Index

A

Action sports

definition, 3–5

progression, 240–242

AdWords, 212

After Effects, 187

Airlines, equipment safety, 65–66

Alamo, The, 125

Alberstat, Philip, 49

Aperture, definition, 92

Artistic shots

goals, 107, 109

style, 109–110

Aspect ratio, high definition, 24–25

Athlete/cameraman relationship, 9–13

Avid, features, 40–41

B

Backpack, as camera bag, 64

Balancing, frames, 103–105

Batman & Robin, 214

Big-trick skater, definition, 7–8

Blue Horizon, 197

Blue-ray, 192–193, 201, 204

Boom, microphone, 33

Brown, Bruce, 163

C

Camera angles

compelling storytelling, 156

Dutch angle, 130–132

180-degree rule, 129–130

Cameraman etiquette

with athletes, 9–13

between cameramen, 72–74

security guard relationship, 66–67

Cameras, see DV camera; HD camera; HDV camera; Lipstick camera

Cameron, James, 243–244

Candis, Sheldon, 234

Capture card, 43–44

Cardioid microphone, pickup pattern, 32

Cell phone, cameras, 92

CGI, see Computer-generated imagery Close-up shot

example, 80

guidelines, 82

Cohen, Rob, 71, 159, 227

Color temperature

matching, 120

sources and temperatures, 126

Combustion program, 187

Commercials, shooting, 232–233

Composition

balancing frames, 103–105

lighting and focus, 103

overview, 100

rule of thirds, 101

two-shot, 100

weight, 103

Computer-generated imagery (CGI), 185–187

Contest skater, definition, 6

Crane, 40

Crew, finding for short films, 235, 237

D

Debt financing, 49–50

Decklink HD Extreme, capture card, 44

Depth of field

definition, 95

f-stop relationship, 94, 96

film feel, 97–99

hyperfocal distance, 99

reduction, 94

Diesel, Vin, 158

Diffusion filter, 123–125

Digg.com, 212

Digital tape

airline safety, 66

backing up, 170–172

damage, 21

logging, 170

Distribution

film festivals, 197–200

home-video distribution, 200–205

Internet, 208–212

online-distribution opportunities, 196, 208

overview, 195–196

television, 210–211

theatrical distribution, 205–208

Documentary

definition, 135

interview

boundaries, 146–147

interviewer as director, 144

lighting, 143

locations, 143

on-the-fly interview, 139–140

sit-down interview, 142

sound bite, 140–142

tense, 145–146

project classification, 50–51

scripted shoots, 137–138

Documentary, road trips, 159–164

Dogtown and Z-Boys, 13, 207

Dolly, 39–40

Dutch angle, 130–132

DV camera

advantages, 19

CCD charge-coupled device chip number, 18–19

compression, 21, 42, 173

models, 21–22

overview of features, 18, 20

tape damage, 21

DVD

duplication, 201–202

extras, shooting behind the scenes, 224–231

Dyrdek, Rob, 135

E

Edit decision list (EDL), 194

Editing

DV compression limitations, 42, 173

film, 179–180

frame trimming, 190

layout, 173

objectivity, 189

pace, 176–177

software and hardware, 40–44

sound, 174–176

variable speed, 177–178

Editors, as good directors, 60–61

EDL, see Edit decision list

Edmonds, Chris, 144, 240

Electronic news gatherers (ENG), shooting style, 77–78

Elliot, Jake, 11

End, The, 30, 139, 176

Endless summer, The, 163

ENG, see Electronic news gatherers

Engadget.com, 212

Etiquette

cameraman/athlete relationship, 9–13

movie set, 219–222

Extreme close-up shot, 80

Extreme sports, historical perspective, 1–2

F

FCP, see Final Cut Pro

Ferrell, Brooks, 143

Film

advantages and limitations, 27–29

airline safety, 66

cameras, 29

editing, 179–180

latitude, 29

look achievement in digital, 97

resolution, 28–29

Film festivals, distribution, 197–200

Film set, see Movie set

Filters, types and uses, 120, 122–125

Final Cut Pro (FCP), features, 40–41

FireWire, 171–172

First Descent, 86

Fish-eye lens, 87–89, 92

Foley, 174

Followcam

competition between sports, 118

gear, 116

guidelines, 111, 113

safety, 113–114

skateboarding tricks and planning, 115–116

Spydercam, 110

Freytag, Gustav, 150

F-stop

definition, 92

depth of field relationship, 94, 96

setting, 93–94

Full Circle, 197

Funding, options, 48–50

G

Gaffer, 122

Gianopulos, Jim, 244

Goals, setting, 247–248

H

Hard-disk camera, storage capacity, 17–18

Hard drive, footage storage, 170–171

Harnessing Speed, 71, 145

Hawk, Tony, 2, 12, 15, 30, 150–151, 153, 176, 241, 249

HD camera

aspect ratio, 24–25

cost, 25

demand for content, 202

outputting options, 192–193

overview of features, 20, 25

HD DVD, 192–193, 201, 204

HDV camera

advantages, 19, 23

compression, 22–23

DV output, 23

overview of features, 20

Hendrix, Neal, 54

Hitchcock, Alfred, 99

Hoax 7: Scared Straight, 20

Hoffman, Mat, 7

Home-video distribution, 200–205

HVD, capabilities, 205

Hyperfocal distance, 99

I

Independent films, success, 218

In-line skating

followcam, 113

trends, 242

Insurance

equipment, 58

liability, 56–58

shopping, 59

Interlaced frames, 26

Interview

boundaries, 146–147

goals, 145

interviewer as director, 144

lighting, 143

locations, 143

on-the-fly interview, 139–140

road trip, 160–161

sit-down interview, 142

sound bite, 140–142

tense, 145–146

Irons, Andy, 197

iTunes, 208–209

J

Jib arm, 39–40

Jones, Bart, 104

Jonze, Spike, 61, 185

Julio, Jon, 102

K

Kiely, Bill, 35, 143, 217

L

Lasek, Bucky, 174, 176, 191, 217

Lavaliere microphone

advantages and limitations, 34

input adapters, 34–35

Lens

adapters, 86

camera types, 84

definition, 82–83

fish-eye lens, 87–89, 92

long lens, 84–85

mounts, 86–87

prime lens, 83–84

size, 84–85

zoom lens, 84

Lighting

gaffer, 122

interviews, 143

onboard camera lights, 121–122

techniques, 120–121

types, 119–120

Lindemuth, Matt, 241

Lipstick camera

features, 36–37

mounting, 37

Long lens, 84–85

Lords of Dogtown, 207–208

M

MacDonald, Andy, 7

Magic Arm, clamp, 38

Margera, Bam, 135

Master shot, 78

McCoy, Jack, 197

McKinley, Chris, 169

Mead, David, 109, 122, 136

Medium shot, 79

Men of Action, 222–223

Merryman, Richard, 222–223

Miller, Dustin, 3

Mitchell, Chris, 63–64, 95, 101–102, 156, 230

Moore’s Law, 44

Moore, Michael, 135, 137, 144

Mosberg, Jamie, 30, 176

Motion program, 187

Mounting, cameras, 37–38

Movie set

DVD extras, shooting behind the scenes, 224–231

entry level positions, 216–217

environment, 214–215

etiquette, 219–222

key departments in big movie production, 215

networking, 222–224

Music

editing to, 173–176

rights, 181–184

Music videos, shooting, 234–235

N

National Television Standards Committee (NTSC), standards, 23–24, 26

ND filter, see Neutral density filter

Networking, 222–224

Neutral density (ND) filter, 123, 125

Nielson, Bridger, 233

NLE, see Nonlinear editing

Noble, Tom, 13

Nonlinear editing (NLE)

definition, 40

historical perspective, 168

NTSC, see National Television Standards Committee

O

On-the-fly interview, 139–140

Once Upon a Time in Mexico, 25

180-degree rule, 129–130

Opalek, Mike, 154

Orfalea, Paul, 246–247

Outputting, 191–194

Outsiderz, 37

P

PA, see Production assistant

Parker, Jon, 79

Passion, importance, 52–54, 246

Pastrana, Travis, 137, 241

Pelican Case, airline safety, 65

Poetics, 156

Polarizer, 122–123

Police, cameraman relationship, 66–67

Politics, action sports industry, 74–76

Postproduction

editing, 173–180

finishing, 188–190

logging and selecting, 170–173

music, 173–176, 181–184

outputting, 191–194

overview, 167–170

visual effects, 185–188

Preproduction

editors as directors, 60–61

goal defining, 47–50

insurance needs, 56–59

large-scale productions, 218–219

passion, 52–54

project classification, 50–52

talent selection and release, 54–56

Prime lens, 83–84

Production

dynamics on location, 67–69

police and security guard relationship, 66–67

safety, 63–64

set, see Movie set

Production assistant (PA), 216

Psycho, 99

Public domain, 182–183

R

Rain, precautions, 68–69

Rastovich, Dave, 197

Reality television, 135–136

Reflector, 120

Renting, gear, 45

Revver.com, 212

Riding Giants, 206

Rights, music, 181–184

Road trip, documenting, 159–164

Rodriguez, Robert, 15–16, 25

Rule of thirds, 101

S

Safety, location concerns, 63–64

Script, finding for short films, 235

Scripted shoot, 137–138

Security guard, cameraman relationship, 66–67

Semler, Dean, 124–125, 222

Set, see Movie set Shake program, 187

Short films, shooting, 235, 237

Short-subject video, project classification, 51

Shotgun microphone, pickup pattern, 32

Sit-down interview, 142

60i, selection factors, 26–27

Skateboarding, historical perspective, 13–15, 241–242

Skaters, classification, 5–9

Slamdance, 197

Slow motion, 177–178

Sound

editing, 174–176

gear, 31–36

quality importance, 36

Sound bite, 140–142

Soundtrack Pro, 174

Spec commercial, shooting, 232–233

Sponsorship, project financing, 50

Spydercam, 110

Steadicam, 39–40

SteadyShot, fish-eye lens guidelines, 88–89

Stealth, 71, 220

Stevenson, Larry, 241–242

Storytelling

building suspense and drama, 156–159

camera angles, 156

character arcs, 153

five-act dramatic structure, 150–151

plot progression, 153

road trip documenting, 159–164

structure, 151

trick tips and how-tos, 164–165

working too close dangers, 153–155

T

Talent

definition, 54

finding, 56

release, 54–55

Television, distribution, 210–211

Theatrical distribution, 205–208

30p, selection factors, 27

Thorne, Rick, 118

Three-dimensional films, prospects, 243–244

Time management, 246–247

Trick tips, storytelling, 164–165

24p, selection factors, 26–27, 97

Two-shot, 100

U

Ultraviolet filter, 122–123

V

Variable speed cameras, 177–178

Velasquez, Richie, 95

Video skater, definition, 6

Visual effects, 185–188

W

Warhol, Andy, 239

Way, Danny, 8, 38–39, 136–137

Weather, precautions, 68–69

Web 2.0, 245

Weight, composition, 103

White balance

definition, 126

filter techniques, 127

presets, 126–127

Wide shot, 79

Wilkes, Amy, 222

Withoutabox.com, 199

X

X-Dance, 197–198, 208

X Games, historical perspective, 1–2

xXx: A Filmmaker’s diary, 158, 231

Y

Yasutoko, Eito, 156

Yeah Right!, 61, 133, 185

YouTube, 209, 249

Z

Zoom lens, 84

Z-scan, technique, 119

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