Digital Moviemaking (With Infotrac)

Name: Digital Moviemaking (With Infotrac)
Price: 11.33 USD
Availability: InStock
ISBN: 9780534562915

ISBN-10: 0534562914

ISBN-13: 9780534562915

Edition: 5th 2004 (Revised)

Authors: Lynne S. Gross, Larry W. Ward

List price: $117.95

30 day, 100% satisfaction guarantee!

Marketplace

2 new & used from $11.33

what's this?

Rush Rewards U
Members Receive:

You have reached 400 XP and carrot coins. That is the daily max!

This widely praised text covers planning, shooting, editing, and distributing movies. The authors ensure that students understand why the planning process is essential. Gross and Ward over cameras, lights, and sound equipment with some chapters detailing operational skills and others dealing with aesthetics. The text features a chapter devoted to directing, and it covers the mechanics and aesthetics of editing and incorporating visual effects. Students are not only introduced to the concepts and mechanics of filmmaking but are also given ideas of what to do with their movies once they are completed.

Book details

List price: $117.95
Edition: 5th
Copyright year: 2004
Publisher: Wadsworth
Publication date: 7/9/2003
Binding: Paperback
Pages: 288
Size: 8.75" wide x 11.00" long x 0.45" tall
Weight: 1.386
Language: English

Lynne Schafer Gross is presently a Professor in the Department of Radio-TV-Film at California State University, Fullerton. She has written ten other textbooks and hundreds of magazine articles. In 1999 she was the recipient of the Frank Stanton Award for Distinguished Contribution to Electronic Media Education and in 1997 she received the Distinguished Education Service Award from the Broadcast Education Association. She is a past governor of the Academy of Television Arts and Sciences and has also chaired that organization’s Library Committee and Student Activities Committee. As Past President of the Broadcast Education Association she increased membership 24% and funding 59%.…

Larry Ward is a professor of radio-TV-film at California State University, Fullerton, where he teaches primarily film and television production and film history and aesthetics. While at the university, he has produced hundreds of hours of sports and public affairs programming broadcast and cablecast in the Los Angelesï¿½Orange County area. He was producer director for "The Science Report", a series of 20-minute educational tapes for sixth-grade students, funded by Union Oil and the Placentia School District. Before that he was director-editor for "The Moving Picture Boys in the Great War", a one-hour documentary film for Postï¿½Newsweek Television Productions, and "Lowell Thomas Remembers I…

Overview of Moviemaking	p. 2
Cast and Crew	p. 2
Producing	p. 2
Writing	p. 3
Directing	p. 5
Acting	p. 6
Production Design	p. 7
Picture Creation	p. 8
Sound	p. 9
Editing	p. 10
Special and Visual Effects	p. 11
Other	p. 11
The Production Process	p. 12
The Traditional Film Production Model	p. 12
The Changing Nature of the Production Process	p. 14
Notes	p. 15
Planning the Movie	p. 16
Finding and Financing the Right Script	p. 16
Breaking Down the Script	p. 17
Scheduling	p. 19
Shooting Schedules	p. 20
Stripboards	p. 22
Production Schedules	p. 22
Call Sheets	p. 23
Budgeting	p. 25
Budgeting Procedures	p. 25
Budgeting a Student Production	p. 29
Casting	p. 32
Hiring Behind-the-Scenes Personnel	p. 33
Finding Locations	p. 35
Designing and Constructing Sets	p. 38
Designing Costumes, Wardrobe, Makeup, and Hairstyling	p. 39
Obtaining Props	p. 40
Developing Effects	p. 40
Planning Sound	p. 41
Acquiring and Checking Equipment	p. 41
Obtaining Rights	p. 41
Arranging Travel and Food	p. 42
Buying Insurance	p. 44
Notes	p. 44
Cameras	p. 46
Formats	p. 46
Film Formats	p. 46
Analog Video Formats	p. 47
Digital Video Formats	p. 48
High-Definition Video Formats	p. 49
Aspect Ratio	p. 51
Stock	p. 52
Film Stock	p. 52
Videotape	p. 53
Camera Construction	p. 54
Film Cameras	p. 54
Video Cameras	p. 55
Time Code	p. 55
Viewers	p. 56
Basic Camera Features	p. 57
Power	p. 57
Recording Controls	p. 57
Color Rendition	p. 58
Gain	p. 58
Shutter Speed	p. 58
Other Features	p. 58
Lenses	p. 59
Focal Length	p. 59
Focus	p. 60
Aperture	p. 61
Depth of Field	p. 61
Camera Supports	p. 62
Handheld Cameras	p. 62
Tripods	p. 63
Dollies and Cranes	p. 64
Connectors	p. 64
Care of Equipment	p. 65
Notes	p. 65
Approaches to Image Capturing	p. 68
Shot Determination	p. 68
The Basic Shots	p. 68
Subjective Shots	p. 69
Lens Selection	p. 70
Focal Length Characteristics	p. 70
Depth of Field	p. 71
Camera Angle	p. 72
Composing Within the Static Frame	p. 73
Manipulating the Mise-en-Scene	p. 73
Balance	p. 75
Creating Depth	p. 75
On-Screen/Off-Screen Space	p. 76
The Edge of the Frame	p. 76
The Moving Frame	p. 78
Camera Movements	p. 78
Zooming	p. 78
Time	p. 79
Color and Tonality	p. 79
Black and White or Color	p. 79
Color Considerations	p. 80
Shooting to Edit	p. 80
Shot Selection	p. 80
Shot Duration	p. 81
The Long Shot, Medium Shot, Close-Up Pattern	p. 82
Shooting for Continuity	p. 82
Now That You Know the Rules...	p. 84
Notes	p. 84
Lights and Filters	p. 86
Measuring the Light	p. 86
Incident Meters	p. 86
Reflected Light Meters	p. 86
Spot Meters	p. 87
Getting Correct Exposure	p. 87
Problems with Automatic Metering Systems	p. 88
Footcandles, F-Stops, and EI	p. 88
Contrast Range	p. 89
Using a Monitor to Help Evaluate Exposure	p. 90
Using a Waveform Monitor to Evaluate Exposure	p. 90
The Color of Light	p. 91
The Electromagnetic Spectrum	p. 91
The Kelvin Scale	p. 92
Tungsten and Daylight-Balanced Light	p. 92
Small-Scale Color Corrections	p. 93
The Vectorscope	p. 93
Filters for Film and Video	p. 94
Types of Filters	p. 94
Mounting Filters	p. 95
Compensating for Filters	p. 95
Care of Filters	p. 96
Artificial Lighting	p. 96
Types of Lamps	p. 96
Basic Lighting Instruments	p. 98
Mounting Equipment	p. 101
Controlling the Light	p. 101
Electric Power Requirements	p. 104
Lighting Safety	p. 105
Notes	p. 106
Approaches to Lighting	p. 108
Lighting Styles	p. 108
Basic Three-Point Lighting	p. 108
Comparison of Lighting for Film, SDTV, and HDTV	p. 110
Preparing to Light	p. 111
Outdoor Lighting	p. 112
Contrast Reduction	p. 113
Maintaining Continuity in Changing Light	p. 113
Shooting at Night	p. 114
Adapting to Weather Conditions	p. 114
Indoor Lighting	p. 115
Shooting in Available Light and Low Light	p. 115
Bounce Lighting	p. 116
Mixed Lighting	p. 116
Lighting for Movement	p. 117
Variations in Lighting	p. 120
Notes	p. 122
Microphones and Recorders	p. 124
The Nature of Sound	p. 124
Pitch and Frequency	p. 124
Loudness and Amplitude	p. 125
Timbre	p. 126
Duration	p. 126
Velocity	p. 126
Microphones	p. 127
Directionality	p. 127
Construction	p. 129
Positioning	p. 130
Cables and Connectors	p. 132
Balanced and Unbalanced Cables	p. 132
Connector Types	p. 132
Recorders	p. 133
Double System and Single System Sound Recording	p. 134
Types of Recorders	p. 135
Recording Methods	p. 136
Features of Sound Recorders	p. 136
Audio Mixers	p. 137
Care of Audio Equipment	p. 138
Notes	p. 138
Approaches to Sound Recording	p. 140
Elements of Microphone Pickup	p. 140
Presence	p. 140
Perspective	p. 141
Balance	p. 141
Continuity	p. 142
Eliminating Unwanted Noises	p. 142
Miking Dialogue	p. 143
Selecting the Mic	p. 143
Setting Up the Mics	p. 144
Special Dialogue Situations	p. 144
Miking Automatic Dialogue Replacement	p. 145
Miking Voice-Overs	p. 146
Miking Sound Effects	p. 147
Miking Foley	p. 147
Miking Ambient Sounds	p. 148
Miking Music	p. 149
Recording Techniques	p. 150
Notes	p. 151
Directing	p. 152
The Roles of the Director	p. 152
Working with the Script	p. 153
Working with the Writer	p. 155
Working with a Crew	p. 157
Hiring Crew	p. 157
Handling Crew	p. 157
Auditioning Actors	p. 159
Preliminaries	p. 159
The Process	p. 160
Rehearsing	p. 160
Early Rehearsing	p. 160
Ways to Improve Rehearsals	p. 161
Shooting	p. 162
A Typical Pattern	p. 162
Dailies	p. 164
Other Considerations	p. 165
Editing	p. 167
Notes	p. 169
Editing	p. 170
Making Material Computer Ready	p. 170
Film	p. 170
Analog Video	p. 172
Digital Video	p. 173
Setting Up the Computer	p. 173
Logging	p. 174
Capturing	p. 175
Cutting Clips Together	p. 176
Windows	p. 176
The Assembly Process	p. 177
Fine Tuning	p. 179
Adding Graphics	p. 180
Adding Transitions and Other Effects	p. 180
Useful Tools	p. 182
Outputting the Project	p. 183
Linear Editing	p. 185
Cuts-Only Editing	p. 185
More Advanced Linear Editing	p. 186
Notes	p. 186
Approaches to Editing	p. 188
Conventional Hollywood Patterns	p. 188
Editing in the Service of the Story	p. 189
Maintaining Continuity	p. 190
Using the Master Shot Method	p. 192
Ensuring Consistent Screen Direction	p. 195
Finding the Cutting Point	p. 197
Controlling Rhythm	p. 198
Manipulating Time and Space	p. 198
Creating Transitions	p. 200
Alternatives to Conventional Editing	p. 201
Montage Editing	p. 201
Time and Space Alterations	p. 202
Less Is More	p. 203
Dominant Elements	p. 203
Shot Ordering	p. 203
Notes	p. 204
Enhanced Audio, Graphics, and Visual Effects	p. 206
Audio	p. 206
Spotting	p. 206
Gathering and Recording	p. 209
Sweetening	p. 214
Positioning	p. 214
Mixing	p. 216
Graphics	p. 218
Software Programs	p. 218
Optical Titles	p. 219
Visual Effects	p. 220
Optical Visual Effects	p. 220
Computerized Visual Effects	p. 221
The Process for Creating Computerized Visual Effects	p. 223
Notes	p. 224
Approaches to Enhanced Audio, Graphics, and Visual Effects	p. 226
Audio	p. 226
Supplying Information	p. 226
Enhancing Reality and Fantasy	p. 229
Establishing Time, Place, and Character	p. 230
Creating Mood and Emotion	p. 231
Giving a Sense of Rhythm	p. 233
Directing Attention	p. 234
Relating to the Image	p. 235
Graphics	p. 236
Graphic Characteristics	p. 236
Structuring Graphics	p. 237
Visual Effects	p. 238
Notes	p. 240
The Final Stages of Moviemaking	p. 242
Transferring Back to Film	p. 242
Negative Cutting	p. 242
Preparing the Sound	p. 242
Incorporating Visual Effects	p. 243
Laboratory Work	p. 244
Film Projection	p. 246
Video Distribution	p. 247
Netcasting	p. 248
Festivals	p. 248
Other Possibilities	p. 249
Digital Cinema	p. 249
Notes	p. 251
Glossary	p. 252
Index	p. 265
Table of Contents provided by Ingram. All Rights Reserved.