Film Production Technique,9780534564773

Film Production Technique

by
ISBN13: 9780534564773
ISBN10: 0534564771
Format: Paperback
Pub. Date: 2002-07-26
Publisher(s): Wadsworth Publishing
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Summary

The text includes coverage of cutting-edge technologies as well as traditional techniques as it discusses lighting, cameras, editing, crew organization, and the production process. An outstanding art program helps students understand difficult material and visualize the equipment and methods currently used in the film industry.

Table of Contents

Preface xv
PART I Blocking for the Camera 1(98)
Initiating the Process
2(16)
The Future of Film
2(2)
The Shape of Film Editing
4(2)
Shooting, Editing, and Finishing on Film
6(4)
Shooting, Editing, and Finishing on Video
10(4)
Shooting on Film, Editing and Finishing on Video
14(1)
Shooting on Film, Editing on Video, and Finishing on Film
15(1)
Shooting, Editing, and Finishing on Video and Transferring to Film
16(2)
Creating the Shots
18(24)
The Language of the Camera
18(1)
The Shots
19(1)
Proxemics
19(6)
Long Shot
20(1)
Medium Shot
20(1)
Close-up
21(1)
Angles
22(1)
Low-Angle Shot
22(1)
High-Angle Shot
23(1)
Eye-Level Shot
24(1)
Bird's-eye View
24(1)
Oblique Shot (Dutch Angle)
24(1)
Point-of-view Shot
25(1)
Movement
25(9)
Pans and Tilts
26(1)
Wheeled Camera Supports
27(1)
Dollies
27(3)
Cranes
30(1)
Arms
31(2)
Handheld Camera
33(1)
Specialized Rigs
34(1)
Focus Effects
34(3)
Deep Focus
35(1)
Shallow Focus
35(1)
Shifting Focus
36(1)
Lens Perspective and Characteristics
37(5)
Wide-Angle
37(1)
Normal
38(1)
Telephoto
39(1)
Zoom
39(3)
Constructing the Scene
42(18)
The Director
42(1)
The Menu
43(1)
Basic Scene Structure
44(3)
Dramatic Emphasis
44(2)
Master Scene Technique
46(1)
Shot/Reverse Shot
46(1)
Continuity
47(5)
Continuity Shooting
48(1)
Types of Continuity
49(3)
The Line
52(8)
Sightlines
52(3)
Action
55(1)
Conceptual Errors
56(2)
Screen Direction
58(2)
Crew Organization
60(13)
The Sequence of Events
60(3)
The Production Crew
63(2)
Team Spirit
64(1)
The Crew's Responsibilities
65(1)
The Producer's Team
66(1)
Production Manager
66(1)
Craft Services
67(1)
The Director's Team
67(3)
Assistant Director
68(1)
Talent
68(2)
Production Assistants
70(1)
The Camera Crew
70(3)
The Director/DP Relationship
70(1)
Grip/Electric
71(1)
The Art Department
71(2)
Previsualization
73(26)
Preparation
73(1)
Methods of Previsualization
74(3)
Overheads
74(2)
Storyboards
76(1)
Shooting Scripts and Shot Lists
76(1)
A Typical Scene
77(3)
Coverage
78(1)
A Caveat
79(1)
Production Design and Costume
80(2)
Organization on the Set
82(4)
The Production Board
82(1)
Storyboards and Organization
83(1)
The Lined Script
84(1)
Production Forms
84(2)
Another Typical Scene
86(13)
The Line
97(1)
Organizational Considerations
97(2)
PART II The Camera 99(84)
The Camera Body
100(42)
Movement and Perception
100(1)
The Basic Mechanism
101(7)
Frames per Second
106(1)
Motors
107(1)
Formats
108(2)
35mm
109(1)
16mm
109(1)
Super 16
110(1)
Camera Loads
110(2)
Daylight Spools
110(2)
Core Loads
112(1)
Cameras
112(2)
Basic Threading Procedures
114(3)
Magazines
117(2)
Single and Dual Compartments
117(1)
Coaxial
118(1)
Viewing Systems
119(3)
Rangefinders
119(1)
Reflex Viewing
119(2)
Viewing Screens
121(1)
Diopters
121(1)
Camera Options
122(2)
Variable Frame Rates
122(2)
Single Framing
124(1)
Camera Features
124(1)
Cleaning and Care
125(5)
Cleaning Kit
126(1)
Cleaning Method
126(3)
Batteries
129(1)
Tripods
130(4)
Legs
130(1)
Heads
131(1)
Attaching the Camera
132(1)
Leveling the Head
133(1)
Camera Safety Checklist
133(1)
Video and the Digital Domain
134(2)
Analog and Digital
135(1)
The Video Image and the Video Camera
136(6)
Technical Specifications
137(1)
Equipment and Formats
138(3)
Using a Digital Camera
141(1)
The Lens
142(17)
Focus
143(2)
f-stop
145(2)
Focal Length
147(2)
Depth of Field
149(6)
Determining Depth of Field
150(2)
Depth of Field and Setting Focus
152(2)
Notes on Depth and Movement
154(1)
Prime Versus Zoom
155(1)
Lens Mounts
155(1)
Front-Filters and Matte Boxes
156(1)
Care and Maintenance
157(2)
Film Stocks, Processing, and Video Transfer and Capture
159(24)
Construction of the Film Stock
159(2)
Negative and Reversal
160(1)
Exposure Index
161(1)
Color Balance
161(3)
Raw Stocks
164(2)
Color Stocks
164(1)
Black-and-white Stocks
165(1)
Processing
166(5)
Printing
167(2)
Edge Numbers
169(1)
Viewing Dailies
170(1)
Video Applications
171(1)
Film-to-Video Transfer and Digital Editing
172(3)
The Big Question
172(1)
The Telecine
173(2)
Basic Definitions
175(5)
Broadcast Quality
175(1)
Off-Line and On-Line
175(1)
Resolution and Storage
175(1)
Time Code
176(1)
Three: Two Pull-Down
176(1)
A, B, C, and D Frames
177(1)
Pull-Up/Pull-Down
178(1)
Formats
179(1)
Flex Files and Organization
179(1)
Capturing Video
180(3)
PART III Shooting 183(70)
Composition
184(21)
The Director of Photography
184(1)
The Frame
185(7)
Balance and the Frame, and the Rule of Thirds
185(2)
General Design Characteristics
187(1)
Composition and Content
188(1)
Composition and Stress
189(1)
Stress and Photographic Factors
190(2)
Lining Up the Shots
192(9)
Headroom and Eyeroom
192(1)
Cleaning the Image
193(1)
Cheating
194(1)
Movement and Anticipatory Camera
194(3)
Movement and Compositional Balance
197(1)
Subject Movement Toward or Away from the Camera
197(1)
Camera Movement Toward or Away from a Subject
198(1)
Movement to Create Space
199(1)
Character Movement to Balance Composition
200(1)
Movement and Meaning
200(1)
Practical Considerations
201(2)
Composition and Compromise
201(1)
Camera and Performance
202(1)
Informal Camera Styles
203(1)
Notes and Suggestions
203(2)
Procedures and Equipment
205(12)
The Take
205(1)
The Slate
206(3)
Executing the Shots
206(1)
Sync and MOS
207(1)
Camera Reports
208(1)
The Camera Assistant
209(6)
Camera Preparation
209(1)
Magazines and Loading
209(2)
Racking Focus
211(1)
Racking Focus and Depth of Field
212(1)
A Note on Movement and Efficiency
213(1)
Lens Flares
214(1)
Scratch Tests
214(1)
Lab Instructions
214(1)
Equipment
215(2)
Equipment Checklist
215(2)
Sound
217(36)
Toward a Final Sound Track
217(2)
Applications
218(1)
Single- and Double-System Sound
219(2)
Synchronization
221(1)
The Character of Sound
222(4)
Sync Recorders
224(1)
Nagra
224(1)
DAT
225(1)
Microphones
226(11)
Audio Connectors and Microphone Cords
228(3)
Recorder Features and Accessories
231(6)
The Production Sound Crew
237(2)
Riding Gain
239(1)
Recording a Scene
240(8)
Complicating Factors
240(4)
Sync Recording
244(3)
Automated Dialogue Replacement
247(1)
Sound Effects
248(2)
Recording Effects on Location
249(1)
Foley
249(1)
Sound Transfers
250(1)
Cleaning and Repair
251(2)
PART IV Lighting and Exposure 253(94)
Concepts and Equipment
254(21)
The Importance of Lighting
254(1)
Basic Three-Point Lighting
255(2)
Key Light
255(1)
Fill Light
255(1)
Backlight
256(1)
High-key and Low-key
257(2)
High-key
257(1)
Low-key
258(1)
Lighting Styles
259(1)
Types of Lighting Instruments
260(6)
Focusable Spots
261(3)
Floodlights
264(2)
Other Types of Sources
266(1)
Ellipsoidal Spots
266(1)
Practicals
266(1)
Reflectors
267(1)
Light Meters
267(4)
Shutter Speed
269(1)
The Computer
270(1)
Manipulation of Lights
271(4)
Problem
271(1)
Solutions
271(4)
Exposure and Latitude
275(21)
Exposure Index, Foot-candles, and f-stops
275(1)
Using the Light Meter
276(5)
Halving and Doubling
280(1)
The Central Confusion
281(1)
Evaluating Existing Light
281(4)
Latitude
285(7)
Reflectant Quality
292(3)
t-stops
295(1)
Planning the Lighting
296(22)
Thinking Out the Process
296(1)
Lighting: A Basic Strategy
296(2)
f-stop Choice
297(1)
Lighting Applications
298(4)
Guidelines
298(1)
Tests
299(3)
Problems and Solutions
302(5)
Shooting an Existing Situation
302(3)
Averaging
305(1)
Working with Artificial Light
305(2)
The Setup: Decision Making
307(3)
The Setup: Fine-tuning
310(8)
Direction and Shadow
313(2)
Natural Light
315(1)
Night Shooting
316(2)
Executing the Lighting
318(29)
A Checklist
318(1)
Lighting Continuity
318(3)
f -stops and Consistency
321(3)
Controlling Focus
324(1)
Matching Color Sources
325(4)
Electricity
329(2)
Printing, Processing, and Exposure Manipulations
331(3)
Reference Charts
331(2)
Force Processing and Flashing
333(1)
Slow Motion and Fast Motion
334(2)
Filming Various Skin Tones
336(2)
Safety
338(2)
Planning and Preparation
340(3)
Transferring to Video
343(1)
Video and Latitude
343(1)
Video and the Characteristic Curve
343(1)
Video Image Manipulation
344(1)
f-stop Choice and the Checklist Revisited
344(2)
A Typical Scene
346(1)
PART V Editing 347(81)
Principles, Procedures, and Equipment
348(22)
Film Editing and Digital Nonlinear Editing
348(1)
The Purposes of Editing
348(1)
General Editing Principles
349(3)
Transitional Devices
349(1)
Economy and Pace
350(2)
Structuring the Editing
352(4)
The Basic Rule
352(1)
Cutting on Action
352(1)
The 30-Degree Rule
353(1)
Emphasis
354(1)
Visual Interest
355(1)
Variety
355(1)
Continuity Problems
355(1)
Basic Terms
356(2)
Procedures in Film Editing
358(2)
The Editorial Staff
358(1)
Organization
359(1)
Approaching the Edit
359(1)
Film Equipment and Supplies
360(5)
Projectors
360(2)
The Bench
362(1)
Supplies
363(2)
The Shape of Digital Nonlinear Editing
365(1)
Finishing
366(4)
NTSC
366(1)
Temporal Accuracy Versus Frame Accuracy
366(1)
24-Frame Digital Video
367(3)
Cutting Picture and Sound
370(35)
The Film Edit
370(2)
The Control Panel
371(1)
Practical Cutting Considerations
371(1)
The NLE System Edit
372(2)
Film: Preparing to Edit Sync Sound
374(9)
Syncing Up
375(4)
Coding and Edge Numbering
379(1)
First Assembly
380(3)
NLE: Preparing to Edit Sync Sound
383(1)
Syncing Up
383(1)
First Assembly
384(1)
Dialogue Cutting
384(6)
Straight Cuts: Film and NLE
385(3)
Overlapping Cuts: Film and NLE
388(2)
Cutting Nonsync Sound and Picture
390(6)
Film: Cutting Sound Effects
391(2)
Film: Cutting to Music
393(1)
Film: Cutting Voice-overs
394(1)
NLE: Cutting Sound Effects, Music, and Voice-overs
395(1)
MOS Inserts: Film and NLE
396(1)
A & B Rolling Sync Sound
397(3)
A Typical Scene
400(3)
Audio Finishing
403(2)
Finishing the Film
405(23)
Titling
406(1)
Film: Preparing Leaders
406(1)
Final Sound Mixing
406(5)
Film: Mixtrack Configurations
407(1)
The ``Conventional'' Film Audio Mix
408(2)
The NLE Mix
410(1)
Preparation for the Negative Cutter
411(3)
Film: Marking the Workprint
411(2)
NLE: Creating an EDL
413(1)
Negative Cutting
414(9)
The Clean Room
414(1)
Cement Splicing
414(2)
A & B Rolling Picture
416(3)
Cutting the Original
419(1)
Notes and Cautions
420(3)
The Final Print
423(5)
Reversal Versus Negative
424(1)
The Printing Program
424(2)
The First Answer Print
426(2)
Glossary 428(10)
Index 438

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