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Book Description

With the next generation of raw cinema cameras you can finally shoot professionally with uncompressed raw motion pictures—without compromising your image or your budget. In Cinema Raw: Shooting and Color Grading with the Ikonoskop, Digital Bolex, and Blackmagic Cinema Cameras, Lancaster takes you through the birth of these new cameras and includes an exclusive behind-the-scenes look at Digital Bolex. He field tests each camera and discusses the importance of shooting in raw and guides you through the raw color grading process so you can create stunning films. Interviews with professionals who have shot documentaries, shorts, and promotionals with these cameras are featured throughout, allowing you to learn field production techniques under real world conditions.

FEATURES:

  • Behind-the-scenes case studies for the next generation of low budget cinema cameras

  • Recommended gear lists to begin your raw shooting experience

  • Full color post workflows that help you realize your boldest cinematic visions

  • A companion website (www.kurtlancaster.com) featuring raw projects covered in the book; video interviews with the creators of the Digital Bolex, Joe Rubinstein and Elle Schneider; and resources for further study of raw cinema

Table of Contents

  1. Cover
  2. Half Title
  3. Title Page
  4. Copyright Page
  5. Dedication
  6. Table of Contents
  7. About the Author
  8. Foreword: Virgin Frames. Untouched by Michael Plescia
  9. Acknowledgments
  10. Introduction: What Camera to Choose? What Story To Tell?
  11. Part I Getting the Raw Deal
    1. 1. Creating a New Paradigm: Behind the Scenes at Digital Bolex
    2. 2. What’s the Deal with Raw? The Advantages (and Disadvantages) of Shooting Compressed vs. Raw
    3. 3. Film Gear for Raw Filmmakers: A Low-Budget List
  12. Part II Raw Production Case Studies
    1. 4. Filmic at 16mm Digital: In the Field with Ikonoskop’s A-Cam dII
    2. 5. Looking Sharp: In the Field with Blackmagic’s Digital Cinema Camera
    3. 6. Rich Textures and Skin Tones: In the Field with Digital Bolex’s D16
  13. Part III Raw Postproduction
    1. 7. Color Correcting and Color Grading CinemaDNG with DaVinci Resolve
    2. 8. Color Correction and Color Grading CinemaDNG with LightPost and Camera Raw
  14. Conclusion: The Importance of Color Depth and the Uniqueness of Cameras
  15. Afterword: The Organic Look of Digital Film by Joseph Rubinstein
  16. Appendix: Why You Must Have 4K and Raw and Why You Absolutely Don’t Need It by Philip Bloom
  17. Index
3.137.162.110