monitors | |
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| Chroma key and Ultimatte | |
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| Lighting for bluescreen/greenscreen | |
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| Dimmers | |
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| Working with strobes | |
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| High speed photography | |
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| Lighting for extreme close-up | |
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| Underwater filming | |
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| Effects | |
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| Professional formats | |
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| Acknowledgments | |
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| Bibliography | |
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| Filmography | |
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| Index | |