cinematoqraphy theory and practice -J I / imagemaking for cinematographers and directors

Transcription

1 cinematoqraphy theory and practice -J I / imagemaking for cinematographers and directors second edition blain brown ELSEVIER PARIS SAN DIEGO SAN FRANCISCO SINGAPORE SYDNEY TOKYO Focal Press is an imprint of Elsevier

2 contents Introduction The Scope of this Book Titles and Terminology writing with motion Writing with Motion Building a Visual World The [Conceptual] Tools of Cinematography The Frame The Lens Light and Color Texture Movement Establishing Point-of-View Putting It All Together shooting methods What Is Cinematic? A Question of Perception Visual Subtext and Visual Metaphor The Frame Static Frame Cinema as a Language The Shots: Building Blocks of a Scene Establishing the Geography Character Shots InvisibleTechnique The Shooting Methods The Master Scene Method Coverage Overlapping or Triple-Take Method In-One Freeform Method Montage Involving The Audience: POV visual language More Than Just a Picture Design Principles TheThree-Dimensional Field Forces Of Visual Organization Movement in the Visual Field The Rule of Thirds Miscellaneous Rules of Composition Basic Composition Rules for People language of the lens The Lens and the Frame Foreground/Midground/Background Lens Perspective Deep Focus Selective Focus Image Control at the Lens Lens Height Dutch Tilt

3 Visual storytelling Visual Metaphor Telling Stories with Pictures Lighting As Storytelling Film Noir Light As Visual Metaphor Light and Shadow / Good and Evil Fading Flashbulbs Visual Poetry cinematic continuity Shooting For Editing Thinking about Continuity Types of continuity The Prime Directive Screen Direction Turnaround Cheating the Turnaround Planning Coverage Cuttability The 20% and 30 Degree Rules Other Issues In Continuity Introductions Other Editorial Issues In Shooting Jump Cuts The Six Types Of Cuts The Content Cut The Action Cut ThePOVCut The Match Cut The Conceptual Cut The Zero Cut lighting basics The Fundamentals of Lighting What are the Goals of Good Lighting Exposure and Lighting Some Lighting Terminology Aspects Of Light Hard Light and Soft Light Direction Intensity Texture Color Basic Lighting Techniques Back Cross Keys Ambient Plus Accents Lighting with Practicals Lighting through the Window Available Natural Light Motivated Light Day Exteriors Fill Silks and Diffusion Open Shade and Garage Door Light Sun as Backlight Lighting For High Def Video

4 lighting sources The Tools of Lighting Daylight Sources HMI Units Xenons LED Lights Tungsten Lights Fresnels PARs HMI PARs Soft Lights Barger Baglights Color-Correct Fluorescents OtherTypes of Units Softsun Cycs, Strips, Nooks and Broads Chinese Lanterns and Spacelights Self-Contained Crane Rigs Ellipsoidal Reflector Spots Balloon Lights Handheld Units Day Exteriors Controlling Light with Grip Equipment For More Information On Lighting HD cinematography High Defand Standard Def Analog and Digital Video Analog Digital Video Types of Video Sensors Three-Chip vs Bayer Filter Sensors Digital Video Standard Def High Def Shooting Formats 2K, 4K and Higher Resolution Formats Digital Compression RAW Monitoring On the set The Waveform Monitor and Vectorscope Waveform Monitors The Vectorscope Video Latitude Clipping Video Noise and Grain The Digital Intermediate (Dl) The Video Signal Interlace Video Progressive Video NTSC and ATSC Colorspace SDI Setting Up A Color Monitor Monitor Setup Procedure Camera White Balance cinematography vii

5 Digital Video Encoding Is It Broadcast Quality? Do It in the Camera or in Post? The Decision Matrix 10 Things to Remember When Shooting HD Timecode and Edgecode Video Frame Rate Drop-Frame and Non-Drop-Frame Video How Drop Frame Solves the Problem To Drop or Not to Drop? Timecode Slating Tapeless Production Metadata Tapeless Workflows Digital File Types Container Files: Quicktime and MXF Compression and Codecs Intra-frame versus Interframe Compression Bit Depth MPEG Other Codecs The Curve Controlling the HD Image Gain/ISO Gamma Black Gamma/Black Stretch Knee Color Saturation Matrix Color Balance exposure Exposure: the Easy Way What Do We Want Exposure to Do for Us? Controlling Exposure The Four Elements of Exposure The Bottom Line How Film and Video Are Different Two Types of Exposure Light As Energy F/Stops Exposure, ISO, and Lighting Relationships Inverse Square Law and Cosine Law ISO/ASA Light and Film The Latent Image Chemical Processing Color Negative Film's Response to Light Densitometry The Log E Axis Brightness Perception Contrast "Correct" Exposure Higher Brightness Range in the Scene Determining Exposure VIM

6 Video Exposure The Tools The Incident Meter The Reflectance Meter The Zone System Zones in a Scene The Gray Scale Why 18%? Place and Fall Reading Exposure with Ultraviolet Exposure and the Camera Shutter Speed versus Shutter Angle era movement Motivation and InvisibleTechnique Basic Technique Types Of Moves Pan Tilt Move In/Move Out Zoom Punch-in Moving Shots Tracking Countermove Reveal Circle Track Moves Crane Moves Rolling Shot Camera Mounting Handheld Camera Head Fluid Head Geared Head Remote Head Underslung Heads Dutch Head The Tripod High-Hat Rocker Plate Tilt Plate The Crab Dolly Dolly Terminology Dance Floor Extension Plate Low Mode Front Porch Side Boards Risers Steering Bar or Push Bar Cranes Crane/Jib Arm Crane Operation Non-booming Platforms Camera on a Ladder Remote on Cranes Technocrane Cranes on Top of Cranes Car Shots cinematography ix

7 Camera Positions for Car Shots 223 Vehicle to Vehicle Shooting 223 Aerial Shots 224 Mini-Helicopters 224 Cable-Cam 224 OtherTypesOf Camera Mounts 224 Rickshaw, Wheelchair and Garfield 224 Steadicam 225 Low-Mode Prism 225 Crash Cams 225 Splash Boxes 225 Underwater Housings 226 Motion Control 226 color 227 Color In Visual Storytelling 228 The Nature of Light 228 The Tristimulus Theory 228 Functions of the Eye 229 Light and Color 230 Basic Qualities of Color 231 The Color Wheel 232 Color Models 232 Controlling Color 235 Color Temperature 235 Color Balance with Gels and Filters 238 Light Balancing Gels 238 Conversion Gels 239 Light Balancing Gels 241 Color Correction Gels 241 Correcting Off-Color Lights 244 Stylistic Choices in Color Control 244 image control 245 Color Printing 246 Controlling Color and Contrast 247 In the Lab 247 Bleach-Bypass and Other Processes 248 LookUp Tables 254 1D LUTs 255 3D LUTs 256 Camera Filter Types 256 Diffusion and Effects Filters 256 Contrast Filters 258 Effects Filters and Grads 258 ColorTemperatureand Filtration 259 Conversion Filters 261 Warming and Cooling Filters 262 Contrast Control In Black-and-White 262 Polarizers 263 Density Filters 263 IR Filters 264 Controlling The Look Of Your Project 264 Image Control With The Camera 266 Frame Rate 266 Shutter Angle 267 Time Lapse 268

8 optics & focus Physical Basis Of Optics Refraction Focus Mental Focus Circle of Confusion Depth-of-field Depth-of-Field Calculations How Not to Get More Depth-of-Field Zooms and Depth-of-Field Macrophotography Close-Up Tools Lens Care Lens adapters for Video set operations The Shot List The Director Of Photography The Team Camera Crew Operator First AC Second AC Loader Data Wrangler DIT Slating Technique TimeCode Slates Camera Reports Electricians Grips Other Units Coordinating with Other Departments Set Procedures technical issues Flicker Filming Practical Monitors Monitors and MOS Shooting Shooting Process Photography Greenscreen/Bluescreen Lighting for Bluescreen/Greenscreen Dimmers Working With Strobes High-Speed Photography Lighting For Extreme Close-Up Underwater Filming Measures of Image Quality Effects Time-Lapse Photography Time Slicing Sun Location With A Compass Transferring Film To Video Prepping fortelecine Shooting a Gray Card Reference Framing Charts cinematography xi

9 film formats 335 Aspect Ratios 336 Academy Aperture :1 and 1.85:1 336 Wide Screen 336 Alternatives to Anamorphic Perf PerfTechniscope mm 340 acknowledgments 343 the cinematography website 343 bibliography 344 index 347 XII