Film Production Technique Creating the Accomplished Image,9780534629168

Film Production Technique Creating the Accomplished Image

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Edition: 4th
ISBN13: 9780534629168
ISBN10: 0534629164
Format: Paperback
Pub. Date: 2005-06-23
Publisher(s): Wadsworth Publishing
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Summary

Part One: BLOCKING FOR THE CAMERA. 1. Initiating the Project. 2. Creating the Shots. 3. Constructing the Scene. 4. Crew Organization. 5. Previsualization. Part Two: THE CAMERA. 6. The Camera Body. 7. The Lens. 8. Film Stocks, Processing, and Video Transfer and Capture. Part Three: SHOOTING. 9. Composition. 10. Procedures and Equipment. 11. Sound. Part Four: LIGHTING AND EXPOSURE. 12. Concepts and Equipment. 13. Exposure and Latitude. 14. Planning the Lighting 15. Executing the Lighting. Part Five: EDITING. 16. Principles, Procedures, and Equipment. 17. Cutting Picture and Sound. 18. Finishing the Film. Glossary. Index.

Table of Contents

Preface xiv
Introduction xix
PART I Blocking for the Camera
1(82)
Creating the Shots
2(24)
Film and Video
2(1)
The Language of the Camera
3(1)
The Shots
4(1)
Proxemics
4(3)
Long Shot
5(1)
Medium Shot
5(1)
Close-up
6(1)
Angles
7(3)
Low-Angle Shot
7(1)
High-Angle Shot
8(1)
Eye-Level Shot
8(1)
Bird's-Eye View
8(1)
Oblique Shot (Dutch Angle)
9(1)
Point-of-View Shot
9(1)
Movement
10(9)
Pans and Tilts
10(1)
Wheeled Camera Supports
11(1)
Dollies
11(4)
Cranes
15(1)
Arms
16(1)
Handheld Camera
17(1)
Specialized Rigs
18(1)
Focus Effects
19(3)
Deep Focus
19(1)
Shallow Focus
19(2)
Shifting Focus
21(1)
Lens Perspective and Characteristics
22(4)
Wide-Angle
22(1)
Normal
23(1)
Telephoto
23(1)
Zoom
24(2)
Constructing the Scene
26(18)
The Shape of Production
26(1)
The Director
27(1)
The Menu
27(1)
Basic Scene Structure
28(4)
Dramatic Emphasis
28(2)
Master Scene Technique
30(1)
Shot/Reverse Shot
31(1)
Continuity
32(4)
Continuity Shooting
33(1)
Types of Continuity
33(3)
The Line
36(8)
Sightlines
37(2)
Action
39(2)
Conceptual Errors
41(1)
Screen Direction
42(2)
Crew Organization
44(13)
The Sequence of Events
44(4)
The Production Crew
48(1)
Team Spirit
48(1)
The Crew's Responsibilities
49(1)
The Producer's Team
50(1)
Production Manager
50(1)
Craft Services
51(1)
The Director's Team
51(3)
Assistant Director, with Caveat
52(1)
Talent
53(1)
Production Assistants
54(1)
The Camera Crew
54(3)
The Director/DP Relationship
55(1)
Grip/Electric
55(1)
The Art Department
56(1)
Previsualization
57(26)
Preparation
57(1)
Methods of Previsualization
58(3)
Overheads
58(2)
Storyboards
60(1)
Shooting Scripts and Shot Lists
60(1)
A Typical Scene
61(3)
Coverage
62(1)
A Caveat
63(1)
Production Design and Costume
64(2)
Organization on the Set
66(4)
The Production Board
66(1)
Storyboards and Organization
67(1)
The Lined Script
68(1)
Production Forms
68(2)
Another Typical Scene
70(13)
The Line
80(1)
Organizational Considerations
80(3)
PART II The Camera
83(110)
The Camera Body
84(36)
Movement and Perception
84(1)
The Basic Mechanism
85(7)
Frames per Second
90(1)
Motors
91(1)
Formats
92(3)
35mm
93(1)
16mm
94(1)
Super 16
94(1)
Camera Loads
95(1)
Daylight Spools
95(1)
Core Loads
96(1)
Cameras
96(3)
Basic Threading Procedures
99(2)
Magazines
101(2)
Single and Dual Compartments
102(1)
Coaxial
103(1)
Viewing Systems
103(3)
Rangefinders
103(1)
Reflex Viewing
104(1)
Viewing Screens
104(2)
Diopters
106(1)
Camera Options
106(2)
Variable Frame Rates
106(2)
Single Framing
108(1)
Camera Features
108(2)
Cleaning and Care
110(4)
Cleaning Kit
110(1)
Cleaning Methods
111(2)
Batteries
113(1)
Tripods
114(6)
Legs
114(1)
Heads
115(2)
Attaching the Camera
117(1)
Leveling the Head
117(1)
Camera Safety Checklist
118(2)
The Lens
120(18)
Focus
120(3)
f-Stop
123(3)
Exposure Index
124(1)
The Aperture and Light
125(1)
Focal Length
126(1)
Depth of Field
127(6)
Determining Depth of Field
128(2)
Depth of Field and Setting Focus
130(3)
Notes on Depth and Movement
133(1)
Prime Versus Zoom
133(1)
Lens Mounts
134(1)
Front-Filters and Matte Boxes
135(1)
Care and Maintenance
136(2)
The Film Image and Video Origination
138(27)
Film Stocks and Processing
138(5)
Construction of the Film Stock
138(2)
Negative and Reversal
140(1)
Color Balance
140(3)
Raw Stocks
143(3)
Color Stocks
143(1)
Black-and-White Stocks
144(1)
Edge Numbers
145(1)
Processing
146(5)
Printing
147(2)
Projectors
149(1)
Viewing Dailies
150(1)
Video and the Digital Domain
151(2)
Film-to-Video Transfer and Digital Editing
151(1)
Analog and Digital
152(1)
The Video Image and the Video Camera
153(5)
Formats
154(2)
Video Standards
156(2)
Technical Specifications
158(2)
Compression
158(1)
Color Space
159(1)
Frame Rates
159(1)
Cameras
160(5)
Using a Digital Video Camera
162(2)
Video Applications
164(1)
Workflow and the Film/Video Interface
165(28)
The Big Question
165(1)
Matchback
166(1)
The Telecine
166(2)
Digital Intermediates
168(1)
Basic Definitions
168(5)
Broadcast Quality
168(1)
Off-Line and On-Line
169(1)
Time Code
169(1)
Three: Two Pull-Down
170(1)
A, B, C, and D Frames
171(1)
Pull-Up/Pull-Down
172(1)
Formats
172(1)
Capturing Video
173(3)
Flex Files and Organization
175(1)
The Future of Film
176(2)
Workflows
178(14)
Shooting, Editing, and Finishing on Film
179(4)
Shooting, Editing, and Finishing on Video
183(4)
Shooting on Film, Editing and Finishing on Video
187(1)
Shooting on Film, Editing on Video, and Finishing on Film
188(1)
Shooting, Editing, and Finishing on Video and Transferring to Film
189(1)
Creating a Digital Intermediate and Finishing on Film
190(2)
Projection
192(1)
PART III Shooting
193(70)
Composition
194(20)
The Director of Photography
194(1)
The Frame
195(7)
Balance and the Frame, and the Rule of Thirds
196(1)
General Design Characteristics
197(1)
Composition and Content
198(1)
Composition and Stress
199(1)
Stress and Photographic Factors
200(2)
Lining Up the Shots
202(8)
Headroom and Eyeroom
202(1)
Cleaning the Image
203(1)
Cheating
203(1)
Movement and Anticipatory Camera
204(2)
Movement and Compositional Balance
206(1)
Subject Movement Toward or Away from the Camera
207(1)
Camera Movement Toward or Away from a Subject
207(2)
Movement to Create Space
209(1)
Character Movement to Balance Composition
209(1)
Movement and Meaning
210(1)
Practical Considerations
210(3)
Composition and Compromise
211(1)
Camera and Performance
211(1)
Informal Camera Styles
212(1)
Notes and Suggestions
213(1)
Procedures and Equipment
214(12)
The Take
215(1)
The Slate
215(3)
Executing the Shots
215(2)
Sync and MOS
217(1)
Camera Reports
217(1)
The Camera Assistant
218(6)
Camera Preparation
218(1)
Magazines and Loading
218(2)
Racking Focus
220(1)
Racking Focus and Depth of Field
221(1)
A Note on Movement and Efficiency
222(1)
Lens Flares
223(1)
Scratch Tests
223(1)
Lab Instructions
223(1)
Equipment
224(2)
Equipment Checklist
224(2)
Sound
226(37)
Toward a Final Sound Track
226(2)
Applications
227(1)
Single- and Double-System Sound
228(2)
Synchronization
230(1)
The Character of Sound
231(2)
Sync Recorders
233(3)
Hard-Drive Recorders
233(1)
DAT
234(1)
Nagra
234(1)
Mini-Disk and Beyond
235(1)
Microphones
236(10)
Audio Connectors and Microphone Cords
238(3)
Recorder Features and Accessories
241(5)
The Production Sound Crew
246(2)
Riding Gain
248(2)
Recording a Scene
250(8)
Complicating Factors
250(3)
Location Recording
253(3)
Automated Dialogue Replacement
256(2)
Sound Effects
258(1)
Recording Effects on Location
258(1)
Foley
258(1)
Import/Sound Transfers
259(2)
Cleaning and Repair
261(2)
PART IV Lighting and Exposure
263(96)
Concepts and Equipment
264(21)
The Importance of Lighting
264(1)
Basic Three-Point Lighting
265(2)
Key Light
265(1)
Fill Light
266(1)
Backlight
266(1)
High-Key and Low-Key
267(2)
High-Key
267(1)
Low-Key
268(1)
Lighting Styles
269(1)
Types of Lighting Instruments
270(6)
Focusable Spots
271(3)
Floodlights
274(2)
Other Types of Sources
276(2)
Ellipsoidal Spots
276(1)
Practicals
276(1)
Reflectors
277(1)
Light Meters
278(7)
Shutter Speed
279(1)
The Computer
280(1)
Manipulation of Lights
281(1)
Problem
281(1)
Solutions
281(4)
Exposure and Latitude
285(21)
Exposure Index, Foot-Candles, and f-Stops
285(1)
Using the Light Meter
286(5)
Halving and Doubling
290(1)
The Central Confusion
291(1)
Evaluating Existing Light
291(4)
Latitude
295(8)
Luminance
303(1)
t-Stops
304(1)
A Note on Spot Meters
305(1)
Planning the Lighting
306(22)
Thinking Out the Process
306(1)
Lighting: A Basic Strategy
307(1)
f-Stop Choice
307(1)
Lighting Applications
308(4)
Guidelines
308(1)
Tests
309(3)
Problems and Solutions
312(5)
Shooting an Existing Situation
312(2)
Averaging
314(1)
Working with Artificial Light
315(2)
The Setup: Decision Making
317(3)
The Setup: Fine-Tuning
320(8)
Direction and Shadow
323(2)
Natural Light
325(1)
Night Shooting
326(2)
Executing the Lighting
328(31)
A Checklist
328(1)
Lighting Continuity
328(3)
f-Stops and Consistency
331(3)
Controlling Focus
334(1)
Matching Color Sources
335(4)
Electricity
339(2)
Printing, Processing, and Exposure Manipulations
341(3)
Reference Charts
341(2)
Force Processing and Flashing
343(1)
Slow Motion and Fast Motion
344(2)
Filming Various Skin Tones
346(2)
Safety
348(3)
Planning and Preparation
351(2)
Transferring to Video
353(1)
Video and Latitude
353(1)
Video and the Characteristic Curve
354(1)
Video Image Manipulation
354(1)
f-Stop Choice and the Checklist Revisited
354(2)
A Typical Scene
356(3)
PART V Editing
359(85)
Principles, Procedures, and Equipment
360(19)
Digital Nonlinear Editing and Film Editing
360(1)
The Purposes of Editing
360(1)
General Editing Principles
361(3)
Transitions
362(1)
Economy and Pace
362(2)
Structuring the Editing
364(4)
The Basic Rule
364(1)
Cutting on Action
364(1)
The 30-Degree Rule
365(1)
Emphasis
366(1)
Visual Interest
367(1)
Variety
367(1)
Continuity Problems
368(1)
Basic Terms
368(1)
Procedures in the Editing Room
369(4)
The Editorial Staff
369(1)
Organization
370(1)
Approaching the Edit
371(1)
Film Equipment
371(2)
Nonlinear Editing and the Film Print
373(6)
Finishing
374(1)
NTSC
374(1)
Temporal Accuracy Versus Frame Accuracy
374(1)
24-Frame Video
375(4)
Cutting Picture and Sound
379(37)
The NLE System Edit
379(4)
The Film Edit
383(1)
The Control Panel
383(1)
Film: Preparing to Edit Sync Sound
384(7)
Syncing Up
385(3)
Coding and Edge Numbering
388(1)
First Assembly
389(1)
Countdown Leaders
390(1)
NLE: Preparing to Edit Sync Sound
391(3)
Syncing Up
391(1)
Assembling the Project
392(2)
Dialogue Cutting
394(7)
Straight Cuts
394(3)
Overlapping Cuts
397(1)
Sync Film Cutting
398(3)
Cutting Nonsync Sound and Picture
401(2)
A & B Rolling Sync Sound
403(2)
A Typical Scene
405(3)
Audio Finishing
408(2)
Practical Cutting Considerations
410(6)
Volume Control
410(1)
Effects
411(1)
Color Correction
412(2)
Audio Sweetening
414(2)
Finishing on Film/Finishing on Video
416(28)
Toward a Film Print
417(2)
Titling
418(1)
Final Sound Mixing
419(5)
The ``Conventional'' Film Audio Mix
419(1)
The Digital Mix
420(2)
Track Configurations
422(1)
The Mix Philosophy
422(2)
Negative Cutting
424(14)
Preparation for the Negative Cutter
424(1)
Marking the Workprint
425(2)
Creating a Negative Cut List
427(1)
Film and NLE
428(1)
The Clean Room
429(1)
Cement Splicing
429(1)
A & B Rolling Picture
430(3)
Cutting the Original
433(1)
Notes and Cautions
434(4)
The Final Print
438(5)
Reversal Versus Negative
439(1)
The Printing Program
439(1)
The First Answer Print
440(2)
Alternatives
442(1)
The End Result
443(1)
Glossary 444(11)
Index 455

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