Note: Page numbers in italics indicate figures and tables.
A
Aaton 74
Access Hollywood 190
Adobe Audition 291
Adobe Premiere 167
Adobe Warp Stabilizer 278, 279
Adong, Judith Lucy 266
Advanced Access Content System (AACS) 308
A&E 128
AJA Ki Pro 197
Almendros, Néstor 240
American Idol 27
Anderson, Wes 6
Animal Cops 128
Animal Planet 128
Anton Bauer Gold Mount 201
Apple 211
apple box 263
Apple Compressor 306
ARRI Alexa 77, 77, 314; resolution and 65; stops of dynamic range 214; white balance and 187
attenuated edge sky control filter 224, 224
audio: background noise and 282–3; bad connections and 283, 283; balanced 284, 285; boom operators and 289, 289–90; double system and 291, 291; DSLR cameras and 113, 113–15; improvising and 293; microphone placement and 287; mixers and 285, 285–6; multichannel 5.1 recording and 292, 292; noise reduction and 290; overview of 281–2; setting audio levels and 286, 286; short shotgun and 287, 287–8; uncompressed 87; wireless microphones and 288, 289
audio connections 284
audio levels, setting 286, 286
authenticity, audiences and 23, 23–4
auto-everything toggle 174
Automatic Black Balancing (ABB) 191, 191
Automatic Level Control (ALC) 286, 286
autostereo (glassesfree) TVs 165
auto-white, story command and 189–90
AVC (Advanced Video Codec) 91
AVCHD 308
B
backfocus: high heat and 205; lens 135
back light 253
bad connections and bad sound 283, 283–4
balanced transformers, mixers and 286
Ballhaus, Michael (ASC) 241
bandas 316
barrel rotation 137
Barry Lyndon 16
Batman Returns 21
Bayer, Bryce E. 86
Bayer mask 86
BDMV 308
Beasts of the Southern Wild 20
bidirectional frames 91
black level 214
The Blair Witch Project 67, 67
Blockbuster 303
blockiness 106
Bottle Rocket 18
bounce board 249
Bound for Glory 277
Brazil 128
butterfly 249
byte 92
C-47 (clothespin) 262
Cacayorin, Philip 292
camcorder batteries 201
camera controls, 10 minute rule 77–8
camera glove 207
camera lens: adapters 139, 139; breathing of focus 132, 134, 134; Chromatic Aberration Compensation 132, 133; cine-style 136; close-ups and 121, 121–2; control of cinematic space and 120–21; defects 131; depth of field 137, 137–8; detail level settings and 133; evaluating procedures for 135–6; focus rings and 136, 136; f-stops and 131, 131–2, 138,; manufacture claims and type of 124–5; one-piece camcorders and 132; optical vs. digital zoom 127, 127; overview of 119–120; quality of optics and 129–130; still 137; storytelling capabilities of 122;sweet spot on 134; wide-angle, pros and cons 127–8, 128; zoom ranges of 123, 124
Canon 5D Mark II: Act of Valor and 10, 107; double-frame sensor 105; stops of dynamic range 214
Canon C300 196
Canon EOS 103
Canon HFS100 5
canvas limiting, storytelling with cameras and 21–2
Casablanca 39
cathode ray tube (CRT) 214
C-clamps 262
characteristic response curve 215
Charge-Coupled Devices (CCDs) 71–2
checksum 310
Chien Andalou 33
choker close-up 162
Christian Dior silk net 229, 229
Christmas Album, The 183
chroma, controlling 217–18, 218
Chroma Du Monde chart 134
chroma keying 258
Chromatic Aberration Compensation (CAC) 132, 133
chromatic aberrations (CAs) 82, 131, 133
cine gamma modes, avoiding 193, 215
cinematic space, control of 120–1
cine-style camera lens 136
Citizen Kane 3, 44, 45, 49, 109
Clarkson, Kelly 258
clear scan 181
clip-on matte box 231
close-ups 33, 34, 47, 47–8; camera lens and 121, 121–2; choker 162; of grotto pilgrims 46, 46; lazy 48, 48
codec 91
color and contrast 35
color correction 235, 235–6, 236
colorforms 162
color temperature blue (CTB) 252–3
color temperature orange (CTO) 253
color temperatures, white balance and 187, 188
Columbia Pictures 18
comfort zone, audience 159
command and control, story: animation 203, 203; auto-exposure and 174–5, 175–6; auto-focus and 183, 183; Automatic Black Balance and 191, 191; auto-white and 189–90; camera ISO rating and 177, 177; China Girl and 177, 178; extreme conditions, shooting in 204–7, 205–7; follow focus and 186, 186; frame rates and 181–2, 182; gain settings and 191–3, 192; HD focusing and 184, 184–5; interconnectivity, streaming and 197, 198; life risk while shooting 208, 208; lithium-ion batteries and 199–200, 200–1; LOOP function 204, 204; monitors and 198, 199; noise and 193; overview of 173; prerecord function 204, 204; serial digital vs. HDMI 196, 197; shutters and 179, 180; synchronized shutter and 181, 181; timecode and 194–5, 194–6; time lapse 203, 203; viewfinder and 202, 202; waveform and 179, 179; white balance and 187–9, 187, 188, 189
communication jargon and gestures 275
comparative advantage, shooter-storytellers 20–1
complementary metal–oxide semiconductor (CMOS) 5
compositions 35; triangle as source of 38, 39, 39; visual message and 38, 38–9
compressors, redundancy and 88, 88–9
cookies, lighting and 261, 261
Cool White fluorescent lamps 248
craft as success factor 27
cranes 276
critical focus 184
cropping 34
crosshair, camera finder 135
Crossing Over 250
Cruise, Tom 153
Crumb, Robert 29
CTB (color temperature blue) 252–3, 252
CTO (color temperature orange) 252, 253
D
Dali, Salvador 33
Darjeeling Limited, The 6, 7, 277, 287, 296, 297
DaVinci, Leonardo 5
Days of Heaven 192
Deadliest Catch 128
de-interlaced images 64
deliberate underexposure 174, 176
Department of Transportation 200
depth cues, 3D shooter and 145, 145
depth of field (DOF) 137, 137–8; camera sensor size and 81; DSLR and 109–10, 109; higher f-stop and 138; tiny-sensor cameras and 39
descriptor file 88
DeSica, Vittorio 19
detail coring, noise reduction and 193
detail level, camera 133
DEVICE mode 301
Diaz, Cameron 190
diffusion, lighting and 251–2, 251
diffusion filters 226, 226–7, 228; HDV reduction and 226; types of 227; uses for 228–9
digital asset management (DAM) 298
Digital Linear Tape (DLT) 306
digital signal processor (DSP), brain as 29, 69
ditty bag 264
diversity receiver (wireless microphone) 288
dolly and track 276
double system 113, 114, 291, 291
double/triple stage tripod 274
drop frame (DF) timecode 194, 194
dropout 98
DSLR: audio difficulties with 113, 114–15; depth of field and 109–10, 109; design and use of 104; external monitors and 112, 112; jello effect and 108–9; light sensitivity of 105; load shedding with 105–7, 106; operational compromises of 110, 110–12; overview of 103; performance of 103–4; setup of 107–8, 107; special rigs for 110; WiFi and 115, 116
Durocher, Leo 152
Dutch Boats in a Gale (Turner) 40
DVD-Video 304
dynamic range: camera sensor size and 81; defined 22, 214; expressing 214; number of stops and 214–15
Dynamic Range Stretch (DRS) 216, 217
E
Eastman Kodak 86
Electronic Viewfinder (EVF) 157; sun damage to 185
emulsion test 232
encoders, range of 305
ethics, filmmaker 25
exclusion principle 35, 35–6; background noise and 282–3; lighting and 239, 251; misrepresenting reality and 53
expanded view 184
exposure meter 178
extreme conditions, shooting in 204–5, 205–7
Eye-Fi card 198
Eyes Wide Shut 234
F
Facebook 9
Fassbinder, Rainer Werner 241
fill, lighting and 253, 254–5, 254–5
filters: attenuated edge sky control 224, 224; Christian Dior Diorissimo No. 4443 229; contrast 225, 225; diffusion 226, 226–7, 228; fog 232, 233; Formatt diffusion 227, 229; hard-edge grad sky control 224, 224; neutral density 222, 222; Schneider diffusion 220, 226, 227, 227, 228, 229, 306; sky control 224, 224–5; soft-edge grad sky control 224, 224; stacking of 231, 231; star 231; Tiffen diffusion 226, 227, 228–9, 306; tightening 306; warming 232, 232; water white glass and 22
Final Cut Pro 167; three-way color corrector 235
finished frames 6
Fisher-Price Pixelvision 13, 71–2, 72
5.1 sound configuration 292
The Five C’s of Cinematography (Mascelli) 8
flare, CAC and 133
Fletcher Camera 200
flicker 94
fluorescent lighting, green plague and 247–8, 247–8
focusing, HD camera 184, 184–5
focus rings 185
Formatt diffusion filters 227, 229
4K formats 100
4K resolution 66, 65–6, 83–4, 84
frame elements 6
frame rate: selection 93–4; visual story and 181–2, 182
framing 28, 28–9, 30; choices 63–4, 65; 2D shooter and 142, 143
Franklin, Ben 35
Fresnel 240, 243, 259; snoots and 262, 262
f-stops, camera lens and 131, 131–2, 138
fusion frequency 69
G
gain settings, story control and 191–3, 192
The Gangs of New York 241
Gene Simmons: Family Jewels 128
genre knowledge, storytelling and 15–17
The Geographer (Vermeer) 38
Gilliam, Terry 128
The Girl Who Could Not Fly 104
Girl With a Pearl Earring (Vermeer) 250
glassesfree TVs see autostereo (glassesfree) TVs
global-type shutter 78
Godard, Jean-Luc 44
Goldman, William 20
Go Pro 5
green plague and fluorescent lighting 247, 247–8, 248
green screen lighting 257, 257–9, 258
group of pictures (GOP) 83, 91, 91
Gwynne, Fred 152
gyroscope system 277
H
hard-edge grad sky control filter 224, 224
Harry Potter and the Order of the Phoenix 298
HD formats 100
HDMI (High Definition Multimedia Interface) 196, 197
headsets 290
high chroma 217
high hat 275
highlight detail 216
HMI (Hydrargyrum Medium-Arc Iodide) 245
The Hobbit: An Unexpected Journey 15, 170, 170
Hoffman, Dustin 122
Hollywood (overhanging tree branch) 262
horizontal image translation (HIT) 153, 167, 169
HOST mode 301
House (TV show) 110
H.264 305
I
interaxial distance 150, 150–2
interconnectivity, streaming and 197, 198
interframe compression 91, 91–2; frame rates and 181–2, 182
interocular distance 150, 150–2
interpolation 69
intervalometer 203
intraframe compression 91
iPhone 301
ISO (International Organization for Standardization) rating 177, 177
J
jello effect 79; DSLR and 108–9
jelly roll, lighting and 252–3, 252
Jerry Maguire 234
Jobs, Steve 308
Jolie, Angelina 190
JVC GY-DV500 130
K
Kell Factor 63
kicker 253
Kislevitz, Harry and Patricia 162
Kodak 173
L
Lawrence, Carol 256
LCD viewfinders 184
LED CycLight 259
LED lighting 243–5, 244–5, 248
Lee, Gypsy Rose 30
lens see camera lens
lens breathing 132
lens flare 82
lenticular screen 165
Les Glaneuses (Millet) 22
lighting: amount of 240–1, 242; clamps and 262, 262; cookies and 261, 261; diffusion and 251–2, 251; ditty bag and 264; exclusion and 239, 251; fill and 253, 254–5, 255; fluorescent, green plague and 247, 247–8, 248; front 254, 254; for green screen 257, 257–9, 258; grip packages and 259–60, 260; HMI 248, 248,; ingenuity needed for 265, 265–6; jelly roll and 252–3, 252; kooks and 261, 261; large sources of 248; LED 243–5, 244–5, 248; overview of 239; in planes 256, 256; Reflecmedia system of 259, 259; snoots and 262, 262; soft sources of 249–50, 250; spill from 251; standard setup for 253–4, 253; tapes and 263, 263; types of 242–3, 242, 243
Lincoln, Abraham 274
lithium-ion batteries 199–200, 200, 201
LiveU 198
load shedding, DSLR cameras and 105–7
low chroma 217
LTO (Linear Tape Open) 310
LTO6 data cartridge 311
Lumet, Sidney 13
lux, defined 242
M
Magic Bullet Denoiser 307
Magic Bullet Looks Suite 234, 235
Magic Eye® stereogram 166
Magic Hour 23; dynamic range and 214; sunset grad 225; Venice California beach at 22
The Magnificent Ambersons 137
Maher, Bill 20
Malick, Terrence 192
Manfrotto 501 270
Mann’s Chinese Theatre 20
The Marriage of Maria Braun 241
Mascelli, Joseph 8
Master Detail (DTL): noise reduction and 193; setting 212–13, 213
Matchbox Twenty 129
matching photography, 3D and 155, 155
Material eXchange Format (MXF) 297, 297–8
Mdundiko 214
medium shots 31
memory cards 61
microphone placement 287
minimum decodable unit 91, 91, 92
minimum illumination 124; for HD camcorders 240, 241, 242; influencing factors 241
moiré 305
Molenaer, Jan Miense 142
monoscopic cues, 3D shooter and 146–8, 146–7
monoscopic depth cue 37
Morgan, Chris 104
motion depth cues 148
MPEG-4 305
multichannel 5.1 recording 292, 292
multiplexed signal 196
multiplexing 297
multistage tripod 275
N
National Geographic 6
Neat Video 307
negative fill 239
neutral density filters 222, 222
A New Earth (Tolle) 295
Nexto 300
NiMH (Nickel Metal Hydride) batteries 200
noise and story control 193
noise reduction: technology and 306–7, 307; video shooter and 290, 291
nondrop frame (NDF) timecode 194, 195
nonlinear editor (NLE) 96
nose grease, lens and 131, 131
NTSC (National Television Standards Committee) 93
Nykvist, Sven 226
Nyquist’s Law 94
O
O Brother, Where Art Thou? 218
O’Connor 270
Optical Image Stabilization (OIS) 205, 205
optical low pass diffusion filter (OLPF) 85, 86; DSLR cameras and 105
optical vs. digital zoom 127, 127
organic LED viewfinders (OLED) 184, 198
out-of-sync condition, timecode and 196
overexposure 176
P
Panasonic AF 103
Panasonic AF100 196
Panasonic HPX160 132
Panasonic HPX170 72
Panasonic HPX255 196
Panasonic HPX370 60
Panasonic HPX3700 5
Panasonic HPX2700 64
Panasonic P2 card 205
parity 300
peaking, 3D camera and 157, 184
persistence of vision 69
perspective 34, 34–5; and texture, use of 36–7, 37–8
Phase Alternating Line (PAL) 95, 194
pigeon plate 263
pipe clamps 262
plug-ins, 3D 153
point of view: protagonist 44–5, 45–6; story’s 4–5
pony clamps 262
post-camera filtering tools 233, 233
predictive frames 91
pre-record function (PRE_REC) 204, 204
progressively captured images 63–4, 64
Proxy Mill 302
Pulse Code Modulation (PCM) 87
Q
R
RAID (Redundant Array of Independent Disks) 300
ramping 133
rangefinder, camera 185
RAW file 218
read errors 98
REC indicator 203
recording times 62
redundancy, compression and 88, 88–9
Reiner, Rob 15
resolution 65–6, 66; camera sensor and 81, 81, 82; 4K vs. 8K 83–4, 84; human perception of 83, 83
revelations, stereo 149
Riefenstahl, Leni 25
Roberts, Julia 190
Rocky 277
rolling shutter 79, 79–80, 108
Romy & Michele’s High School Reunion 87
roundness, 3D shooter and 161–2, 162
Rube Goldberg 13
S
Sachter SOOM system 275
Sachtler FSB8 270
safety limiter, mixer 285
Sartre, Jean-Paul 44
Saving Private Ryan 3
Schneider diffusion filters 220, 222, 226–7, 227–8, 229, 306
School of Athens (Raphael) 41
scissor clamps 262
screen size, 3D shooter and 158, 158
SDLT drive 311
selective focus 34
semiconductors 71
Serial Digital Interface (SDI) 134, 196, 197
shading artifacts 131
Sheen, Charlie 190
short shotgun microphone 287, 288
shot progression and frame size 48, 48–9
Silence of the Lambs 16
Sin of the Parents 266
The Situation Room with Wolf Blitzer 27
16:9 format see Golden Rectangle
skin detail, shadow noise and 193
SKY TV 158
Smith, Kevin 144
snot tape 264
SOC (Society of Operating Cameramen) 184
soft-edge grad sky control filter 224, 224
soft focus, CAC and 132
soft lighting sources 249–50, 250
solid-state drive (SSD) 300, 300
Sony F35 80
Sophie’s Choice 240
Soundbooth, Adobe 291
Spider-Man 21
spring-wound camera 9
sRGB color space 196
stabilizers, camera 277
stagecoach effect 180
standard definition (SD) 97, 97; story’s look and 214
standard vs. practice 63
star filter 231
Star Wars Episode 1: The Phantom Menace 6
Steadicam 277
stereographer 142 see also 3D shooter
stereoscopic depth cues 37, 148, 148–9, 149–50
stickiness, fluid heads and 269
stinger (extension cord) 262
storyboard 54, 55; 3D shooter and 161, 161
story’s look, creating: auto-knee and 216, 217; black level and 214, 214; Christian Dior filters and 229; chroma and 217–18, 218; color correction and 235, 235–6, 236; contrast filters and 225, 225; diffusion filters and 226, 226–7, 227–8, 228–9; dynamic range and 214–15, 214; fog filters and 232, 233; gamma settings and 215, 215–16; getting started on 212–13, 213; highlight detail and 216, 216; image filtering and 219, 220, 221; matrix function and 218–19, 219; matte box and 230, 230–1; neutral density filters and 222, 222; overview of211; physical filters and 220; plug-ins for 233–4; polarizer and 223, 223; post-camera finish and 233, 233; sky control filter and 224, 224–5; stacking of filters and 231, 231; standard-definition and 214; vintage filters and 221–2; warming filters and 232, 232
storytelling with cameras: audience attention and24; authenticity and 23, 23–4; canvas limiting and 21–2; comparative advantage and 20–1; components of good 15; dynamic range and 22; entertainment value, recognizing 20; ethics and 25; genre knowledge and 15–17; log lines and 18, 18–19; Magic Hour 22, 23; overview of 13–14; poster creating and 17, 18, 18–19; project limitations and 19
streaming and interconnectivity 197, 198
Streep, Meryl 240
suction cup 262
A Sunday Afternoon on the Island of La Grande Jatte (Seurat) 305
Super Size Me 10
supports, camera: fluid heads and 268–70, 269, 270; mountings used for 271–3; overview of 267, 267–8; postproduction tools and 278–9; tripod legs and 271–3, 271, 273–4, 274, 275, 275–7
sweet spot, camera lens 134, 134–5
Sworn to Secrecy (series) 10, 242, 282
T
technology, video shooter: archiving and 310, 310–11; Blu-ray and 308, 309; cloud-based systems and 309, 309; DVD and 303–4, 304; encoded image and 304–5, 305; encoders, range of 305; encoding modes and 307, 308; iPhone and 301, 301–2; Material eXchange Format and 297, 297–8; metadata and 298, 299; noise reduction and 306–7, 307; overview of 295, 295–6; proxy video and 301, 301–2; security and 299–300, 300; solid-state drive and 300, 300–1; Sorenson Squeeze and 302, 302–3; trouble scenes for encoders and 306, 306; workflow and 296, 297
1080i system setting 65
thermal runaway 200
35mm Cinemascope 13
3D Guide, Panasonic cameras 159, 159–60
3D HFR (High Frame Rate) 155
3D mobile devices 169
3D shooter: camera setup 155, 155–6; competence, levels of 142; convergence control and 159, 159; conversion from 2D to 3D 170, 170; depth cues and 145, 145; essence of 142–3, 142; evolution of, craft 170; future of 166, 166–7; interaxial vs. interocular distance and 150–2, 150; monoscopic cues and 146–7, 146–7; motion depth cues and 148; non-theatrical uses for 169; overview of 141, 141; postproduction and output 167–9, 168; roundness and 161–2, 162; screen plane and 153, 153–4; screen size and 158, 158; stereoscopic depth cues and 148, 148–9, 149–50; storyboards and 161, 161; technical aspects of 144, 144; 3D glasses and 164, 164–5, 165–6; tolerance issues and 156–7, 157; 2D habits and 162–3, 162, 163–4; window violations and 160, 160
3M Scotch ATG transfer tape 264
three-chip camera 85, 86, 85–6
360° Stereophile 3D microphone 292
thunderbolt 300
THX 1138 128
Tiffen Dfx suite 234
Tiffen diffusion filters 226–7, 227, 228–9, 306
tightening filter 306
timecode 194–5, 194, 195–6, 195, 196
Titanic 20
Tolle, Eckhart 295
tracking errors, CAC and 132
triangle as source of composition 38, 39, 39
tripod legs 271, 273–4, 275; built-in sliders for 273; camera counterbalance guide for 273; features of 271; high hat and 274, 274; length of 274–5; mounting threads for 273; pinch points and 272; quick release plate and 272; wing adjuster and 272
Triumph of the Will 25
TSA (Transportation Security Administration) 200
2K formats 100
U
uncompressed audio 87
undercranking frame rates 182, 182, 192, 193
underexposure 176
unfused objects (UFOs) 159
V
Van Dyke, Willard 28
vertical dimension, frame 63
vertical gap 156
Video Coder (VC-1) 305
video/media format assessment 63
Video On Demand (VOD) 303
video shooter-storyteller: DV revolution and 9–10; job opportunities for 6–7; learning craft of 8–9; point of view 1–4; power of 12; prospering as 5–6; role of 10–11; story’s point of view 4–5; working for free 11–12
video storyteller: ability to exclude and 29–30; audience expectations of 27–8; background elements and 52, 52; close-ups and 47, 47–8; communicators, natural elements as 51, 51; composition role in 38–9, 38; delicate issues, handling 50, 50; director’s storyboard and 54, 55; Dutch angle use in 41, 42; egomania and 56–7, 56–7; exclusion principle and 35, 35–6; eyeline and 49, 49–50, 50; framing and 28, 28–9, 30; Golden Rectangle and 41, 41; lazy close-ups and 48, 48; as liar and cheat 53, 53–4, 54; perspective and 34–5; perspective and texture, use of 36–8; protagonist point of view and 44–5, 45–6; Rule of Thirds and 40, 40–1; shooting strategies and 45–6, 46; shot progression and frame size in 48, 48–9; suffering and 30–1, 30, 31–3; visual character of location and 43, 43
video storytelling, business of: analog and 69, 69, 70, 71; bit-depth and 71–2, 72; brain as processor and 69; camera choices 60, 61–2; camera controls, 10 minute rule for 77–8; CCD sensors 79, 79–80, 81; compressed vs. uncompressed audio/video 87–8, 89; digital recordings and 70; DV tapes and 98–9, 99–100; frame rate selection 93; framing choices and 63–4, 64–5; interframe vs. intraframe compression 91, 91–2; pixels and 84, 84–5; resolution and 65, 66, 66, 81–3 81, 83; size of sensors 81; standard definition and 97, 97; technical side of 66–9; 10-bit recording and 73, 73; three-chip vs. single chip 85–6, 85–6; 24P and 95, 95–6, 96–7; video formats and 63
Vietnam International Film Festival 189
viewing distance, HDTV and 83
Vinten Blue 270
Violin Player (Molenaer) 142
V.I.O. Lipstick camera 5
visual character of location 43, 43
V-Mount battery 201
W
Warp Stabilizer, Adobe 278, 279
water white glass, filters and 222
When Harry Met Sally 15
white balance 187–9; color temperatures of light sources and 188; exterior settings 188, 188; interior settings 187–8, 188; manual, setting 189, 189; presetting 187
white balancing, 3D camera 156
window, stereographer and 143, 143
Winslet, Kate 20
Woods, Tiger 128
workflow, technology and 296, 297
X
Y
YouTube 9
Z
Zabriskie Point 218
zeppelin-type windscreen microphone 287