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imagemaking for cinematographers & directors theory and practice cinematography second edition

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imagemaking for cinematographers and directors theory and practice cinematography blain brown second edition

Focal Press is an imprint of Elsevier

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© 2012 E

LSEVIER INC. All rights reserved.

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Notices

Knowledge and best practice in this field are constantly changing. As new research and experience broaden our understanding, changes in research methods, professional practices, or medical treatment may become necessary. Practitioners and researchers must always rely on their own experience and knowledge in evaluating and using any information, methods, compounds, or experiments described herein. In using such

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any liability for any injury and/or damage to persons or property as a matter of products liability, negligence or otherwise, or from any use or operation of any methods, products, instructions, or ideas contained in the material herein. Library of Congress Cataloging-in-Publication Data

Brown, Blain.

Cinematography : theory and practice : image making for cinematographers and directors / Blain Brown.

p. cm.

ISBN 978-0-240-81209-0

1. Cinematography. I. Title.

TR850.B7598 2012

778.5--dc22 2011010755

British Library Cataloguing-in-Publication Data

A catalogue record for this book is available from the British Library.

For information on all Focal Press publications

visit our website at www.elsevierdirect.com

11 12 13 14 5 4 3 2 1

Printed in the China

cinematography v contents

Introduction xiii

The Scope of this Book xiv

Titles and Terminology

xiv writing with motion 1

Writing with Motion 2

Building a Visual World

2

The [Conceptual] Tools of Cinematography 4

The Frame 4

The Lens 6

Light and Color 8

Texture 9

Movement 10

Establishing 10

Point-of-View 10

Putting It All Together 11

shooting methods 13

What Is Cinematic? 14

A Question of Perception 14

Visual Subtext and Visual Metaphor 14

The Frame 15

Static Frame 15

Cinema as a Language 16

The Shots: Building Blocks of a Scene 17

Establishing the Geography 18

Character Shots 20

Invisible Technique

27

The Shooting Methods 27

The Master Scene Method 27

Coverage 28

Overlapping or Triple-Take Method 29

In-One 30

Freeform Method

30

Montage 32

Involving The Audience: POV 33

visual language 37

More Than Just a Picture 38

Design Principles 39

The Three-Dimensional Field

41

Forces Of Visual Organization 45

Movement in the Visual Field 51

The Rule of Thirds 51

Miscellaneous Rules of Composition 51

Basic Composition Rules for People 52

language of the lens 53

The Lens and the Frame 54

Foreground/Midground/Background 54

Lens Perspective 54

Deep Focus 56

Selective Focus 61

Image Control at the Lens 63

Lens Height 64

Dutch Tilt

66
vi visual storytelling 67

Visual Metaphor 68

Telling Stories with Pictures 68

Lighting As Storytelling 69

Film Noir 69

Light As Visual Metaphor 70

Light and Shadow / Good and Evil 71

Fading Flashbulbs 72

Visual Poetry 75

cinematic continuity 77

Shooting For Editing 78

Thinking about Continuity 78

Types of continuity 78

The Prime Directive 81

Screen Direction 81

Turnaround 85

Cheating the Turnaround

87

Planning Coverage 87

Cuttability 88

The 20% and 30 Degree Rules 88

Other Issues In Continuity 89

Introductions 95

Other Editorial Issues In Shooting 96

Jump Cuts 96

The Six Types Of Cuts 98

The Content Cut 98

The Action Cut 98

The POV Cut 99

The Match Cut 100

The Conceptual Cut 101

The Zero Cut 102

lighting basics 103

The Fundamentals of Lighting 104

What are the Goals of Good Lighting? 104

Exposure and Lighting 107

Some Lighting Terminology

108

Aspects Of Light 110

Hard Light and Soft Light 110

Direction 113

Intensity 114

Texture 115

Color 115

Basic Lighting Techniques

116

Back Cross Keys 116

Ambient Plus Accents 117

Lighting with Practicals 117

Lighting through the Window 118

Available Natural Light 118

Motivated Light 120

Day Exteriors 124

Fill 124

Silks and Di?usion 124

Open Shade and Garage Door Light 124

Sun as Backlight 125

Lighting For High Def Video126

cinematography vii lighting sources 129

The Tools of Lighting 130

Daylight Sources 130

HMI Units 130

Xenons 135

LED Lights 136

Tungsten Lights 136

Fresnels 136

PARs 138

HMI PARs 140

Soft Lights 140

Barger Baglights 141

Color-Correct Fluorescents 142

Other Types of Units 142

Softsun 142

Cycs, Strips, Nooks and Broads 143

Chinese Lanterns and Spacelights 143

Self-Contained Crane Rigs 144

Ellipsoidal Re?ector Spots 144

Balloon Lights 145

Handheld Units 145

Day Exteriors 145

Controlling Light with Grip Equipment 145

For More Information On Lighting 146

HD cinematography

147

High Def and Standard Def 148

Analog and Digital Video 148

Analog 148

Digital Video

149

Types of Video Sensors 150

Three-Chip vs Bayer Filter Sensors 150

Digital Video

151

Standard Def 151

High Def 151

Shooting Formats 152

2K, 4K and Higher Resolution Formats 152

Digital Compression 152

RAW 154

Monitoring On the set 155

The Waveform Monitor and Vectorscope

156

Waveform Monitors 156

The Vectorscope

156

Video Latitude 157

Clipping 158

Video Noise and Grain 159

The Digital Intermediate (DI) 159

The Video Signal

160

Interlace Video

160

Progressive Video

160

NTSC and ATSC 160

Colorspace 161

SDI 162

Setting Up A Color Monitor 162

Monitor Setup Procedure 162

Camera White Balance

164
viiiDigital Video Encoding 165

Is It Broadcast Quality? 166

Do It in the Camera or in Post? 166

The Decision Matrix 167

10 Things to Remember When Shooting HD 167

Timecode and Edgecode 168

Video Frame Rate 168

Drop-Frame and Non-Drop-Frame 168

29.97 Video

169

How Drop Frame Solves the Problem 170

To Drop or Not to Drop? 170

Timecode Slating 170

Tapeless Production 171

Metadata 171

Tapeless Workows

171

Digital File Types

172

Container Files: Quicktime and MXF 172

Compression and Codecs 173

Intra-frame versus Interframe Compression 173

Bit Depth 173

MPEG 174

Other Codecs 176

The Curve 177

Controlling the HD Image 179

Gain/ISO 180

Gamma 180

Black Gamma/Black Stretch 180

Knee 180

Color Saturation 180

Matrix 180

Color Balance 180

exposure 181

Exposure: the Easy Way 182

What Do We Want Exposure to Do for Us? 182

Controlling Exposure 182

The Four Elements of Exposure 183

The Bottom Line 185

How Film and Video Are Dierent 185

Two Types of Exposure 185

Light As Energy 186

F/Stops 186

Exposure, ISO, and Lighting Relationships 186

Inverse Square Law and Cosine Law 187

ISO/ASA 187

Light and Film 188

The Latent Image 189

Chemical Processing 189

Color Negative 190

Film"s Response to Light 190

Densitometry 191

The Log E Axis 193

Brightness Perception 194

Contrast 194

“Correct" Exposure 197

Higher Brightness Range in the Scene 198

Determining Exposure 198

cinematography ixVideo Exposure 198

The Tools

199

The Incident Meter 199

The Reectance Meter 200

The Zone System 200

Zones in a Scene 203

The Gray Scale 203

Why 18%? 203

Place and Fall 205

Reading Exposure with Ultraviolet 207

Exposure and the Camera 207

Shutter Speed versus Shutter Angle 208

camera movement 209

Motivation and Invisible Technique 210

Basic Technique

211

Types Of Moves 212

Pan 212

Tilt 212

Move In / Move Out 212

Zoom 213

Punch-in 214

Moving Shots 214

Tracking 214

Countermove 214

Reveal 214

Circle Track Moves

215

Crane Moves 215

Rolling Shot 216

Camera Mounting 216

Handheld 216

Camera Head 216

Fluid Head 216

Geared Head 216

Remote Head 216

Underslung Heads 216

Dutch Head 217

The Tripod

217

High-Hat 217

Rocker Plate 217

Tilt Plate 218

The Crab Dolly 218

Dolly Terminology

218

Dance Floor 219

Extension Plate 219

Low Mode 219

Front Porch 220

Side Boards 220

Risers 220

Steering Bar or Push Bar 220

Cranes 220

Crane/Jib Arm 221

Crane Operation 221

Non-booming Platforms 222

Camera on a Ladder 222

Remote on Cranes 222

Technocrane 222

Cranes on Top of Cranes 222

Car Shots 223

xCamera Positions for Car Shots 223

Vehicle to Vehicle Shooting 223

Aerial Shots 224

Mini-Helicopters 224

Cable-Cam 224

Other Types Of Camera Mounts 224

Rickshaw, Wheelchair and Gareld 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

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