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| Preface | |
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| Introduction to Digital and Film Systems | |
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| Digital Videos Systems | |
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| The Video Format | |
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| What Is Compression? | |
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| Comparing Videos Formats | |
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| High Definition Digital Formats | |
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| Digital Cinematography Systems | |
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| Standard Definition Digital Formats | |
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| Standard Definition Analog Formats | |
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| Recording to Memory Cards, Drives, and Discs | |
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| Sound Recording for Video | |
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| Video Editing | |
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| Film Systems | |
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| Comparing Film Formats | |
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| Sounds Recording for Film | |
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| Film Editing | |
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| Shooting Digital Versus Shooting Film | |
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| Before You Begin Production | |
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| Getting Your Movie Off the Ground | |
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| Formats for the Big Screen and the Small(er) Screen | |
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| The "Look" of the Movie | |
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| The Impact of Sensor Size and Film Gauge | |
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| Color and Sensitivity to Light | |
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| Sharpness and Focus | |
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| Aspect Ratio Choices | |
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| Frame Rate and Scanning Choices | |
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| Choosing a Camera | |
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| Planning Your Workflow | |
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| Managing Data in Production and Post | |
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| The Importance of Sound | |
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| Coping with Technology | |
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| The Video Camcorder | |
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| Initial Settings | |
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| Viewfinder and Monitor Setup | |
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| Picture Controls | |
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| Recording to Cards, Drives, and Optical Discs | |
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| Types of Media | |
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| Managing Data on the Shoot | |
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| Recording to Digital Tape | |
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| Operating the Camcorder | |
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| Batteries and Power Supplies | |
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| Camera Sensitivity | |
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| Other Camera Features | |
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| The Lens | |
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| Focal Length and Perspective | |
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| The Light-Gathering Power of the Lens | |
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| Focusing the Image | |
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| Choosing a Zoom Lens | |
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| Prime Lenses | |
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| Close Focusing | |
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| Lens Quality and Condition | |
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| The Lens Mount | |
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| Lens Seating Problems | |
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| Care of the Lens | |
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| The Video Image | |
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| Forming the Videos Image | |
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| The Digital Video Camera's Response to Light | |
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| Understanding and Controlling Contrast | |
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| What is Gamma? | |
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| Gamma Options When Shooting | |
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| Video Color Systems | |
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| Some Image Manipulations and Artifacts | |
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| Video Monitors and Projectors | |
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| Timecode | |
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| Digital Video Recording-How It Works | |
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| Pixels and Resolution | |
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| Working with Digital Data | |
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| Digital Connections | |
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| Hard Drive Storage | |
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| RAIDs | |
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| File Formats and Data Exchange | |
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| Digital Compression | |
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| Compression Methods | |
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| A Few Common Codecs | |
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| The Film Camera | |
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| The Film Gate and Shutter | |
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| Camera Speed and Motors | |
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| Viewing Systems | |
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| The Reflex Viewfinder | |
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| Camera Film Capacity | |
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| Other Camera Features | |
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| Camera Tests and Maintenance | |
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| The Film Image | |
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| Properties of the Film Stock | |
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| Contrast of the Image | |
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| Sharpness | |
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| Choosing a Raw Stock | |
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| Packaging, Handling, and Purchasing | |
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| The Light Meter and Exposure Control | |
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| Light Meters | |
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| Taking Readings | |
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| Exposure and Film Stocks | |
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| The Film Lab During Production | |
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| Screening the Rushes | |
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| Color and Filters | |
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| Color | |
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| Color Temperature | |
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| Filters | |
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| Matte Boxes and Lens Shades | |
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| Shooting the Movie | |
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| The Goals of Production | |
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| Composition and Shot Selection | |
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| The Moving Camera | |
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| Style and Direction | |
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| Dramatic Films | |
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| Documentaries | |
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| Preparing for Production | |
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| Preparing the Script and Approach | |
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| Scheduling and Planning | |
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| Organizing the Production | |
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| The Equipment Package | |
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| In Production | |
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| Logging | |
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| Supporting the Camera | |
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| Slow Motion, Fast Motion, and Judder | |
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| Slow Motion | |
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| Fast Motion | |
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| Judder or Storbing | |
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| Shooting TVs and Video Monitors | |
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| Shooting in 3D | |
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| Sound Recording Systems | |
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| Sound | |
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| How Audio Is Recorded | |
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| Analog Audio Recording | |
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| Digital Audio Recording | |
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| Types of Audio Recorders | |
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| Digital Audio Recorders | |
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| Audio in the Video Camera | |
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| The Analog Tape Recorder | |
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| The Microphone | |
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| Audio Connections | |
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| Sound Recording Techniques | |
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| Preparing for a Shoot | |
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| Gathering Gear | |
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| The Sound Recordist's Role | |
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| Recording Technique | |
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| Setting the Recording Level | |
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| Music, Narration, and Effects | |
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| Other Recording Issues | |
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| Recording Double System for Video and Film | |
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| Syncing Audio and Picture | |
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| Operating a Double-System Recorder | |
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| Lighting | |
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| Light | |
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| Lighting Equipment | |
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| Bulbs | |
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| Types of Lighting Instruments | |
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| Lighting Technique | |
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| Lighting Styles | |
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| Positioning Lights | |
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| Controlling Lighting Contrast | |
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| Lighting and Color | |
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| Special Lighting Effects | |
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| Location Lighting | |
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| Picture and Dialogue Editing | |
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| Some Film Theory | |
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| Approaches to Editing | |
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| Dialogue Editing | |
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| The Editing Process | |
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| Titles | |
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| Editing Digital Videos | |
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| Components of a Nonlinear Editing System | |
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| How the NLE Plays and Edits Media | |
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| Postproduction Workflow | |
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| What Format or Resolution to Edit In? | |
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| Importing and Organizing Your Material | |
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| Importing Files | |
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| Capturing from Tape | |
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| Creating and Editing Sequences | |
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| Basic Sound Editing | |
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| Working with Double-Systems Sound | |
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| Basic Video Effects | |
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| Titles, Graphics, and Stills | |
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| Mixing and Converting Formats | |
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| Working with 24p and Pulldown | |
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| Editing 24p Footage | |
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| Finishing and Output | |
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| Managing Media | |
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| Exporting a File | |
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| Output to Tape | |
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| Creating a DVD or Blu-ray | |
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| Creating a Digital Cinema Package | |
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| Color Correction | |
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| Tape Editing | |
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| The EDL and Online Editing | |
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| Sound Editing and Mixing | |
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| The Sound Editing Process | |
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| Sound Editing Tools | |
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| Sound Editing Technique | |
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| Music | |
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| Some Sound Editing Issues | |
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| Preparing for the Mix | |
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| The Sound Mix | |
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| Level and Dynamic Range | |
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| Frequency Range and EQ | |
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| Other Sound Processing | |
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| Mix Formats | |
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| Deliverables | |
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| Working with Film in Postproduction | |
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| Overview of Film-Video Transfers | |
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| Some Film-Digital Workflows | |
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| Film-to-Digital Transfer Devices | |
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| Telecine Options and Controls | |
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| Recording Format and Scanning Options | |
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| Image Control | |
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| Audio Options | |
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| Film Transfer Data | |
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| Booking a Transfer | |
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| Editing Film Digitally | |
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| Preparing to Edit | |
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| Editing Considerations for Traditional Film Finish | |
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| When You're Done with the Offline Edit | |
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| From Digital to Film | |
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| Preparing for the Digital-to-Film Transfer | |
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| Traditional Film Conforming and Blowups | |
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| Preparing the Original for Printing | |
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| Blowups | |
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| Making Film Prints | |
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| Printing Basics | |
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| Answer Prints | |
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| Intermediates | |
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| Release Prints | |
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| Sound for Film Prints | |
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| Analog Optical Tracks | |
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| Digital Sound Tracks | |
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| Film Projection | |
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| Producting and Distributing the Move | |
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| Developing the Project | |
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| Funding Sources | |
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| Budgets | |
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| Business Arrangements | |
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| Legal and Copyright Issues | |
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| Protecting Your Work | |
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| Releases for Real People, Places, and Things | |
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| Using Copyrighted Material | |
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| Distribution and Marketing | |
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| A Last Word | |
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| Appendices | |
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| Adjusting a Video Monitor | |
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| Data Rates and Storage Needs for Various Digital Formats | |
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| Depth of Field Tables | |
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| Hyperfocal Distance Table | |
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| Angle of View in Different Formats | |
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| Bibliography | |
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| Websites | |
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| Index | |