Index

 

 

A/B stereo, 48

Acoustics, 27

Action locations, 85–7

Action sequences, 74–6

Actors, 1, 31–6, 45, 93–6

Actors’ positions, 19

Aircraft noise, 20–1

Airplane, 46

Alexander Nevsky, 9

Alternators, 26

Amadeus, 52

Ancient monuments, 87

Angles, see Camera angles

An Ideal Couple, 123–9

Animals, 78–80

Animation, 9

Anna Karenina, 14

‘Aperture pulls’, 55–66

Apprentice, The, 157–63

Art directors, see Designers

A Tale of Two Cities, 42–3

Atmosphere, 21, 46, 85, 21, 33

Audiences, 1–2, 69

Audiences’ attention, 5–14

Audiences’ perception, 1, 5–8, 11–12, 14–15

Authenticity, 28, 97–8

Available light, 51–2

 

Background noise, see Background sound; Noise

Backgrounds, 4–5

Background sound, 38

Baker, George, 36

Ballroom sequences, 39

Barker, Ronnie, 77

Barry Lyndon, 4, 91

Battle scenes, 84, 90–2, 47

Bayldon, Oliver, 99

BBC, 48–9

BCUs, 8, 14

Becket, 3–4

Best boys, 26

Big close-ups, 8, 14

Billy Liar, 31–2, 69–70

‘Blimps’, 42

Blocking, 34–6 see also Choreography

Bogart, Humphrey, 14

Bracknell, Lady, 69, 72, 101

Breakaway props, 81

Budget, 21, 30–1, 44–5, 84, 94–5

Bullet hits, 81–2

Burton, Richard, 3–4

 

Camera angles, 8–9, 10, 61–2, 65–6

Camera height, 7–8, 75

Cameramen, 37

Camera mounts, 52–3, 59

Camera positions, 6–9, 24–5, 53–4, 56–8, 99

Cameras, noise, 41–2

Camera tilt, 79

Car chases, 86–8

Carriages, 79–80

Cartoons, 9

Casablanca, 14

Cats, 80

Cause-and-effect sequences, 73

Characterization, 31–2

Chases, 87–90

Chesneau, Bill, 49

Chickens, 80

Chief electricians, see Gaffers

Chimes at Midnight, The, 47, 84, 91–2

Choreographers, 65–6

Choreography, 16, 76–8

Churches, 54, 28–9

Cinema, History, 2

Cinemas, 48

Cinemascope, 48

Cinematography, 50–60

Citizen Kane, 52, 97

Clapper boards, 64

Close-ups, 5–14, 18, 40–1, 59, 65–6, 68, 70

Comedians, 68–9

Comedy, 68–74

Comic business, 69–72

Commercials, 60

Compressed air jets, 80, 82

Computer ‘paint boxes’, 22

Continuity, 3–5, 15–16, 20

Contrast, 3, 51, 59, 97

Conway, Jack, 42–3

Corbett, Ronnie, 77

Corman, Roger, 80

Costume design, 1

Costume designers, 96

Costumes, 77

Country houses, 21–2, 87

Coward, Sara, 99

Cranes, 28

Cranking, 75–6

Crews, 69, 93–6

Crocodiles, 80

Crossing the line, 56–8

Cutaways, 66–7, 92

 

Dad’s Army, 32

Dance, Filming, 64–7

Dance sequences, 84–5

Dark Avenger, The, 22

Dart-playing scenes, 17–19, 72–4

DAT audio players, 64

Dawes, Anthony, 32

Debrie, André, 48

Department of the Environment, 87

Depth of field, 51, 54

Descombes, Nigel, 99

Designers, 22–3, 27–8, 37, 87, 96–7

Dialogue, Interrupted, 45

Dialogue scenes, 3–10, 12–13, 16–19, 38–9, 41–2

Dinner-table scenes, 57–8

Directors of photography, 22–3, 25–6, 35–7, 60

Director’s role, 30–7, 93–6

Disney, Walt, 9, 48, 97

Dogs, 79–80

Doors, 99–100

Doubles, 77

Dracula, 21,79

Drama schools, 78

Dream sequences, 76, 75

Dressers, 94

Dry ice, 84–5

 

Echo, 46

Editing action, 90–2

Editors, 37

Electricity supply, 26

Electronic post-production, 22

Emma, 52

Emmergo, 2

Evans, Dame Edith, 31, 96

Example, 10

Examples, 16–19, 23–4, 60–3, 71–4

Exercise scripts, 103–69

An Ideal Couple, 123–29

Apprentice, The, 157–63

Great Day, The, 118–23

Inmates, 111–17

Moments to Go, 103–4, 164–69

New Management, 144–50

Old Boys, 38–43

Power, The, 105–10

Process, The, 151–6

Proper Authority, The, 129–38

Exterior/interior shots, 24, 26, 59

Extras, 38–9

 

Falcons, 79–80

Fantasia, 48

Fawlty, Basil, 68, 70

Fawlty Towers, 70

Feature films, 49, 68

Fell, Stuart, 77

Field of view, 54

Fights, 76–8

‘Film noir’, 97

Film rehearsals, 35

Film speeds, 75–6

Film/video, 51

Fire scenes, 82–5

First assistant directors, 29

Fish pole booms, 27

Flame forks, 82–3

Flintstones, The, 9

Floor plans, 98–100

Flynn, Errol, 22, 76

Focal length, 10–11, 54, 58, 63

Focus pulls, 66

Fourth wall, 23–5

Four Wives, 48

French and Saunders, 69

 

Gaffers, 26–7

Gance, Abel, 13, 47–8

Garbo, Greta, 14

Geese, 80

Generators, 26–7

‘Glass shots’, 22

Glossary, 171–9

Great Day, The, 118–23

Great Expectations, 97

Great Train Robbery, The, 14

Griffith, D.W., 14, 43

Grips, 28–9

Gunshots, 46

 

Hamlet, 77

Hand-held shots, 51–2, 59

Hanna and Barbera, 9

Hardy, Oliver, 71

Harmonizers, 43

Henry V, 91

High angles, 65

Horse-riding, 78

Horses, 78–80

 

Importance of Being Earnest, The, 69, 72, 101

Incidental music, 69

Inmates, 111–17

Interior/exterior shots, 24, 28, 59

Interiors, 53–54, 87, 96–7

Interrupted dialogue, 45

Interview scenes, 56–7

Iwanhoe, 22

 

Jane Eyre, 21

Jazz Singer, The, 41

Jolson, Al, 41

 

Keystone Cops, 76

Knebworth House, 35

Kubrick, Stanley, 4, 91

 

Lang, Fritz, 14, 42

Languages, 44

Laughter, 69, 71

Lean, David, 36

Lenses, 10–12, 51–3, 58–3, 61–3, 74–5 see also under specific types of

Lenses e.g. Wide-angle

Lens sizes, 54

Light, 59 continuity, 3–4

Lighting, 1, 24–5, 35–6, 51–3, 55 exterior, 3 see also Sparks

Lighting cameramen, 25–6

Lighting conditions, 4

Lighting crews, 26–7

Lighting effects, 23

Lighting systems, 26

Light levels, 51

Lightning, 85

‘Lightning strike’, 85

Location filming, 20–9

Location recordists, 43

Locations, 85–7, 96–7

Long-focus lenses, 51–2, 59, 63, 85

Lowe Me Tonight, 42

Lumière Brothers, 2

 

M&E tracks, 44

M&S stereo, 48–9

MacBain, Robert, 80

Mainwaring, Captain, 32

Make-up artists, 94

Make-up designers, 96

Mamoulin, Reuben, 42–3

‘Mark-up’, 35

Master shots, 23

‘Matching close-ups’, 6

‘Matching singles’, 11, 16

‘Matching two-shots’, 15–19

MGM, 22

Microphones, 27, 39–41

direction, 39–40

personal, 40

placement, 39–41

Mills, Sir John, 95

Minimum cover, 13–15

Ministry of Transport, 86

Mirrors, 100–1

Moments to Go, 103–4, 164–9

Monsieur Hulot’s Holiday, 46

Mood, see Atmosphere

Motorways, 86

Multiple-location use, 21–2

Music, 39, 47, 69

Musical events, 27

 

Napoleon, 13, 47–8

New Management, 144–50

Noise, 20–1, 38–41

‘Noise reduction’, 39

‘Non-matching close-ups’, 11

 

Old Boys, 138–43

Olivier, Laurence, 91

Open University, 32

Optical sound, 42

Orchestras, 49

O’Toole, Peter, 3–4

Overcranking, 75–6

 

‘Paint boxes’, computer, 22

Pan glasses, 51

Pans, 66

Period details, 28

Period drama, 20–2, 44, 46, 57, 80, 97–8

Period locations, 86–7

Personal microphones, 40

Perspective animation, 9

Pinocchio, 9

Pitch-change device, 43

Playback, 64, 27, 45

Playback masters, 64

Play rehearsals, 35

Police, 86

Portrait lenses, 11

Post-production, 22

Post-synchronization, 20–1, 41–5 see also Synchronization

Power, The, 105–10

Practical Director, The, 20, 52

Price, Vincent, 2, 80

Pride and Prejudice, 21

‘Prime lenses’, 63

Process, The, 151–6

Producers, 30–1, 37

Production managers, 29

Proper Authority, The, 129–38

Props, 97–8

breakaway, 81

Pyrotechnics, 81

 

Rapid-fire dialogue, 45

Reaction shots, 68–9

Read-throughs, 33–34

Real time, 3–4, 14–15, 73, 41–2

Recces, 22–9, 87–8

Reflections, 101

Rehearsal furniture, 35

Rehearsal rooms, 35

Rehearsals, 32–4, 83

dance, 66

film, 35

play, 35

Reptiles, 80

Rerecording (of dialogue), 43–5

Reuben, Mamoulin, 42

Reverberation, 46

Reverse motion, 73–4

Richard III, 91

Robinson, Edward G., 94

Romans, 63

Room sizes, 21, 27

Running, 74–5

Rushes, 36–7

 

Santa Fe Trail, 48

Scenery, 97–100

Schools dramas, 63

Scottish Tragedy, The, 79–80

Screen directors, 1–2

Scrim, 24

Scripts, 95

Set designers, 96

Shooting scripts, 25

Shot lists, 60, 73

Signature tunes, 46

Simultaneous action, 72–4

Singing in the Rain, 32

Single shots, 16–19

Situation comedies, 15

60/40 mirrors, 82

Size of location, 21

Skies, 3–4

Skouros, Spyros, 48

Smoke, 84–5

Smoke candles, 84

Smoke guns, 84

Snow White, 9

Sons of the Musketeers, 77

Sound, 38–49

Sound continuity, 20

Sound effects, 38, 45–7

Sound levels, 64

Soundproofing, of cameras, 41–2

Sound recordists, 27, 37–8, 94

Sound tracks, 44

Sparks, 26–7

Spartacus, 91

Special effects, 22

Speed of action, 75–6, 92

Split screen, 52

Stage lighting, 1

Stanislavsky, 32

Stars, 31

Stately homes, 21–2, 87

Steadicams, 55–6

Stereo, 47–9

Storyboard artists, 60

Storyboards, 60–3, 73

Stranger, The, 94

Street scenes, 4–5, 39–40, 85–6

Studio sets, 96–7

Stunt horses, 78–9

Stuntmen, 74, 77–9, 83

Stunts, 22, 81–2

Swords, sound effects, 47

Synch FX, 46

Synchronization, 41–5, 64, 66 see also Post-synchronization

Syon Park, 20–1

 

Tarantino, Quentin, 4

Telephoto lenses, 75

Television, 14–15, 48, 96

Television comedies, 68

Television drama studios, 98–9

Television films, 49

Theatre, 1

Thorndyke, Sybil, 96

3D films, 1

Three Men in a Boat, 69

Time:

controlling, 1–2

real, 3–4, 14–15, 41–2

Time codes, 64

Todd, Richard, 97

Toland, Greg, 52

Tomb of Ligiea, The, 80

Tom and Jerry, 9, 45, 71

Tom Jones, 28

Top Cat, 9

Towns, 86

Tracking dollies, 52–3

Tracking shots, 28–9, 55

Training videos, 32, 71

Trains, 49

Tripods, 52–3

TV, see television

Twentieth Century Fox, 48

Two-shots, 12–13, 16–19, 38–9, 45, 53–4, 69–70 see also ‘Matching two-shots’

 

Undercranking, 75–6

 

Video assist, 36–7

Vitaphone system, 41

 

Warner Brothers, 41, 48, 85

Weather, 3–4

Welles, Orson, 4, 47, 52, 84, 91–2, 94

Westrex recording system, 42

Wide-angle lenses, 10–12, 51–2, 58–9

Wide shots, 6–9, 38–9

Wild tracks, 38–9

 

Xanadu, see Citizen Kane

 

Yogi Bear, 9

 

Zoom lenses, 63