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By Paul Wheeler, Trained at the BBC rising to become a Senior Drama Film Cameraman. A renowned cinematographer/director of photography, and previous Head
of Cinematography at National Film & Television School where he still runs courses on Digital Cinematography. Previous Head of Cinematography
on the Royal College of Arts MA course. Twice nominated by BAFTA for a Best Cinematography award and twice winner of the INDIE award
for Best Digital Cinematography.
Description High end digital cinematography can truly challenge the film camera in many of the technical, artistic and emotional aspects of what we
think of as 'cinematography'. This book is a guide for practising and aspiring cinematographers and DOPs to digital cinematography essentials
- from how to use the cameras to the rapidly emerging world of High Definition cinematography and 24p technology.
This book covers
the `on-the-set' knowledge you need to know - its emphasis lies in practical application, rather than descriptions of technologies, so
that in this book you will find usable `tools' and information to help you get the job done. From `getting the look' to lighting styles
and ratios, what is needed for different types of shoots and the technical preparation required, this is a complete reference to the
knowledge and skills required to shoot high end digital films. The book also features a guide to the Sony DVW in-camera menus - showing
how to set them up and how they work - a
device to save you time and frustration on set.
Paul Wheeler is a renowned cinematographer/director
of photography and trainer, he runs courses on Digital Cinematography at the National Film & Television School and has lectured on the
Royal College of Art's MA course and at The London International Film School. He has been twice nominated by BAFTA for a Best Cinematography
award and also twice been the winner of the INDIE award for Best Digital Cinematography.
Audience
Students and lecturers in film schools or on media courses
(eg NVQ, NFTS Diploma course, RCA MA course)
Directors of Photography, video
cinematographers,
lighting directors, operators and cameramen currently working with film.
Contents DIGITAL CINEMATOGRAPHY 1.1 Why Digital Cinematography 1.2 Exposure Meters 1.3 Tonal Range 1.4 Exposure Control 1.5 Image Stability 1.6
Greater Perceived Detail 1.7 Repeatability 1.8 Portability
THE DIRECTOR of PHOTOGRAPH's CRAFT
2 CREATING A LOOK 2.1 Decide What You
Want 2.2 Sharp or Soft
2.3 Cold or Warm 2.4 Saturated and De-saturated 2.5 Skin Tone Control
2.6 The Film Look
3 LIGHTING 3.1 Useful
Styles 3.2 Soft Lighting 3.3 Hard Lighting
3.4 Coloured Sources
4 LIGHTING RATIOS
4.1Defining a Lighting ratio 4.2Visualising Lighting
Ratios 4.3 Different Lighting Ratios for Film and Television 4.4 Using Lighting Ratios on the Set
4.5 Controlling the Whole Scene 4.6
The Effect of Not Recording the Whole Scene
5 COLOUR TEMPERATURE
5.1What is Colour Temperature? 5.2 Filters and Mired Shift Values
5.3 The Colour Temperature Meter 5.4 Location Sources
5.5 Correcting Lamps
6 FILTERS
6.1Camera Filters 6.1.a Colour Compensating Filters
6.1.b Colour Correction Filters 6.1.c Skin Tone Warmer 6.1.d Sepia, Coral, Tobacco etc.
6.1.e Graduated Filters 6.1.f Neutral Density
6.1.g Low Contrast
6.1.h Ultra Contrast6.1.i Fog 6.1. Double Fog
6.1.k Pro Mist 6.1.l Star Filters6.1.m Nets 6.2 Matching Shots
6.3
Enhancing Filters6.4 Fluorescent Light Correction 6.5 Polar Screens 6.6 Filter Factors 6.7 The Pan Grass
THE SHOOT
7 EXAMPLES OF SHOOTS
7.1 Drama 7.1.a "The Queen's Nose" 7.1 "The Merchant of Venice"
7.1.c "Small Hotel " 7.2 Documentary 7.2.a "The ABBA Story"
8 CREWING
8.1 For Fiction 8.1.a Should the DoP Operate? 8.1.b Do you need a Focus Puller? 8.1.c Do we need a Loader? 8.1.d Do we need a Clapper
Board? 8.1.e Do we need a Grip? 8.1.f Sound 8.1.g Electricians
8.2 For Factual 8.2.a Crew size 8.2.b Clapper boards
9 THE DIRECTOR of
PHOTOGRAPHY's PREPARATION
9.1 Technical Schedule 9.2 Camera Lists 9.3 Lighting Lists
10 TECHNICAL PREPARATION FOR A SHOOT
10.1 Technical
Checks 10.1.a The Tripod 10.1.b The Camera Base Plate
10.2 Camera Checks - Record / Playback 10.3 Lens Checks
10.3.a Back Focus and the
Star Chart 10.4 Time Code
10.5 Accessories 10.6Matte Boxe 10.7 Follow Focus Devices 10.8 Viewfinders 10.9 Monitors 10.9.a Choosing
a Monitor 10.9.b Nine Inch Monitors 10.9.c Fourteen Inch Monitors 10.9.d Lining up a Monitor 10.9.e My Approach 10.9.f Why take such
trouble? 10.9.g Lining up a PAL Monitor 10.9.h Helpful Hints 10.9.i Lining up an NTSC Monitor 10.9.j Ambient Light 10.9.k Cabling your
Monitor 10.9.k.i Termination 10.9.k.ii Serial monitors 10.9.k.iii Best Practice
10.9.l On Screen Monitor Information
THE TECHNOLOGY
11 THE CAMERA 11.1The Television Image 11.2 Additive Colour Imagery
11.3 Resolution 11.4 The Digital Camera 11.5 The Camera Head
11.6
The Image Sensors 11.7 The Sensor Chip 11.8 The Image Signal
11.9 The Internal Circuitry
12 THE VCR
12.1 The Video Cassette Recorder
12.1 Helical Scan 12.2 Mechanical Considerations 12.4 The Scanning Drum 12.5 The Drum Lacing Mechanism
12.6 A Jammed Mechanism
13 WHITE
AND BLACK BALANCE
13.1 White balance 13.2 What is White Balance? 13.3 White Balance Using a White Card 13.4 White Balance Using a Coloured
Card 13.5White Balance Under Fluorescent Lighting 13.6 The Inner Filter Wheel 13.7 Black Balance
14 TIME CODE AND USER BITS
14.1 User
Bits 14.2 Time Code 14.3 Record Run Time Code 14.4 Free Run Time Code 14.5 Time of Day Time Code 14.6Setting Time Code 14.7 Resetting
Time Code After Removing a Tape 14.8 Synchronising Using a Cable
15 DELIVERY SYSTEMS
15.1 Television 15.2 Projection 15.3 Transfer
to Film
HIGH DEFINITION TELEVISION
16 High Definition
16.1 High Definition Image Capture
16.2 The Sony HDCAM
16.3 The Sony HDW-F500
Digital Recorder
16.4 Inputting to Non Linear Editing
16.5 Panavision Digital Cinematography
16.6 Panavision High Definition Lenses
16.7
Depth of Field
16.8 Camera Control Cards
16.9 Digi Beta / HDCAM Familiarity
16.10 The Camera Menus
16.11 Projection
16.12 What Does it
Actualy Look Like?
16.13 HDCAM - A Replacement for 35 MM?
16.14 Conclusions
THE Sony DVW IN-CAMERA MENUS
17 The Sony DVW Camera menus
18.1 The Set-up Card 18.2 Reading Data from a Set-up Card 18.3 Film Gamma Cards 18.4 Making Adjustments
18.5 Rate of Change 18.6 The
User Menu 18.7 The Menu Pages
18.8 Fathers and Grandfathers 18.9 The Individual Pages 18.10 Different Software - The Quick Reference
Lists 18 The Sony DVW 700 Quick Reference List 19 The Sony DVW 700 Menus 20 The Sony DVW 790 Quick Reference List 21 The Sony DVW 790
Menus
DIGITAL CINEMATOGRAPHY 1.1 Why Digital Cinematography 1.2 Exposure Meters 1.3 Tonal Range 1.4 Exposure Control 1.5 Image Stability
1.6 Greater Perceived Detail 1.7 Repeatability 1.8 Portability
THE DIRECTOR of PHOTOGRAPH's CRAFT
2 CREATING A LOOK 2.1 Decide What
You Want 2.2 Sharp or Soft
2.3 Cold or Warm 2.4 Saturated and De-saturated 2.5 Skin Tone Control
2.6 The Film Look
3 LIGHTING 3.1
Useful Styles 3.2 Soft Lighting 3.3 Hard Lighting
3.4 Coloured Sources
4 LIGHTING RATIOS
4.1Defining a Lighting ratio 4.2Visualising
Lighting Ratios 4.3 Different Lighting Ratios for Film and Television 4.4 Using Lighting Ratios on the Set
4.5 Controlling the Whole
Scene 4.6 The Effect of Not Recording the Whole Scene
5 COLOUR TEMPERATURE
5.1What is Colour Temperature? 5.2 Filters and Mired Shift
Values
5.3 The Colour Temperature Meter 5.4 Location Sources
5.5 Correcting Lamps
6 FILTERS
6.1Camera Filters 6.1.a Colour Compensating
Filters 6.1.b Colour Correction Filters 6.1.c Skin Tone Warmer 6.1.d Sepia, Coral, Tobacco etc.
6.1.e Graduated Filters 6.1.f Neutral
Density 6.1.g Low Contrast
6.1.h Ultra Contrast6.1.i Fog 6.1. Double Fog
6.1.k Pro Mist 6.1.l Star Filters6.1.m Nets 6.2 Matching Shots
6.3 Enhancing Filters6.4 Fluorescent Light Correction 6.5 Polar Screens 6.6 Filter Factors 6.7 The Pan Grass
THE SHOOT
7 EXAMPLES OF
SHOOTS
7.1 Drama 7.1.a "The Queen's Nose" 7.1 "The Merchant of Venice"
7.1.c "Small Hotel " 7.2 Documentary 7.2.a "The ABBA Story"
8 CREWING 8.1 For Fiction 8.1.a Should the DoP Operate? 8.1.b Do you need a Focus Puller? 8.1.c Do we need a Loader? 8.1.d Do we need
a Clapper Board? 8.1.e Do we need a Grip? 8.1.f Sound 8.1.g Electricians
8.2 For Factual 8.2.a Crew size 8.2.b Clapper boards
9 THE
DIRECTOR of PHOTOGRAPHY's PREPARATION
9.1 Technical Schedule 9.2 Camera Lists 9.3 Lighting Lists
10 TECHNICAL PREPARATION FOR A SHOOT
10.1 Technical Checks 10.1.a The Tripod 10.1.b The Camera Base Plate
10.2 Camera Checks - Record / Playback 10.3 Lens Checks
10.3.a Back
Focus and the Star Chart 10.4 Time Code
10.5 Accessories 10.6Matte Boxe 10.7 Follow Focus Devices 10.8 Viewfinders 10.9 Monitors 10.9.a
Choosing a Monitor 10.9.b Nine Inch Monitors 10.9.c Fourteen Inch Monitors 10.9.d Lining up a Monitor 10.9.e My Approach 10.9.f Why take
such trouble? 10.9.g Lining up a PAL Monitor 10.9.h Helpful Hints 10.9.i Lining up an NTSC Monitor 10.9.j Ambient Light 10.9.k Cabling
your Monitor 10.9.k.i Termination 10.9.k.ii Serial monitors 10.9.k.iii Best Practice
10.9.l On Screen Monitor Information
THE TECHNOLOGY
11 THE CAMERA 11.1The Television Image 11.2 Additive Colour Imagery
11.3 Resolution 11.4 The Digital Camera 11.5 The Camera Head
11.6
The Image Sensors 11.7 The Sensor Chip 11.8 The Image Signal
11.9 The Internal Circuitry
12 THE VCR
12.1 The Video Cassette Recorder
12.1 Helical Scan 12.2 Mechanical Considerations 12.4 The Scanning Drum 12.5 The Drum Lacing Mechanism
12.6 A Jammed Mechanism
13 WHITE
AND BLACK BALANCE
13.1 White balance 13.2 What is White Balance? 13.3 White Balance Using a White Card 13.4 White Balance Using a Coloured
Card 13.5White Balance Under Fluorescent Lighting 13.6 The Inner Filter Wheel 13.7 Black Balance
14 TIME CODE AND USER BITS
14.1 User
Bits 14.2 Time Code 14.3 Record Run Time Code 14.4 Free Run Time Code 14.5 Time of Day Time Code 14.6Setting Time Code 14.7 Resetting
Time
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