Film Production Technique Creating the Accomplished Image

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ISBN: 9780534562052 | 0534562051
Cover: Paperback
Copyright: 7/28/1999

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FILM PRODUCTION TECHNIQUE: CREATING THE ACCOMPLISHED IMAGE covers what you need to know about a copywriting career in the electronic media. You will learn information ranging from cutting-edge technologies to the production process.

Preface

xiii

PART I Blocking for the Camera

(84)

Creating the Shots

(24)

The Language of the Camera

(1)

The Shots

(1)

Proxemics

(3)

Long Shot

(1)

Medium Shot

(1)

Close-up

(1)

Angles

(4)

Low-Angle Shot

(1)

High-Angle Shot

(1)

Eye-Level Shot

(1)

Bird's-Eye View

(1)

Oblique Shot (Dutch Angle)

(1)

Point-of-View Shot

(1)

Movement

(8)

Pans and Tilts

(1)

Wheeled Camera Supports

(1)

Dollies

(2)

Cranes

(2)

Arms

(1)

Handheld Camera

(2)

Special Rigs

(1)

Focus Effects

(3)

Deep Focus

(1)

Shallow Focus

(1)

Shifting Focus

(1)

Lens Perspective and Characteristics

(5)

Wide-Angle

(1)

normal

(1)

Telephoto

(1)

Zoom

(3)

Constructing the Scene

(18)

The Director

(1)

The Menu

(1)

Basic Scene Structure

(3)

Dramatic Emphasis

(2)

Master Scene Technique

(1)

Shot/Reverse Shot

(1)

Continuity

(5)

Continuity Shooting

(1)

Types of Continuity

(3)

The Line

(8)

Sightlines

(3)

Action

(2)

Conceptual Errors

(1)

Screen Direction

(2)

Previsualization

(14)

Preparation

(1)

Methods of Previsualization

(3)

Overheads

(2)

Storyboards

(1)

Shooting Scripts and Shot Lists

(1)

A Typical Scene

(3)

Coverage

(1)

A Caveat

(1)

Production Design and Costume

(2)

Organization on the Set

(5)

The Production Board

(1)

Storyboards and Organization

(1)

The Lined Script

(1)

Production Forms

(2)

Crew Organization

(26)

The Sequence of Events

(3)

The Production Crew

(2)

Team Spirit

(1)

Crew Responsibilities

(1)

The Producer's Team

(1)

Production Manager

(1)

Craft Services

(1)

The Director's Team

(3)

Assistant Director

(1)

Talent

(2)

Production Assistants

(1)

The Camera Crew

(2)

The Director/DP Relationship

(1)

Grip/Electric

(1)

The Art Department

(1)

A Typical Scene

(14)

The Line

(1)

Organizational Considerations

(3)

PART II The Camera

(78)

The Camera Body

(36)

Movement and Perception

(1)

The Basic Mechanism

(7)

Frames per Second

(1)

Motors

(1)

Formats

(2)

35mm

(1)

16mm

(1)

Camera Loads

(2)

Daylight Spools

(1)

Core Loads

(1)

Cameras

(3)

Basic Threading Procedures

102

(2)

Magazines

104

(2)

Front-to-Back

105

(1)

Coaxial

106

(1)

Viewing Systems

106

(4)

Rangefinders

106

(1)

Reflex Viewing

107

(1)

Viewing Screens

108

(1)

Diopters

109

(1)

Camera Options

110

(2)

Variable Frame Rates

110

(2)

Single Framing

112

(1)

Camera Features

112

(1)

Cleaning and Care

113

(5)

Cleaning Kit

114

(1)

Cleaning Method

114

(3)

Batteries

117

(1)

Tripods

118

(5)

Legs

118

(1)

Heads

119

(1)

Attaching the Camera

120

(1)

Leveling the Head

121

(1)

Camera Safety Checklist

122

(1)

The Lens

123

(18)

Focus

124

(2)

f-stop

126

(2)

Focal Length

128

(2)

Depth of Field

130

(6)

Determining Depth of Field

131

(2)

Depth of Field and Setting Focus

133

(3)

Notes on Depth and Movement

136

(1)

Prime Versus Zoom

136

(1)

Lens Mounts

137

(1)

Front-Filters and Matte Boxes

138

(1)

Care and Maintenance

139

(2)

Film Stocks, Processing, and Video Transfer

141

(22)

Construction of the Film Stock

141

(2)

Negative and Reversal

142

(1)

Exposure Index

143

(1)

Color Balance

143

(3)

Raw Stocks

146

(2)

Color Stocks

146

(1)

Black-and-White Stocks

147

(1)

Processing

148

(5)

Printing

149

(2)

Edge Numbers

151

(1)

Viewing Dailies

152

(1)

Film-to-Video Transfer/Digital Editing

153

(1)

The Big Questions

153

(1)

Basic Definitions

154

(4)

The Video Image

154

(2)

Analog and Digital

156

(1)

Time Code

157

(1)

Broadcast Quality

157

(1)

Off-Line and On-Line

157

(1)

The Telecine

158

(3)

Three: Two Pull-Down

158

(1)

A/B/C/D Frames

159

(1)

Pull-Up/Pull-Down

160

(1)

Digitizing Video

161

(2)

Resolution and Storage

161

(2)

PART III Shooting

163

(70)

Composition

165

(20)

The Director of Photography

165

(1)

The Frame

166

(7)

Balance and the Frame, and the Rule of Thirds

166

(2)

General Design Characteristics

168

(1)

Composition and Content

169

(1)

Composition and Stress

170

(1)

Stress and Photographic Factors

171

(2)

Lining Up the Shots

173

(2)

Headroom and Eyeroom

173

(1)

Cleaning the Image

174

(1)

Cheating

175

(1)

Movement and Anticipatory Camera

175

(6)

Movement and Compositional Balance

178

(1)

Subject Movement Toward or Away from the Camera

178

(1)

Camera Movement Toward or Away from a Subject

179

(1)

Movement to Create Space

180

(1)

Character Movement to Balance Composition

180

(1)

Movement and Meaning

181

(1)

Practical Considerations

181

(4)

Composition and Compromise

181

(1)

Camera and Performance

182

(1)

Informal Camera Styles

183

(1)

Notes and Suggestions

184

(1)

Procedures and Equipment

185

(12)

The Take

185

(1)

The Slate

186

(3)

Executing the Shots

186

(1)

Sync and MOS

187

(1)

Camera Reports

188

(1)

The Camera Assistant

189

(6)

Camera Preparation

189

(1)

Magazines and Loading

189

(2)

Racking Focus

191

(1)

Racking Focus and Depth of Field

192

(1)

A Note on Movement and Efficiency

193

(1)

Lens Flares

194

(1)

Scratch Tests

194

(1)

Lab Instructions

194

(1)

Equipment

195

(2)

Equipment Checklist

195

(2)

Sound

197

(20)

Toward a Final Sound Track

197

(2)

Applications

198

(1)

Single- and Double-System Sound

199

(2)

Synchronization

201

(1)

The Character of Sound

202

(2)

Sync Recorders

204

(2)

Nagra

204

(1)

DAT

205

(1)

Microphones

206

(11)

Audio Connectors and Microphone Cords

208

(3)

Recorder Features and Accessories

211

(6)

Recording Strategies

217

(16)

The Production Sound Crew

217

(2)

Riding Gain

219

(1)

Recording a Scene

220

(8)

Complicating Factors

220

(4)

Sync Recording

224

(3)

Automated Dialogue Replacement

227

(1)

Sound Effects

228

(2)

Recording Effects on Location

229

(1)

Foley

229

(1)

Sound Transfers

230

(1)

Cleaning and Repair

231

(2)

PART IV Lighting and Exposure

233

(96)

Concepts and Equipment

235

(22)

The Importance of Lighting

235

(1)

Basic Three-Point Lighting

236

(2)

Key Light

236

(1)

Fill Light

236

(1)

Backlight

237

(1)

High-key and Low-key

238

(2)

High-key

238

(1)

Low-key

239

(1)

Some Notes on Lighting Styles

240

(1)

Types of Lighting Instruments

241

(1)

Focusable Spots

242

(3)

Open-Faced Focusable Spots

242

(2)

Lensed Focusable Spots

244

(1)

Floodlights

245

(1)

Scoops

245

(1)

Broads

245

(1)

Softlights

246

(1)

Applications: Key and Fill

246

(1)

Other Types of Sources

247

(2)

Ellipsoidal Spots (Lekos)

247

(1)

Practicals

247

(1)

Reflectors

248

(1)

Light Meters

249

(2)

Shutter Speed

250

(1)

The Computer

251

(1)

Manipulation of Lights

252

(5)

Problem

253

(1)

Solutions

253

(4)

Exposure and Latitude

257

(20)

Exposure Index, Foot-candles, and f-stops

257

(1)

Using the Light Meter

258

(4)

Halving and Doubling

261

(1)

The Central Confusion

262

(1)

Evaluating Existing Light

263

(4)

Latitude

267

(8)

Reflectant Quality

275

(1)

t-stops

276

(1)

Planning the Lighting

277

(22)

Thinking Out the Process

277

(1)

Lighting: A Basic Strategy

277

(1)

f-stop Choice

278

(1)

Lighting Applications

279

(4)

Guidelines

279

(1)

Tests

280

(3)

Problems and Solutions

283

(5)

Shooting and Existing Situation

283

(3)

Averaging

286

(1)

Working with Artificial Light

286

(2)

The Setup: Decision Making

288

(3)

The Setup: Fine-tuning

291

(8)

Direction and Shadow

295

(1)

Natural Light

296

(1)

Night Shooting

297

(2)

Executing the Lighting

299

(30)

A Checklist

299

(1)

Lighting Continuity

299

(3)

f-stops and Consistency

302

(3)

Controlling Focus

305

(1)

Matching color Sources

306

(3)

Electricity

309

(3)

Printing, Processing, and Exposure Manipulations

312

(3)

Reference Charts

312

(2)

Force Processing and Flashing

314

(1)

Slow Motion and Fast Motion

315

(2)

Filming Various Skin Tones

317

(2)

Safety

319

(3)

Planning and Preparation

322

(2)

Transferring to Video

324

(2)

Video and Latitude

324

(1)

Video and the Characteristic Curve

324

(1)

Video Image Manipulation

325

(1)

Other Video Issues

325

(1)

f-stop Choice and the Checklist Revisited

326

(1)

A Typical Scene

327

(2)

PART V Editing

329

(87)

Principles, Procedures, and Equipment

331

(28)

Film Editing and Digital Nonlinear Editing

331

(1)

The Purposes of Editing

331

(1)

General Editing Principles

332

(3)

Parallel Editing

333

(1)

Transitional Devices

333

(1)

Economy and Pace

334

(1)

Structuring the Editing

335

(5)

The Basic Rule

336

(1)

Cutting on Action

336

(1)

The 30-Degree Rule

337

(1)

Emphasis

338

(1)

Visual Interest

338

(1)

Variety

339

(1)

Continuity Problems

339

(1)

Basic Terms

340

(1)

The Shape of Film Editing

341

(5)

Procedures

346

(2)

The Editorial Staff

346

(1)

Organization

346

(2)

Film Equipment and Supplies

348

(5)

Projectors

348

(1)

Viewers

349

(1)

The Bench

350

(1)

Splicers

351

(1)

Supplies

352

(1)

Footage Counters and Frame Rulers

353

(1)

The Shape of Digital Nonlinear Editing

354

(1)

Finishing

355

(4)

NTSC

355

(1)

Temporal Accuracy Versus Frame Accuracy

356

(1)

Twnety-four-Frame Digital Video

357

(2)

Cutting Picture and Sound

359

(34)

The Film Edit

359

(2)

The Control Panel

360

(1)

Practical Cutting Considerations

361

(1)

The DNLE System Edit

361

(3)

The Timeline

361

(1)

The Bin

362

(1)

The Preview Window

363

(1)

Film: Preparing to Edit Sync Sound

364

(8)

Syncing Up

364

(4)

Coding/Edge Numbering

368

(1)

First Assembly

369

(3)

DNLE: Preparing to Edit Sync Sound

372

(1)

Syncing Up

372

(1)

First Assembly

373

(1)

Dialogue Cutting

373

(5)

Straight Cuts: Film and DNLE

373

(3)

Overlapping Cuts: Film and DNLE

376

(2)

Cutting Nonsync Sound and Picture

378

(6)

Film: Cutting Sound Effects

379

(2)

Film: Cutting to Music

381

(2)

Film: Cutting Voice-overs

383

(1)

DNLE: Cutting Sound Effects, Music, and Voice-overs

384

(1)

MOS Inserts; Film and DNLE

384

(2)

A & B Rolling Sync Sound

386

(2)

A Typical Scene

388

(5)

Finishing the Film

393

(23)

Titling

394

(1)

Film: Preparing Leaders

394

(1)

Final Sound Mixing

394

(4)

Film: Mixtrack Configurations

395

(1)

The ``Conventional'' Film Mix

396

(2)

The DNLE Mix

398

(1)

Preparation for the Negative Cutter

398

(3)

Film: Marking the Workprint

399

(2)

DNLE: Creating an EDL

401

(1)

Negative Cutting

401

(10)

The Clean Room

402

(1)

Cement Splicing

402

(1)

A & B Rolling Picture

403

(4)

Cutting the Original

407

(1)

Notes and Cautions

407

(4)

The Final Print

411

(5)

Reversal Versus Negative

412

(1)

The Printing Program

412

(2)

The First Answer Print

414

(2)

Glossary

416

(9)

Index

425

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Film Production Technique Creating the Accomplished Image

Summary

Table of Contents

Supplemental Materials