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Digital Moviemaking (With Infotrac)

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ISBN-10: 0534562914

ISBN-13: 9780534562915

Edition: 5th 2004 (Revised)

Authors: Lynne S. Gross, Larry W. Ward

List price: $117.95
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Description:

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.
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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%. Professionally, she is currently Associate Producer for the video series “Journeys Below the Line” and in the past she was Director of Programming for Valley Cable TV and the producer of numerous radio and TV programs for public, commercial, and cable outlets. Her teaching and consulting have taken her to many countries including Malaysia, Swaziland, Estonia, Australia, Guyana, and Russia. Her doctorate is from UCLA.

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 Angeles�Orange 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 Post�Newsweek Television Productions, and "Lowell Thomas Remembers I and II," a series for public broadcasting. He has published a number of articles and papers and one other book, "The Motion Picture Goes to War." He has also served as the western regional coordinator for the Motion Picture Academy's Nicholl Fellowships in Screenwriting Contest. He has a B.A. from William Jewell College and an M.A. and Ph.D from the University of Iowa.

Overview of Moviemakingp. 2
Cast and Crewp. 2
Producingp. 2
Writingp. 3
Directingp. 5
Actingp. 6
Production Designp. 7
Picture Creationp. 8
Soundp. 9
Editingp. 10
Special and Visual Effectsp. 11
Otherp. 11
The Production Processp. 12
The Traditional Film Production Modelp. 12
The Changing Nature of the Production Processp. 14
Notesp. 15
Planning the Moviep. 16
Finding and Financing the Right Scriptp. 16
Breaking Down the Scriptp. 17
Schedulingp. 19
Shooting Schedulesp. 20
Stripboardsp. 22
Production Schedulesp. 22
Call Sheetsp. 23
Budgetingp. 25
Budgeting Proceduresp. 25
Budgeting a Student Productionp. 29
Castingp. 32
Hiring Behind-the-Scenes Personnelp. 33
Finding Locationsp. 35
Designing and Constructing Setsp. 38
Designing Costumes, Wardrobe, Makeup, and Hairstylingp. 39
Obtaining Propsp. 40
Developing Effectsp. 40
Planning Soundp. 41
Acquiring and Checking Equipmentp. 41
Obtaining Rightsp. 41
Arranging Travel and Foodp. 42
Buying Insurancep. 44
Notesp. 44
Camerasp. 46
Formatsp. 46
Film Formatsp. 46
Analog Video Formatsp. 47
Digital Video Formatsp. 48
High-Definition Video Formatsp. 49
Aspect Ratiop. 51
Stockp. 52
Film Stockp. 52
Videotapep. 53
Camera Constructionp. 54
Film Camerasp. 54
Video Camerasp. 55
Time Codep. 55
Viewersp. 56
Basic Camera Featuresp. 57
Powerp. 57
Recording Controlsp. 57
Color Renditionp. 58
Gainp. 58
Shutter Speedp. 58
Other Featuresp. 58
Lensesp. 59
Focal Lengthp. 59
Focusp. 60
Aperturep. 61
Depth of Fieldp. 61
Camera Supportsp. 62
Handheld Camerasp. 62
Tripodsp. 63
Dollies and Cranesp. 64
Connectorsp. 64
Care of Equipmentp. 65
Notesp. 65
Approaches to Image Capturingp. 68
Shot Determinationp. 68
The Basic Shotsp. 68
Subjective Shotsp. 69
Lens Selectionp. 70
Focal Length Characteristicsp. 70
Depth of Fieldp. 71
Camera Anglep. 72
Composing Within the Static Framep. 73
Manipulating the Mise-en-Scenep. 73
Balancep. 75
Creating Depthp. 75
On-Screen/Off-Screen Spacep. 76
The Edge of the Framep. 76
The Moving Framep. 78
Camera Movementsp. 78
Zoomingp. 78
Timep. 79
Color and Tonalityp. 79
Black and White or Colorp. 79
Color Considerationsp. 80
Shooting to Editp. 80
Shot Selectionp. 80
Shot Durationp. 81
The Long Shot, Medium Shot, Close-Up Patternp. 82
Shooting for Continuityp. 82
Now That You Know the Rules...p. 84
Notesp. 84
Lights and Filtersp. 86
Measuring the Lightp. 86
Incident Metersp. 86
Reflected Light Metersp. 86
Spot Metersp. 87
Getting Correct Exposurep. 87
Problems with Automatic Metering Systemsp. 88
Footcandles, F-Stops, and EIp. 88
Contrast Rangep. 89
Using a Monitor to Help Evaluate Exposurep. 90
Using a Waveform Monitor to Evaluate Exposurep. 90
The Color of Lightp. 91
The Electromagnetic Spectrump. 91
The Kelvin Scalep. 92
Tungsten and Daylight-Balanced Lightp. 92
Small-Scale Color Correctionsp. 93
The Vectorscopep. 93
Filters for Film and Videop. 94
Types of Filtersp. 94
Mounting Filtersp. 95
Compensating for Filtersp. 95
Care of Filtersp. 96
Artificial Lightingp. 96
Types of Lampsp. 96
Basic Lighting Instrumentsp. 98
Mounting Equipmentp. 101
Controlling the Lightp. 101
Electric Power Requirementsp. 104
Lighting Safetyp. 105
Notesp. 106
Approaches to Lightingp. 108
Lighting Stylesp. 108
Basic Three-Point Lightingp. 108
Comparison of Lighting for Film, SDTV, and HDTVp. 110
Preparing to Lightp. 111
Outdoor Lightingp. 112
Contrast Reductionp. 113
Maintaining Continuity in Changing Lightp. 113
Shooting at Nightp. 114
Adapting to Weather Conditionsp. 114
Indoor Lightingp. 115
Shooting in Available Light and Low Lightp. 115
Bounce Lightingp. 116
Mixed Lightingp. 116
Lighting for Movementp. 117
Variations in Lightingp. 120
Notesp. 122
Microphones and Recordersp. 124
The Nature of Soundp. 124
Pitch and Frequencyp. 124
Loudness and Amplitudep. 125
Timbrep. 126
Durationp. 126
Velocityp. 126
Microphonesp. 127
Directionalityp. 127
Constructionp. 129
Positioningp. 130
Cables and Connectorsp. 132
Balanced and Unbalanced Cablesp. 132
Connector Typesp. 132
Recordersp. 133
Double System and Single System Sound Recordingp. 134
Types of Recordersp. 135
Recording Methodsp. 136
Features of Sound Recordersp. 136
Audio Mixersp. 137
Care of Audio Equipmentp. 138
Notesp. 138
Approaches to Sound Recordingp. 140
Elements of Microphone Pickupp. 140
Presencep. 140
Perspectivep. 141
Balancep. 141
Continuityp. 142
Eliminating Unwanted Noisesp. 142
Miking Dialoguep. 143
Selecting the Micp. 143
Setting Up the Micsp. 144
Special Dialogue Situationsp. 144
Miking Automatic Dialogue Replacementp. 145
Miking Voice-Oversp. 146
Miking Sound Effectsp. 147
Miking Foleyp. 147
Miking Ambient Soundsp. 148
Miking Musicp. 149
Recording Techniquesp. 150
Notesp. 151
Directingp. 152
The Roles of the Directorp. 152
Working with the Scriptp. 153
Working with the Writerp. 155
Working with a Crewp. 157
Hiring Crewp. 157
Handling Crewp. 157
Auditioning Actorsp. 159
Preliminariesp. 159
The Processp. 160
Rehearsingp. 160
Early Rehearsingp. 160
Ways to Improve Rehearsalsp. 161
Shootingp. 162
A Typical Patternp. 162
Dailiesp. 164
Other Considerationsp. 165
Editingp. 167
Notesp. 169
Editingp. 170
Making Material Computer Readyp. 170
Filmp. 170
Analog Videop. 172
Digital Videop. 173
Setting Up the Computerp. 173
Loggingp. 174
Capturingp. 175
Cutting Clips Togetherp. 176
Windowsp. 176
The Assembly Processp. 177
Fine Tuningp. 179
Adding Graphicsp. 180
Adding Transitions and Other Effectsp. 180
Useful Toolsp. 182
Outputting the Projectp. 183
Linear Editingp. 185
Cuts-Only Editingp. 185
More Advanced Linear Editingp. 186
Notesp. 186
Approaches to Editingp. 188
Conventional Hollywood Patternsp. 188
Editing in the Service of the Storyp. 189
Maintaining Continuityp. 190
Using the Master Shot Methodp. 192
Ensuring Consistent Screen Directionp. 195
Finding the Cutting Pointp. 197
Controlling Rhythmp. 198
Manipulating Time and Spacep. 198
Creating Transitionsp. 200
Alternatives to Conventional Editingp. 201
Montage Editingp. 201
Time and Space Alterationsp. 202
Less Is Morep. 203
Dominant Elementsp. 203
Shot Orderingp. 203
Notesp. 204
Enhanced Audio, Graphics, and Visual Effectsp. 206
Audiop. 206
Spottingp. 206
Gathering and Recordingp. 209
Sweeteningp. 214
Positioningp. 214
Mixingp. 216
Graphicsp. 218
Software Programsp. 218
Optical Titlesp. 219
Visual Effectsp. 220
Optical Visual Effectsp. 220
Computerized Visual Effectsp. 221
The Process for Creating Computerized Visual Effectsp. 223
Notesp. 224
Approaches to Enhanced Audio, Graphics, and Visual Effectsp. 226
Audiop. 226
Supplying Informationp. 226
Enhancing Reality and Fantasyp. 229
Establishing Time, Place, and Characterp. 230
Creating Mood and Emotionp. 231
Giving a Sense of Rhythmp. 233
Directing Attentionp. 234
Relating to the Imagep. 235
Graphicsp. 236
Graphic Characteristicsp. 236
Structuring Graphicsp. 237
Visual Effectsp. 238
Notesp. 240
The Final Stages of Moviemakingp. 242
Transferring Back to Filmp. 242
Negative Cuttingp. 242
Preparing the Soundp. 242
Incorporating Visual Effectsp. 243
Laboratory Workp. 244
Film Projectionp. 246
Video Distributionp. 247
Netcastingp. 248
Festivalsp. 248
Other Possibilitiesp. 249
Digital Cinemap. 249
Notesp. 251
Glossaryp. 252
Indexp. 265
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