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Film Production Technique Creating the Accomplished Image

ISBN-10: 0534562051

ISBN-13: 9780534562052

Edition: 2nd 2000

Authors: Bruce Mamer

List price: $93.95
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Description:

This text covers lighting, cameras, editing, crew organisation, and the production process.It helps students understand difficult material and visualise the equipment and methods currently used in the film industry.
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Book details

List price: $93.95
Edition: 2nd
Copyright year: 2000
Publisher: Wadsworth
Publication date: 7/28/1999
Binding: Paperback
Pages: 400
Size: 8.27" wide x 10.63" long
Weight: 2.002
Language: English

Prefacep. xiii
Blocking for the Camerap. 1
Creating the Shotsp. 3
The Language of the Camerap. 3
The Shotsp. 4
Proxemicsp. 4
Long Shotp. 5
Medium Shotp. 6
Close-upp. 6
Anglesp. 7
Low-Angle Shotp. 7
High-Angle Shotp. 8
Eye-Level Shotp. 9
Bird's-Eye Viewp. 9
Oblique Shot (Dutch Angle)p. 9
Point-of-View Shotp. 10
Movementp. 11
Pans and Tiltsp. 11
Wheeled Camera Supportsp. 12
Dolliesp. 12
Cranesp. 14
Armsp. 16
Handheld Camerap. 16
Special Rigsp. 18
Focus Effectsp. 19
Deep Focusp. 19
Shallow Focusp. 20
Shifting Focusp. 21
Lens Perspective and Characteristicsp. 22
Wide-Anglep. 22
Normalp. 23
Telephotop. 24
Zoomp. 24
Constructing the Scenep. 27
The Directorp. 27
The Menup. 28
Basic Scene Structurep. 29
Dramatic Emphasisp. 29
Master Scene Techniquep. 31
Shot/Reverse Shotp. 31
Continuityp. 32
Continuity Shootingp. 33
Types of Continuityp. 34
The Linep. 37
Sightlinesp. 37
Actionp. 40
Conceptual Errorsp. 42
Screen Directionp. 43
Previsualizationp. 45
Preparationp. 45
Methods of Previsualizationp. 46
Overheadsp. 46
Storyboardsp. 48
Shooting Scripts and Shot Listsp. 48
A Typical Scenep. 49
Coveragep. 50
A Caveatp. 51
Production Design and Costumep. 52
Organization on the Setp. 54
The Production Boardp. 54
Storyboards and Organizationp. 55
The Lined Scriptp. 56
Production Formsp. 57
Crew Organizationp. 59
The Sequence of Eventsp. 59
The Production Crewp. 62
Team Spiritp. 63
Crew Responsibilitiesp. 64
The Producer's Teamp. 65
Production Managerp. 65
Craft Servicesp. 66
The Director's Teamp. 66
Assistant Directorp. 67
Talentp. 67
Production Assistantsp. 69
The Camera Crewp. 69
The Director/DP Relationshipp. 69
Grip/Electricp. 70
The Art Departmentp. 70
A Typical Scenep. 71
The Linep. 82
Organizational Considerationsp. 82
The Camerap. 85
The Camera Bodyp. 87
Movement and Perceptionp. 87
The Basic Mechanismp. 88
Frames per Secondp. 93
Motorsp. 94
Formatsp. 95
35mmp. 96
16mmp. 97
Camera Loadsp. 97
Daylight Spoolsp. 98
Core Loadsp. 99
Camerasp. 99
Basic Threading Proceduresp. 102
Magazinesp. 104
Front-to-Backp. 105
Coaxialp. 106
Viewing Systemsp. 106
Rangefindersp. 106
Reflex Viewingp. 107
Viewing Screensp. 108
Dioptersp. 109
Camera Optionsp. 110
Variable Frame Ratesp. 110
Single Framingp. 112
Camera Featuresp. 112
Cleaning and Carep. 113
Cleaning Kitp. 114
Cleaning Methodp. 114
Batteriesp. 117
Tripodsp. 118
Legsp. 118
Headsp. 119
Attaching the Camerap. 120
Leveling the Headp. 121
Camera Safety Checklistp. 122
The Lensp. 123
Focusp. 124
f-stopp. 126
Focal Lengthp. 128
Depth of Fieldp. 130
Determining Depth of Fieldp. 131
Depth of Field and Setting Focusp. 133
Notes on Depth and Movementp. 136
Prime Versus Zoomp. 136
Lens Mountsp. 137
Front-Filters and Matte Boxesp. 138
Care and Maintenancep. 139
Film Stocks, Processing, and Video Transferp. 141
Construction of the Film Stockp. 141
Negative and Reversalp. 142
Exposure Indexp. 143
Color Balancep. 143
Raw Stocksp. 146
Color Stocksp. 146
Black-and-White Stocksp. 147
Processingp. 148
Printingp. 149
Edge Numbersp. 151
Viewing Dailiesp. 152
Film-to-Video Transfer/Digital Editingp. 153
The Big Questionsp. 153
Basic Definitionsp. 154
The Video Imagep. 154
Analog and Digitalp. 156
Time Codep. 157
Broadcast Qualityp. 157
Off-Line and On-Linep. 157
The Telecinep. 158
Three: Two Pull-Downp. 158
A/B/C/D Framesp. 159
Pull-Up/Pull-Downp. 160
Digitizing Videop. 161
Resolution and Storagep. 161
Shootingp. 163
Compositionp. 165
The Director of Photographyp. 165
The Framep. 166
Balance and the Frame, and the Rule of Thirdsp. 166
General Design Characteristicsp. 168
Composition and Contentp. 169
Composition and Stressp. 170
Stress and Photographic Factorsp. 171
Lining Up the Shotsp. 173
Headroom and Eyeroomp. 173
Cleaning the Imagep. 174
Cheatingp. 175
Movement and Anticipatory Camerap. 175
Movement and Compositional Balancep. 178
Subject Movement Toward or Away from the Camerap. 178
Camera Movement Toward or Away from a Subjectp. 179
Movement to Create Spacep. 180
Character Movement to Balance Compositionp. 180
Movement and Meaningp. 181
Practical Considerationsp. 181
Composition and Compromisep. 181
Camera and Performancep. 182
Informal Camera Stylesp. 183
Notes and Suggestionsp. 184
Procedures and Equipmentp. 185
The Takep. 185
The Slatep. 186
Executing the Shotsp. 186
Sync and MOSp. 187
Camera Reportsp. 188
The Camera Assistantp. 189
Camera Preparationp. 189
Magazines and Loadingp. 189
Racking Focusp. 191
Racking Focus and Depth of Fieldp. 192
A Note on Movement and Efficiencyp. 193
Lens Flaresp. 194
Scratch Testsp. 194
Lab Instructionsp. 194
Equipmentp. 195
Equipment Checklistp. 195
Soundp. 197
Toward a Final Sound Trackp. 197
Applicationsp. 198
Single- and Double-System Soundp. 199
Synchronizationp. 201
The Character of Soundp. 202
Sync Recordersp. 204
Nagrap. 204
DATp. 205
Microphonesp. 206
Audio Connectors and Microphone Cordsp. 208
Recorder Features and Accessoriesp. 211
Recording Strategiesp. 217
The Production Sound Crewp. 217
Riding Gainp. 219
Recording a Scenep. 220
Complicating Factorsp. 220
Sync Recordingp. 224
Automated Dialogue Replacementp. 227
Sound Effectsp. 228
Recording Effects on Locationp. 229
Foleyp. 229
Sound Transfersp. 230
Cleaning and Repairp. 231
Lighting and Exposurep. 233
Concepts and Equipmentp. 235
The Importance of Lightingp. 235
Basic Three-Point Lightingp. 236
Key Lightp. 236
Fill Lightp. 236
Backlightp. 237
High-key and Low-keyp. 238
High-keyp. 238
Low-keyp. 239
Some Notes on Lighting Stylesp. 240
Types of Lighting Instrumentsp. 241
Focusable Spotsp. 242
Open-Faced Focusable Spotsp. 242
Lensed Focusable Spotsp. 244
Floodlightsp. 245
Scoopsp. 245
Broadsp. 245
Softlightsp. 246
Applications: Key and Fillp. 246
Other Types of Sourcesp. 247
Ellipsoidal Spots (Lekos)p. 247
Practicalsp. 247
Reflectorsp. 248
Light Metersp. 249
Shutter Speedp. 250
The Computerp. 251
Manipulation of Lightsp. 252
Problemp. 253
Solutionsp. 253
Exposure and Latitudep. 257
Exposure Index, Foot-candles, and f-stopsp. 257
Using the Light Meterp. 258
Halving and Doublingp. 261
The Central Confusionp. 262
Evaluating Existing Lightp. 263
Latitudep. 267
Reflectant Qualityp. 275
t-stopsp. 276
Planning the Lightingp. 277
Thinking Out the Processp. 277
Lighting: A Basic Strategyp. 277
f-stop Choicep. 278
Lighting Applicationsp. 279
Guidelinesp. 279
Testsp. 280
Problems and Solutionsp. 283
Shooting an Existing Situationp. 283
Averagingp. 286
Working with Artificial Lightp. 286
The Setup: Decision Makingp. 288
The Setup: Fine-tuningp. 291
Direction and Shadowp. 295
Natural Lightp. 296
Night Shootingp. 297
Executing the Lightingp. 299
A Checklistp. 299
Lighting Continuityp. 299
f-stops and Consistencyp. 302
Controlling Focusp. 305
Matching Color Sourcesp. 306
Electricityp. 309
Printing, Processing, and Exposure Manipulationsp. 312
Reference Chartsp. 312
Force Processing and Flashingp. 314
Slow Motion and Fast Motionp. 315
Filming Various Skin Tonesp. 317
Safetyp. 319
Planning and Preparationp. 322
Transferring to Videop. 324
Video and Latitudep. 324
Video and the Characteristic Curvep. 324
Video Image Manipulationp. 325
Other Video Issuesp. 325
f-stop Choice and the Checklist Revisitedp. 326
A Typical Scenep. 327
Editingp. 329
Principles, Procedures, and Equipmentp. 331
Film Editing and Digital Nonlinear Editingp. 331
The Purposes of Editingp. 331
General Editing Principlesp. 332
Parallel Editingp. 333
Transitional Devicesp. 333
Economy and Pacep. 334
Structuring the Editingp. 335
The Basic Rulep. 336
Cutting on Actionp. 336
The 30-Degree Rulep. 337
Emphasisp. 338
Visual Interestp. 338
Varietyp. 339
Continuity Problemsp. 339
Basic Termsp. 340
The Shape of Film Editingp. 341
Proceduresp. 346
The Editorial Staffp. 346
Organizationp. 346
Film Equipment and Suppliesp. 348
Projectorsp. 348
Viewersp. 349
The Benchp. 350
Splicersp. 351
Suppliesp. 352
Footage Counters and Frame Rulersp. 353
The Shape of Digital Nonlinear Editingp. 354
Finishingp. 355
NTSCp. 355
Temporal Accuracy Versus Frame Accuracyp. 356
Twenty-four-Frame Digital Videop. 357
Cutting Picture and Soundp. 359
The Film Editp. 359
The Control Panelp. 360
Practical Cutting Considerationsp. 361
The DNLE System Editp. 361
The Timelinep. 361
The Binp. 362
The Preview Windowp. 363
Film: Preparing to Edit Sync Soundp. 364
Syncing Upp. 364
Coding/Edge Numberingp. 368
First Assemblyp. 369
DNLE: Preparing to Edit Sync Soundp. 372
Syncing Upp. 372
First Assemblyp. 373
Dialogue Cuttingp. 373
Straight Cuts: Film and DNLEp. 373
Overlapping Cuts: Film and DNLEp. 376
Cutting Nonsync Sound and Picturep. 378
Film: Cutting Sound Effectsp. 379
Film: Cutting to Musicp. 381
Film: Cutting Voice-oversp. 383
DNLE: Cutting Sound Effects, Music, and Voice-oversp. 384
MOS Inserts: Film and DNLEp. 384
A and B Rolling Sync Soundp. 386
A Typical Scenep. 388
Finishing the Filmp. 393
Titlingp. 394
Film: Preparing Leadersp. 394
Final Sound Mixingp. 394
Film: Mixtrack Configurationsp. 395
The "Conventional" Film Mixp. 396
The DNLE Mixp. 398
Preparation for the Negative Cutterp. 398
Film: Marking the Workprintp. 399
DNLE: Creating an EDLp. 401
Negative Cuttingp. 401
The Clean Roomp. 402
Cement Splicingp. 402
A and B Rolling Picturep. 403
Cutting the Originalp. 407
Notes and Cautionsp. 407
The Final Printp. 411
Reversal Versus Negativep. 412
The Printing Programp. 412
The First Answer Printp. 414
Glossaryp. 416
Indexp. 425
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