High definition and 24P cinematography
This authoritative new reference demystifies the technologies of high definition and 24P cinematography. It is written for the director of photography, camera crew and producer or director and deals with the subject from their point of view. It provides a thorough and logical description of the five...
| Otros Autores: | |
|---|---|
| Formato: | Libro electrónico |
| Idioma: | Inglés |
| Publicado: |
Boston, Mass. :
Focal Press
2003.
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| Edición: | 1st edition |
| Materias: | |
| Ver en Biblioteca Universitat Ramon Llull: | https://discovery.url.edu/permalink/34CSUC_URL/1im36ta/alma991009627300406719 |
Tabla de Contenidos:
- Cover; High Definition and 24P Cinematography; Copyright; Contents; Preface; About the Author; Acknowledgements; Introduction; Part 1 Why Choose HDCAM?; 1 What is 24P and HDCAM?; 1.1 Electronic projection; 2 Picture quality; 2.1 What does HD look like?; 2.2 Comparison with 35mm film; 2.3 Comparison with anamorphic 35mm; 2.4 Comparison with Super 16mm; 2.5 Comparison with Digi Beta; 3 Display quality; 3.1 HD shown on television; 3.2 HD written to film and projected mechanically; 3.3 HD shown on a state-of-the-art digital projector; 3.4 Digital projectors
- 3.4.1 The Barco D-Cine Premiere® DP 50®3.4.2 The Barco SLM R8; 4 Cost implications; 4.1 Savings; 4.1.1 Origination costs; 4.1.2 Stock savings; 4.1.3 Insurance savings; 4.1.4 Savings in print costs; 4.1.5 Shooting for anamorphic release; 4.2 Added costs; 4.2.1 Camera kit rental; 4.2.2 Editing costs; 4.2.3 Writing out to film; 4.3 A cost comparison example - Oklahoma!; 4.3.1 Stock and processing savings; 4.3.2 Camera rental; 4.3.3 Additional costs; 4.3.4 Overall savings; 5 Delivery requirements; 5.1 For delivery on film; 5.2 Multi-format delivery requirements; 5.3 HD projection
- 6 Sales potential6.1 Multiple standard sales; 6.2 Multiple venue sales; 6.3 Additional sales to HD users; 6.4 Future proofing; Part 2 Pre-Production Decisions; 7 Production considerations and frame rates; 7.1 What is the 'film look'?; 7.2 Frame rates; 7.2.1 A little history; 7.2.2 Audience perception; 7.2.3 Traditional cinema flicker; 7.3 When other frame rates may be desirable; 7.3.1 Low budget European shoot; 7.3.2 Low budget US shoot; 7.3.3 Big budget productions; 7.3.4 Thirty frames per second?; 7.4 Progressive or interlace?; 8 Production considerations relating to the type of production
- 8.1 Shooting in the USA8.1.1 Theatrical productions; 8.1.2 US prime time television productions; 8.1.3 US commercials; 8.1.4 Other US productions; 8.1.5 What frame rate to choose; 8.1.6 Potential cost savings; 8.2 European productions; 8.2.1 European feature films; 8.2.2 European television; 8.2.3 Performance shows; 8.2.3.1 Oklahoma!; 8.2.3.2 The Merchant of Venice; 8.3 Equipment; 8.3.1 Cameras; 8.3.1.1 Sony and Panavision; 8.3.1.2 Panasonic; 8.3.1.3 Thomson; 8.3.2 Lenses; 8.3.2.1 Manufacturers; 8.3.2.2 Primes vs zooms; 8.3.3 Preferences; 9 Crewing; 9.1 Should the DoP operate?
- 9.2 Do you need a focus puller?9.3 Do you need a loader?; 9.4 Naming the camera assistants; 9.5 Do you need a clapperboard?; 9.6 Do you need a dolly grip?; 9.7 Sound; 9.8 Electricians; Part 3 Preparing for a Shoot; 10 Camera preparation prior to the shoot; 10.1 Accessing the in-camera menus; 10.2 Resetting the camera to the standard settings; 10.3 Setting the frame rate; 10.4 Setting the shutter speed; 10.5 Equivalent shutter angles; 10.6 Setting the viewfinder markings; 10.7 Recording on a memory stick; 10.8 Black balance; 10.9 Lining up the monitors; 10.10 Setting the back focus
- 10.10.1 Zoom lenses
