Preface | p. xi |
1 Introduction to Digital and Film Systems | p. 1 |
Digital Videos Systems |
The Video Format |
What Is Compression? |
Comparing Videos Formats |
High Definition Digital Formats |
Digital Cinematography Systems |
Standard Definition Digital Formats |
Standard Definition Analog Formats |
Recording to Memory Cards, Drives, and Discs |
Sound Recording for Video |
Video Editing |
Film Systems |
Comparing Film Formats |
Sounds Recording for Film |
Film Editing |
Shooting Digital Versus Shooting Film |
2 Before You Begin Production | p. 53 |
Getting Your Movie Off the Ground |
Formats for the Big Screen and the Small(er) Screen |
The "Look" of the Movie |
The Impact of Sensor Size and Film Gauge |
Color and Sensitivity to Light |
Sharpness and Focus |
Aspect Ratio Choices |
Frame Rate and Scanning Choices |
Choosing a Camera |
Planning Your Workflow |
Managing Data in Production and Post |
The Importance of Sound |
Coping with Technology |
3 The Video Camcorder | p. 102 |
Initial Settings |
Viewfinder and Monitor Setup |
Picture Controls |
Recording to Cards, Drives, and Optical Discs |
Types of Media |
Managing Data on the Shoot |
Recording to Digital Tape |
Operating the Camcorder |
Batteries and Power Supplies |
Camera Sensitivity |
Other Camera Features |
4 The Lens | p. 141 |
Focal Length and Perspective |
The Light-Gathering Power of the Lens |
Focusing the Image |
Choosing a Zoom Lens |
Prime Lenses |
Close Focusing |
Lens Quality and Condition |
The Lens Mount |
Lens Seating Problems |
Care of the Lens |
5 The Video Image | p. 185 |
Forming the Videos Image |
The Digital Video Camera's Response to Light |
Understanding and Controlling Contrast |
What is Gamma? |
Gamma Options When Shooting |
Video Color Systems |
Some Image Manipulations and Artifacts |
Video Monitors and Projectors |
Timecode |
Digital Video Recording-How It Works |
Pixels and Resolution |
Working with Digital Data |
Digital Connections |
Hard Drive Storage |
RAIDs |
File Formats and Data Exchange |
Digital Compression |
Compression Methods |
A Few Common Codecs |
6 The Film Camera | p. 253 |
The Film Gate and Shutter |
Camera Speed and Motors |
Viewing Systems |
The Reflex Viewfinder |
Camera Film Capacity |
Other Camera Features |
Camera Tests and Maintenance |
7 The Film Image | p. 271 |
Properties of the Film Stock |
Contrast of the Image |
Sharpness |
Choosing a Raw Stock |
Packaging, Handling, and Purchasing |
The Light Meter and Exposure Control |
Light Meters |
Taking Readings |
Exposure and Film Stocks |
The Film Lab During Production |
Screening the Rushes |
8 Color and Filters | p. 304 |
Color |
Color Temperature |
Filters |
Matte Boxes and Lens Shades |
9 Shooting the Movie | p. 321 |
The Goals of Production |
Composition and Shot Selection |
The Moving Camera |
Style and Direction |
Dramatic Films |
Documentaries |
Preparing for Production |
Preparing the Script and Approach |
Scheduling and Planning |
Organizing the Production |
The Equipment Package |
In Production |
Logging |
Supporting the Camera |
Slow Motion, Fast Motion, and Judder |
Slow Motion |
Fast Motion |
Judder or Storbing |
Shooting TVs and Video Monitors |
Shooting in 3D |
10 Sound Recording Systems | p. 402 |
Sound |
How Audio Is Recorded |
Analog Audio Recording |
Digital Audio Recording |
Types of Audio Recorders |
Digital Audio Recorders |
Audio in the Video Camera |
The Analog Tape Recorder |
The Microphone |
Audio Connections |
11 Sound Recording Techniques | p. 435 |
Preparing for a Shoot |
Gathering Gear |
The Sound Recordist's Role |
Recording Technique |
Setting the Recording Level |
Music, Narration, and Effects |
Other Recording Issues |
Recording Double System for Video and Film |
Syncing Audio and Picture |
Operating a Double-System Recorder |
12 Lighting | p. 471 |
Light |
Lighting Equipment |
Bulbs |
Types of Lighting Instruments |
Lighting Technique |
Lighting Styles |
Positioning Lights |
Controlling Lighting Contrast |
Lighting and Color |
Special Lighting Effects |
Location Lighting |
13 Picture and Dialogue Editing | p. 521 |
Some Film Theory |
Approaches to Editing |
Dialogue Editing |
The Editing Process |
Titles |
14 Editing Digital Videos | p. 544 |
Components of a Nonlinear Editing System |
How the NLE Plays and Edits Media |
Postproduction Workflow |
What Format or Resolution to Edit In? |
Importing and Organizing Your Material |
Importing Files |
Capturing from Tape |
Creating and Editing Sequences |
Basic Sound Editing |
Working with Double-Systems Sound |
Basic Video Effects |
Titles, Graphics, and Stills |
Mixing and Converting Formats |
Working with 24p and Pulldown |
Editing 24p Footage |
Finishing and Output |
Managing Media |
Exporting a File |
Output to Tape |
Creating a DVD or Blu-ray |
Creating a Digital Cinema Package |
Color Correction |
Tape Editing |
The EDL and Online Editing |
15 Sound Editing and Mixing | p. 635 |
The Sound Editing Process |
Sound Editing Tools |
Sound Editing Technique |
Music |
Some Sound Editing Issues |
Preparing for the Mix |
The Sound Mix |
Level and Dynamic Range |
Frequency Range and EQ |
Other Sound Processing |
Mix Formats |
Deliverables |
16 Working with Film in Postproduction | p. 675 |
Overview of Film-Video Transfers |
Some Film-Digital Workflows |
Film-to-Digital Transfer Devices |
Telecine Options and Controls |
Recording Format and Scanning Options |
Image Control |
Audio Options |
Film Transfer Data |
Booking a Transfer |
Editing Film Digitally |
Preparing to Edit |
Editing Considerations for Traditional Film Finish |
When You're Done with the Offline Edit |
From Digital to Film |
Preparing for the Digital-to-Film Transfer |
Traditional Film Conforming and Blowups |
Preparing the Original for Printing |
Blowups |
Making Film Prints |
Printing Basics |
Answer Prints |
Intermediates |
Release Prints |
Sound for Film Prints |
Analog Optical Tracks |
Digital Sound Tracks |
Film Projection |
17 Producting and Distributing the Move | p. 718 |
Developing the Project |
Funding Sources |
Budgets |
Business Arrangements |
Legal and Copyright Issues |
Protecting Your Work |
Releases for Real People, Places, and Things |
Using Copyrighted Material |
Distribution and Marketing |
A Last Word |
Appendices | p. 767 |
A Adjusting a Video Monitor |
B Data Rates and Storage Needs for Various Digital Formats |
C Depth of Field Tables |
D Hyperfocal Distance Table |
E Angle of View in Different Formats |
Bibliography | p. 791 |
Websites | p. 794 |
Index | p. 797 |