Video shooter storytelling with HD cameras
Tired of the all the Digital Filmmaking guidebooks that give you only the nuts and bolts of how to use a camera? Video Shooter 2e takes that how-to knowledge and takes it a step further by showing you how to craft a story in your video. Barry Braverman is a highly experienced shooter whose name is g...
| Autor principal: | |
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| Otros Autores: | |
| Formato: | Libro electrónico |
| Idioma: | Inglés |
| Publicado: |
Boston ; Amsterdam :
Focal Press
2009.
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| Edición: | 2nd ed |
| Materias: | |
| Ver en Biblioteca Universitat Ramon Llull: | https://discovery.url.edu/permalink/34CSUC_URL/1im36ta/alma991009627395706719 |
Tabla de Contenidos:
- Front Cover; Half Title Page; Title Page; Copyright Page; Dedication Page; Table of Contents; ACKNOWLEDGMENTS; ONLINE RESOURCES FOR VIDEO SHOOTER; CHAPTER 1. The Shooter's Point of View; Story, Story, Story; The Right Tool for the Job; No More Chasing Rainbows; Wearing Many Hats Now; Learning the Discipline; Everybody is a Shooter Now; Still a Penalty for Being a Rotten Shooter; You Have the Power; CHAPTER 2. The Video Storyteller; My First Taste; Changing Times and Budgets; Telling a Good Story; Go Ahead! You Can Exceed 108%; Put a Frame Around the World; Exclude, Exclude, Exclude
- Backgrounds Tell the Real StoryBox-Girder Bridges Anyone?; The Law of Thirds; The Golden Rectangle; Evoking Pain; Embrace the Theory; Overshooting as an Occupational Hazard; Close-Ups Tell the Story!; Attack Close-Ups Obliquely; The Power of Eyeline; A Matter of Perspective; We Are All Liars and Cheats; Make 'Em Suffer; Obscure, Hide, Conceal; Just Not Too Much; Know Your Genre and Make Sure Your Audience Knows!; What's Your Poster Look Like?; Know Your Log Line; Embracing Your Limitations; For Different Reasons; Your Comparative Advantage; Limit Your Canvas
- Respect Your Camera's Dynamic RangeShoot the Magic Hour; Watch the Frame Size; You Shoot, Therefore You Are; No Shopping!; Working with the Ego-Crazed and Other Difficult People; CHAPTER 3.The Storyteller's Box; When the Technical Matters; The Technical Nature of the World; The Processor in Your Mind; Let's Have an Analog Experience; Improving our Digital Recordings; A Bit of Knowledge; Oversampling: What's the Point?; Hue Shifts in Shadows; Compression: Why Is It Necessary?; For Practical Reasons; Redundancy, Redundancy; It's Irrelevant?; You Don't Miss What You Can't See
- Interframe Versus Intraframe CompressionThe Imager and You; Pixels in a Grid; The Spatial Offset Ruse; CCD Versus CMOS/Analog Versus Digital; Size Matters - Sort of; The Resolution Ruse; CHAPTER 4. The World in High Definition; Too Many Choices?; The Helical Scan on the Wall; Framing the Argument; Selecting a Frame Rate; Why the Goofy Frame Rates, or Why 24p Isn't 24p; The Many Flavors of 24p; So You're Shooting 24p?; If SD Still Lives within You; Attention Laggards!; The HD to SD Storyteller; CHAPTER 5.Command and Control; Autoeverything: Who Needs it?; Down with Autoexposure; The China Girl
- Riding the WaveformI Shutter to Think About It; The Synchronized Shutter; Frame Rates and Your Story; Focusing on What's Important; These Guys Are Not Artists; HD Focus Can Be Tough!; Stand Up for Your Whites; To Preset or Not Preset; Setting White Balance Manually; Black Balance; Autowhite Anyone?; About the White-Balance Presets; So What Is White?; Color Correction; Managing Viewfinder Clutter; The Timecode Dilemma; Running Free; Special Shooting Situations; Optical Image Stabilization; Monitoring Your Work; Frequenting the Bars; The Imperfect CRT; Limited Gamut
- CHAPTER 6.Tweaking Your Story's Image
