High definition cinematography
High-definition is now ubiquitous in video production and High Definition Cinematography, Third Edition provides the explanations, definitions, and workflows that today's cinematographers and camera operators need to make the transition. Paul Wheeler will explain the high-definition process, su...
| Autor principal: | |
|---|---|
| Formato: | Libro electrónico |
| Idioma: | Inglés |
| Publicado: |
Amsterdam ; Boston ; London :
Elsevier/Focal
2009.
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| Edición: | 3rd ed |
| Materias: | |
| Ver en Biblioteca Universitat Ramon Llull: | https://discovery.url.edu/permalink/34CSUC_URL/1im36ta/alma991009627704006719 |
Tabla de Contenidos:
- Cover; High Definition Cinematography; Copyright; Contents; Preface; About the Author; Introduction; Acknowledgements; Part 1 High Definition: A Quick Overview; CHAPTER 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 It 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; CHAPTER 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?; CHAPTER 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; CHAPTER 4 Display Quality; 4.1 HD 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; CHAPTER 5 High Definition Projection; 5.1 Introduction; 5.2 Examples of Venues
- 5.2.1 The British Academy of Film and Television Arts (BAFTA)5.2.1.1 The venue; 5.2.1.2 The digital projectors; 5.2.1.3 Digital handling; 5.2.1.4 What does it all get used for?; 5.2.2 The National Film and Television School (NFTS); 5.2.2.1 The venues; 5.2.2.2 The projectors; 5.2.2.3 Digital handling; 5.2.2.4 What do they get used for?; 5.2.3 The Odeon Leicester Square, London; 5.2.3.1 The venue; 5.2.3.2 The digital projector; 5.2.3.3 Digital handling; 5.2.3.4 What does it all get used for?; 5.3 How HD Cinema Projectors Work; 5.4 Adding Color; 5.4.1 Single-chip Projectors
- 5.4.2 Three-chip ProjectorsCHAPTER 6 Delivery Requirements; 6.1 For Delivery on Film; 6.2 Higher Resolution in Post-Production; 6.3 Multiformat Delivery Requirements; 6.4 HD Projection; 6.5 Encryption; 6.6 Broadcast Delivery; 6.7 Convertibility; 6.7.1 Picture; 6.7.2 Sound; 6.7.3 Time Code; CHAPTER 7 Sales Potential; 7.1 Multiple Standard Sales; 7.2 Multiple Venue Sales; 7.3 Additional Sales to HD Users; 7.4 Future Proofing; CHAPTER 8 Cost Implications; 8.1 Savings; 8.1.1 Origination Costs - Different Formats; 8.1.1.1 Stock savings - film to HDCAM; 8.1.1.2 Insurance savings
- 8.1.2 Savings in Print Costs8.1.3 Shooting for Anamorphic Release; 8.2 Added Costs; 8.2.1 Camera Kit Rental; 8.2.2 Editing Costs; 8.2.3 Writing Out to Film; 8.3 A Cost Comparison Example - Oklahoma!; 8.3.1 Stock and Processing Savings; 8.3.2 Camera Rental; 8.3.3 Additional Costs; 8.3.3.1 Overall savings; 8.3.4 Competitive Pricing; CHAPTER 9 Crewing; 9.1 Should the DP 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
- 9.9 A New Member of the Crew - the Data Wrangler or Downloader
