Practical Cinematography (Paperback, 2 ed)

PART ONE The unitThe Director of PhotographyThe DP's ResponsibilitiesIn early Pre-productionCloser to shoot preparationDuring shootingPost production The DP's PreparationResearchPreparing for a shootThe reccesThe DP's preparationThe camera equipment listThe lighting equipment listThe film stock breakdownThe technical scheduleThe Camera CrewAn OverviewThe TraineeThe Clapper Loader (AC 2)The Focus Puller (AC 1)The Camera OperatorThe GripThe GafferCrew ProtocolPART TWO The TechnologyThe Motion Picture CameraThe Persistence of VisionFrame RatesThe Intermittent MechanismThe Reflex ViewfinderViewing ScreensThe Film MagazineFilm Camera LayoutLensesArtistic DecisionsCharacteristics of LensesThe FundamentalsPerceived sharpness with regard to contrastMaximum apertureTelephoto lensesWide-angle lensesZoomsConclusionsChoiceModern Lens DesignsLens Distortion and AberrationsFilm StockWhat is Film?The history of the negative/positive photographic processThe basic photographic process Colour Negative FilmGrain and GraininessWhen does Grain become unacceptable?PerforationsEdge NumbersCare, Shipping and HandlingBasic SensitometryThe LaboratoryThe Laboratory ContactPrinter LightsContact PrintingOptical PrintingNegative CuttingCinema Release PrintsThe "Long Handled? Negative CutFilm GradingTelecine GradingPART THREE The Cinematographers CraftExposure Meters Camera SpeedShutter SpeedAverage Scene Reflectance ValueTypes of Exposure MeterLighting RatiosDefining a Lighting RatioVisualising Lighting RatiosLighting Ratios for Film and TelevisionLighting Ratios when shooting for both Film and TelevisionUsing Lighting Ratios on the SetControlling the Whole SceneThree Point Image ControlThere's no such thing as exposure latitudeThree Point Image ControlRelating the three points to the sensitometric curveControl for televisionUsing the 18% Grey ScaleThe MessengerControlling Print DensityShifting ColourIntentional Colour ChangesDevelopments in Grey CardsConclusionsColour TemperatureWhat is Colour Temperature?Filters and Mired Shift ValuesThe Colour Temperature MeterColour FilmCorrecting LampsCamera FiltersColour Compensating FiltersColour Correction FiltersSkin Tone WarmerSepia, Coral, colour effects, etc.Graduated FiltersNeutral DensityLow ContrastUltra ContrastFogDouble fogPro MistStar filtersNetsMatching ShotsEnhancing FiltersFluorescent Light CorrectionPola ScreensFilter FactorsThe Pan GlassDepth of FieldDepth of FocusCircles of ConfusionDepth of Field and Super 16mm to 35mm Blow UpsSuper 16mm and 16 x 9 Television35mm Film Depth of Field when only shown on TelevisionDepth of Field CalculatorsThe Effect of Aperture on Depth of fieldThe Effect of Focal Length on Depth of FieldThe Mathematics of Depth of FieldTestingWhy so much checking?Who Checks?Tests that involve shooting film include:Lens TestingGamma TestingWhat to do with the Film TestsNon Film TestingStoresThe Camera CarPART FOUR OperatingComposition and the Rule of ThirdsFraming using the Rule of ThirdsFraming using the SixthsDiagonal FramingComplex and Combined CompositionLenses and PerspectiveFrame Size and Focal LengthPerspectiveFocal length and emotional involvementWhat is a Normal focal length?Aspect RatiosThe 35mm FrameThe Aspect RatioWidescreenThree Perforation Pull DownTwo perforation pull downAnamorphic65mm and 70mmSuper 35TelevisionPART FIVE The FutureShooting Super 16mm for TelevisionAspect Ratios when shooting for televisionHistory - The evolution of the Super 16mm format16 x 9 Television and Super 16Framing in several formatsFraming SolutionsFestival PrintsHigh DefinitionHD - is it the future?Picture QualityHD AcquisitionMulti episodicFeaturesTelevisionEditing HDPresentationDistributionCinema projectionWill Digital Cinema come?So, film is not dead!