Preface | p. xiii |
Blocking for the Camera | p. 1 |
Creating the Shots | p. 3 |
The Language of the Camera | p. 3 |
The Shots | p. 4 |
Proxemics | p. 4 |
Long Shot | p. 5 |
Medium Shot | p. 6 |
Close-up | p. 6 |
Angles | p. 7 |
Low-Angle Shot | p. 7 |
High-Angle Shot | p. 8 |
Eye-Level Shot | p. 9 |
Bird's-Eye View | p. 9 |
Oblique Shot (Dutch Angle) | p. 9 |
Point-of-View Shot | p. 10 |
Movement | p. 11 |
Pans and Tilts | p. 11 |
Wheeled Camera Supports | p. 12 |
Dollies | p. 12 |
Cranes | p. 14 |
Arms | p. 16 |
Handheld Camera | p. 16 |
Special Rigs | p. 18 |
Focus Effects | p. 19 |
Deep Focus | p. 19 |
Shallow Focus | p. 20 |
Shifting Focus | p. 21 |
Lens Perspective and Characteristics | p. 22 |
Wide-Angle | p. 22 |
Normal | p. 23 |
Telephoto | p. 24 |
Zoom | p. 24 |
Constructing the Scene | p. 27 |
The Director | p. 27 |
The Menu | p. 28 |
Basic Scene Structure | p. 29 |
Dramatic Emphasis | p. 29 |
Master Scene Technique | p. 31 |
Shot/Reverse Shot | p. 31 |
Continuity | p. 32 |
Continuity Shooting | p. 33 |
Types of Continuity | p. 34 |
The Line | p. 37 |
Sightlines | p. 37 |
Action | p. 40 |
Conceptual Errors | p. 42 |
Screen Direction | p. 43 |
Previsualization | p. 45 |
Preparation | p. 45 |
Methods of Previsualization | p. 46 |
Overheads | p. 46 |
Storyboards | p. 48 |
Shooting Scripts and Shot Lists | p. 48 |
A Typical Scene | p. 49 |
Coverage | p. 50 |
A Caveat | p. 51 |
Production Design and Costume | p. 52 |
Organization on the Set | p. 54 |
The Production Board | p. 54 |
Storyboards and Organization | p. 55 |
The Lined Script | p. 56 |
Production Forms | p. 57 |
Crew Organization | p. 59 |
The Sequence of Events | p. 59 |
The Production Crew | p. 62 |
Team Spirit | p. 63 |
Crew Responsibilities | p. 64 |
The Producer's Team | p. 65 |
Production Manager | p. 65 |
Craft Services | p. 66 |
The Director's Team | p. 66 |
Assistant Director | p. 67 |
Talent | p. 67 |
Production Assistants | p. 69 |
The Camera Crew | p. 69 |
The Director/DP Relationship | p. 69 |
Grip/Electric | p. 70 |
The Art Department | p. 70 |
A Typical Scene | p. 71 |
The Line | p. 82 |
Organizational Considerations | p. 82 |
The Camera | p. 85 |
The Camera Body | p. 87 |
Movement and Perception | p. 87 |
The Basic Mechanism | p. 88 |
Frames per Second | p. 93 |
Motors | p. 94 |
Formats | p. 95 |
35mm | p. 96 |
16mm | p. 97 |
Camera Loads | p. 97 |
Daylight Spools | p. 98 |
Core Loads | p. 99 |
Cameras | p. 99 |
Basic Threading Procedures | p. 102 |
Magazines | p. 104 |
Front-to-Back | p. 105 |
Coaxial | p. 106 |
Viewing Systems | p. 106 |
Rangefinders | p. 106 |
Reflex Viewing | p. 107 |
Viewing Screens | p. 108 |
Diopters | p. 109 |
Camera Options | p. 110 |
Variable Frame Rates | p. 110 |
Single Framing | p. 112 |
Camera Features | p. 112 |
Cleaning and Care | p. 113 |
Cleaning Kit | p. 114 |
Cleaning Method | p. 114 |
Batteries | p. 117 |
Tripods | p. 118 |
Legs | p. 118 |
Heads | p. 119 |
Attaching the Camera | p. 120 |
Leveling the Head | p. 121 |
Camera Safety Checklist | p. 122 |
The Lens | p. 123 |
Focus | p. 124 |
f-stop | p. 126 |
Focal Length | p. 128 |
Depth of Field | p. 130 |
Determining Depth of Field | p. 131 |
Depth of Field and Setting Focus | p. 133 |
Notes on Depth and Movement | p. 136 |
Prime Versus Zoom | p. 136 |
Lens Mounts | p. 137 |
Front-Filters and Matte Boxes | p. 138 |
Care and Maintenance | p. 139 |
Film Stocks, Processing, and Video Transfer | p. 141 |
Construction of the Film Stock | p. 141 |
Negative and Reversal | p. 142 |
Exposure Index | p. 143 |
Color Balance | p. 143 |
Raw Stocks | p. 146 |
Color Stocks | p. 146 |
Black-and-White Stocks | p. 147 |
Processing | p. 148 |
Printing | p. 149 |
Edge Numbers | p. 151 |
Viewing Dailies | p. 152 |
Film-to-Video Transfer/Digital Editing | p. 153 |
The Big Questions | p. 153 |
Basic Definitions | p. 154 |
The Video Image | p. 154 |
Analog and Digital | p. 156 |
Time Code | p. 157 |
Broadcast Quality | p. 157 |
Off-Line and On-Line | p. 157 |
The Telecine | p. 158 |
Three: Two Pull-Down | p. 158 |
A/B/C/D Frames | p. 159 |
Pull-Up/Pull-Down | p. 160 |
Digitizing Video | p. 161 |
Resolution and Storage | p. 161 |
Shooting | p. 163 |
Composition | p. 165 |
The Director of Photography | p. 165 |
The Frame | p. 166 |
Balance and the Frame, and the Rule of Thirds | p. 166 |
General Design Characteristics | p. 168 |
Composition and Content | p. 169 |
Composition and Stress | p. 170 |
Stress and Photographic Factors | p. 171 |
Lining Up the Shots | p. 173 |
Headroom and Eyeroom | p. 173 |
Cleaning the Image | p. 174 |
Cheating | p. 175 |
Movement and Anticipatory Camera | p. 175 |
Movement and Compositional Balance | p. 178 |
Subject Movement Toward or Away from the Camera | p. 178 |
Camera Movement Toward or Away from a Subject | p. 179 |
Movement to Create Space | p. 180 |
Character Movement to Balance Composition | p. 180 |
Movement and Meaning | p. 181 |
Practical Considerations | p. 181 |
Composition and Compromise | p. 181 |
Camera and Performance | p. 182 |
Informal Camera Styles | p. 183 |
Notes and Suggestions | p. 184 |
Procedures and Equipment | p. 185 |
The Take | p. 185 |
The Slate | p. 186 |
Executing the Shots | p. 186 |
Sync and MOS | p. 187 |
Camera Reports | p. 188 |
The Camera Assistant | p. 189 |
Camera Preparation | p. 189 |
Magazines and Loading | p. 189 |
Racking Focus | p. 191 |
Racking Focus and Depth of Field | p. 192 |
A Note on Movement and Efficiency | p. 193 |
Lens Flares | p. 194 |
Scratch Tests | p. 194 |
Lab Instructions | p. 194 |
Equipment | p. 195 |
Equipment Checklist | p. 195 |
Sound | p. 197 |
Toward a Final Sound Track | p. 197 |
Applications | p. 198 |
Single- and Double-System Sound | p. 199 |
Synchronization | p. 201 |
The Character of Sound | p. 202 |
Sync Recorders | p. 204 |
Nagra | p. 204 |
DAT | p. 205 |
Microphones | p. 206 |
Audio Connectors and Microphone Cords | p. 208 |
Recorder Features and Accessories | p. 211 |
Recording Strategies | p. 217 |
The Production Sound Crew | p. 217 |
Riding Gain | p. 219 |
Recording a Scene | p. 220 |
Complicating Factors | p. 220 |
Sync Recording | p. 224 |
Automated Dialogue Replacement | p. 227 |
Sound Effects | p. 228 |
Recording Effects on Location | p. 229 |
Foley | p. 229 |
Sound Transfers | p. 230 |
Cleaning and Repair | p. 231 |
Lighting and Exposure | p. 233 |
Concepts and Equipment | p. 235 |
The Importance of Lighting | p. 235 |
Basic Three-Point Lighting | p. 236 |
Key Light | p. 236 |
Fill Light | p. 236 |
Backlight | p. 237 |
High-key and Low-key | p. 238 |
High-key | p. 238 |
Low-key | p. 239 |
Some Notes on Lighting Styles | p. 240 |
Types of Lighting Instruments | p. 241 |
Focusable Spots | p. 242 |
Open-Faced Focusable Spots | p. 242 |
Lensed Focusable Spots | p. 244 |
Floodlights | p. 245 |
Scoops | p. 245 |
Broads | p. 245 |
Softlights | p. 246 |
Applications: Key and Fill | p. 246 |
Other Types of Sources | p. 247 |
Ellipsoidal Spots (Lekos) | p. 247 |
Practicals | p. 247 |
Reflectors | p. 248 |
Light Meters | p. 249 |
Shutter Speed | p. 250 |
The Computer | p. 251 |
Manipulation of Lights | p. 252 |
Problem | p. 253 |
Solutions | p. 253 |
Exposure and Latitude | p. 257 |
Exposure Index, Foot-candles, and f-stops | p. 257 |
Using the Light Meter | p. 258 |
Halving and Doubling | p. 261 |
The Central Confusion | p. 262 |
Evaluating Existing Light | p. 263 |
Latitude | p. 267 |
Reflectant Quality | p. 275 |
t-stops | p. 276 |
Planning the Lighting | p. 277 |
Thinking Out the Process | p. 277 |
Lighting: A Basic Strategy | p. 277 |
f-stop Choice | p. 278 |
Lighting Applications | p. 279 |
Guidelines | p. 279 |
Tests | p. 280 |
Problems and Solutions | p. 283 |
Shooting an Existing Situation | p. 283 |
Averaging | p. 286 |
Working with Artificial Light | p. 286 |
The Setup: Decision Making | p. 288 |
The Setup: Fine-tuning | p. 291 |
Direction and Shadow | p. 295 |
Natural Light | p. 296 |
Night Shooting | p. 297 |
Executing the Lighting | p. 299 |
A Checklist | p. 299 |
Lighting Continuity | p. 299 |
f-stops and Consistency | p. 302 |
Controlling Focus | p. 305 |
Matching Color Sources | p. 306 |
Electricity | p. 309 |
Printing, Processing, and Exposure Manipulations | p. 312 |
Reference Charts | p. 312 |
Force Processing and Flashing | p. 314 |
Slow Motion and Fast Motion | p. 315 |
Filming Various Skin Tones | p. 317 |
Safety | p. 319 |
Planning and Preparation | p. 322 |
Transferring to Video | p. 324 |
Video and Latitude | p. 324 |
Video and the Characteristic Curve | p. 324 |
Video Image Manipulation | p. 325 |
Other Video Issues | p. 325 |
f-stop Choice and the Checklist Revisited | p. 326 |
A Typical Scene | p. 327 |
Editing | p. 329 |
Principles, Procedures, and Equipment | p. 331 |
Film Editing and Digital Nonlinear Editing | p. 331 |
The Purposes of Editing | p. 331 |
General Editing Principles | p. 332 |
Parallel Editing | p. 333 |
Transitional Devices | p. 333 |
Economy and Pace | p. 334 |
Structuring the Editing | p. 335 |
The Basic Rule | p. 336 |
Cutting on Action | p. 336 |
The 30-Degree Rule | p. 337 |
Emphasis | p. 338 |
Visual Interest | p. 338 |
Variety | p. 339 |
Continuity Problems | p. 339 |
Basic Terms | p. 340 |
The Shape of Film Editing | p. 341 |
Procedures | p. 346 |
The Editorial Staff | p. 346 |
Organization | p. 346 |
Film Equipment and Supplies | p. 348 |
Projectors | p. 348 |
Viewers | p. 349 |
The Bench | p. 350 |
Splicers | p. 351 |
Supplies | p. 352 |
Footage Counters and Frame Rulers | p. 353 |
The Shape of Digital Nonlinear Editing | p. 354 |
Finishing | p. 355 |
NTSC | p. 355 |
Temporal Accuracy Versus Frame Accuracy | p. 356 |
Twenty-four-Frame Digital Video | p. 357 |
Cutting Picture and Sound | p. 359 |
The Film Edit | p. 359 |
The Control Panel | p. 360 |
Practical Cutting Considerations | p. 361 |
The DNLE System Edit | p. 361 |
The Timeline | p. 361 |
The Bin | p. 362 |
The Preview Window | p. 363 |
Film: Preparing to Edit Sync Sound | p. 364 |
Syncing Up | p. 364 |
Coding/Edge Numbering | p. 368 |
First Assembly | p. 369 |
DNLE: Preparing to Edit Sync Sound | p. 372 |
Syncing Up | p. 372 |
First Assembly | p. 373 |
Dialogue Cutting | p. 373 |
Straight Cuts: Film and DNLE | p. 373 |
Overlapping Cuts: Film and DNLE | p. 376 |
Cutting Nonsync Sound and Picture | p. 378 |
Film: Cutting Sound Effects | p. 379 |
Film: Cutting to Music | p. 381 |
Film: Cutting Voice-overs | p. 383 |
DNLE: Cutting Sound Effects, Music, and Voice-overs | p. 384 |
MOS Inserts: Film and DNLE | p. 384 |
A and B Rolling Sync Sound | p. 386 |
A Typical Scene | p. 388 |
Finishing the Film | p. 393 |
Titling | p. 394 |
Film: Preparing Leaders | p. 394 |
Final Sound Mixing | p. 394 |
Film: Mixtrack Configurations | p. 395 |
The "Conventional" Film Mix | p. 396 |
The DNLE Mix | p. 398 |
Preparation for the Negative Cutter | p. 398 |
Film: Marking the Workprint | p. 399 |
DNLE: Creating an EDL | p. 401 |
Negative Cutting | p. 401 |
The Clean Room | p. 402 |
Cement Splicing | p. 402 |
A and B Rolling Picture | p. 403 |
Cutting the Original | p. 407 |
Notes and Cautions | p. 407 |
The Final Print | p. 411 |
Reversal Versus Negative | p. 412 |
The Printing Program | p. 412 |
The First Answer Print | p. 414 |
Glossary | p. 416 |
Index | p. 425 |
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