High definition is here to stay. HD changes the whole shooting and editing process in film and television production and this book is to satisfy your hunger for information. Whether you are a cinematographer, producer, or working in film/TV production, High Definition Cinematography, 2nd edition will demystitify the new technology, help you select the right cameras and equipment, and explain how high definition affects the shooting process and budgets. Filled with practical advice for tackling everyday decisions and choices, this is a necessity for you if you are using or considering using high definition technology.
This authoritative new reference demystifies the technologies of high definition and 24P cinematography. It is written for the director of photography, camera crew and producer or director and deals with the subject from their point of view. It provides a thorough and logical description of the five scanning formats 24P, 25P, 30P, 50i and 60i as well as recording formats, editing options, delivery potential and discussions on the financial implications theses decisions might have. It looks at comparative costs between different decisions surrounding camera formats, such as 16mm to 35mm shooting for different examples, such as a 100-minute low budget movie or 30 second commercial. There is also considerable discussion on the advantages and disadvantages of using HD versus film, seen from a producer's perspective and what the impact is on all those involved in making a movie. Different delivery systems and camera equipment are discussed as well as editing. Filled with practical advice for tackling everyday decisions and choices, this is a must-have guide for anyone using or considering using high definition technology.
This book consists of edited conversations between DP's, Gaffer's, their crew and equipment suppliers. In common with the other CML books it doesn't have the same structure as a "normal" film reference book. It covers discussions on High Definition between Janaury 2001 and November 2004. The discussions have occasionally been edited for clarity and brevity. They will sometimes ramble a little but that's the nature of a conversation and some interesting information comes out in the process! Our aim is to promote the free exchange of ideas among fellow professionals, the cinematographer, their camera crew, manufacturer's, rental houses and related businesses. Kodak, Arri, Aaton, Panavision, Otto Nemenz, Clairmont, Optex, VFG, Schneider, Tiffen, Fuji, Panasonic, Thomson, K5600, BandPro, Lighttools, Cooke, Plus8, SLF, Atlab Kinetta and Fujinon are among the companies represented.
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.
Cinematography for Games covers the space between the game and film industries by pointing out the most relevant cinematic techniques in today's hottest games, and including interviews with the game industry's greatest luminaries (including Will Wright: Sims legend, Harvey Smith, legendary game Deus Ex, Warren Spector creator of one of the original game companies, Origin). The convergence of games and film is a widely discussed and debated topic in the game industry. Many major publishers, along with some high-profile directors (John Woo, James Cameron, Steven Spielberg, Tony Scott) are exploring the middle ground between the industries. This book introduces game producers and directors to the tried and true techniques cinematographers have relied on for years. Game developers learn how to create compelling video games by: developing quality stories and characters; visualizing scenes within the game through the eyes of a cinematographer; using tried and true film industry methods for casting, voice-over, direction, and production. The book will also feature screen shots from some of today's hottest titles that illustrate key cinematic concepts, as well as advice from successful game industry professionals already using these techniques.
Filmmaking is an art, but, like so many art forms, there are basic underlying tools and techniques and a body theoretical knowledge that must be understood and mastered before artistic expression can flourish. This book is an invaluable resource for all aspiring DoPs. Practical Cinematography can be dipped into for quick reference - perhaps to answer a specific question or deal with practical problems relating to a shoot - or read from cover to cover. It discusses the principles of cinematography and the expertise which is unique to the Director of Photography (DoP). It deals with all the basic theory such as color temperature and sensitometry, and all the practical things a DoP needs to know, from the make-up of the crew to how to prepare an equipment list.
Cinematic Appeals follows the effect of technological innovation on the cinema experience, specifically the introduction of widescreen and stereoscopic 3D systems in the 1950s, the rise of digital cinema in the 1990s, and the transition to digital 3D since 2005. Widescreen cinema promised to draw the viewer into the world of the screen, enabling larger-than-life close-ups of already larger-than-life actors. This technology fostered the illusion of physically entering a film, enhancing the semblance of realism. Alternatively, the digital era was less concerned with the viewer's physical response and more with information flow, awe, and the reevaluation of spatiality and embodiment. This study ultimately shows how cinematic technology and the human experience shape and respond to each other over time.
Release on 2012-09-10 | by Gretchen Davis,Mindy Hall
Techniques for Film, Television, Photography, and Theatre
Author: Gretchen Davis,Mindy Hall
Pubpsher: Taylor & Francis
Category: Performing Arts
Get professional techniques usually known only by Hollywood makeup artists in this full-color, comprehensive book from accomplished makeup pros Gretchen Davis and Mindy Hall. The two come to you with impressive backgrounds in film and television industries--their projects have included Pearl Harbor, Rent, Stuart Little, and The Nanny Diaries, and Mindy Hall is fresh off her Academy Award win for her work on 2009's Star Trek. This new edition of The Makeup Artist Handbook offers even more illustrations to demonstrate techniques visually; fundamentals on topics such as beauty, time periods, black and white film; and up-to-date information on cutting-edge techniques like air brushing makeup for computer-generated movies, makeup effects, mold-making, lighting, and lots of information on how to work effectively in HD. Learn from the pros and hone your craft with this comprehensive book.
Digital Content and the Evolution of the Film and Video Industries
Pubpsher: OECD Publishing
Analyses the impact of digital content creation, distribution and use on value chains and business models of the film and video industry and explores the policy implications of these changes to identify how digital content may affect the function and position of participants in the industry.