High definition cinematography
High definition is here to stay.HD changes the whole shooting and editing process in film and television production and this book is to satisfy your hunger for information. Whether you are a cinematographer, producer, or working in film/TV production, High Definition Cinematography, 2nd edition will...
| Otros Autores: | |
|---|---|
| Formato: | Libro electrónico |
| Idioma: | Inglés |
| Publicado: |
Oxford :
Focal Press
2007.
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| Edición: | 2nd ed |
| Materias: | |
| Ver en Biblioteca Universitat Ramon Llull: | https://discovery.url.edu/permalink/34CSUC_URL/1im36ta/alma991009627068406719 |
Tabla de Contenidos:
- Cover; High Definition Cinematography; Copyright; Contents; Preface; About the Author; Introduction; Acknowledgments; PART 1 High Definition: A Quick Overview; 1 Why shoot on HD?; 1.1 What do we mean by High Definition (HD)?; 1.1.1 The knowledge base; 1.1.2 What does it mean to the Producer - saving money!; 1.1.3 What does it mean to the Director?; 1.1.4 What does this mean for the Director of Photography?; 1.1.5 What does it mean to the other crafts?; 1.1.6 Editing and post-production; 1.2 Context; PART 2 Production Decisions; 2 Which formats to shoot on?; 2.1 Progressive or interlace?
- 2.2 How many pixels do you need?2.3 Recording formats; 2.4 HDV - can you get away with it?; 3 Picture quality; 3.1 What does HD look like?; 3.2 HD images compared with 35 mm; 3.3 Anamorphic 35 mm; 3.4 Comparisons with Super 16 mm; 3.5 Comparison with Digi Beta; 4 Display quality; 4.1 High definition shown on television; 4.2 HD written to film and projected mechanically; 4.3 HD shown on a state-of-the-art digital projector; 4.4 Digital projectors; 4.4.1 The Barco D-Cine Premiere DP 50®; 4.4.2 The Barco SLM R8; 5 Delivery requirements; 5.1 For delivery on film
- 5.2 Multi-format delivery requirements5.3 HD projection; 5.4 Encryption; 5.5 Broadcast delivery; 5.6 Convertibility; 5.6.1 Picture; 5.6.2 Sound; 5.6.3 Time code; 6 Sales potential; 6.1 Multiple standard sales; 6.2 Multiple venue sales; 6.3 Additional sales to HD users; 6.4 Future proofing; 7 Cost implications; 7.1 Savings; 7.1.1 Origination costs; 7.1.1.1 Stock savings; 7.1.1.2 Insurance savings; 7.1.2 Savings in print costs; 7.1.3 Shooting for anamorphic release; 7.2 Added costs; 7.2.1 Camera kit rental; 7.2.2 Editing costs; 7.2.3 Writing out to film
- 7.3 A cost comparison example - Oklahoma!7.3.1 Stock and processing savings; 7.3.2 Camera rental; 7.3.3 Additional costs; 7.3.3.1 Overall savings; 7.3.4 Competitive pricing; 8 Crewing; 8.1 Should the DP operate?; 8.2 Do you need a focus puller?; 8.3 Do you need a loader?; 8.4 Naming the camera assistants; 8.5 Do you need a clapperboard?; 8.6 Do you need a dolly grip?; 8.7 Sound; 8.8 Electricians; 9 Different shooting requirements; 9.1 General considerations; 9.2 Shooting in the USA; 9.2.1 Theatrical productions; 9.2.2 US prime time television productions; 9.2.3 US commercials
- 9.2.4 Other US productions9.2.5 What frame rate to choose; 9.2.6 Potential cost savings; 9.3 European productions; 9.3.1 European feature films; 9.3.2 European television; 9.4 Performance shows; 9.4.1 The Merchant of Venice; PART 3 The Technology; 10 Digital imaging; 10.1 The history of digits; 10.2 Digital tonal range; 10.3 Linear and logarithmic sampling; 10.4 Image resolution, why so many pixels?; 10.5 Required resolution for HD; 10.6 Data quantity; 11 Scanning the image; 11.1 A little of the history of television; 11.2 Interlace scanning; 11.3 Progressive scanning
- 11.4 Traditional cinema flicker
