Film Production Technique

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ISBN: 9780534564773 | 0534564771
Cover: Paperback
Copyright: 7/26/2002

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The text includes coverage of cutting-edge technologies as well as traditional techniques as it discusses lighting, cameras, editing, crew organization, and the production process. An outstanding art program helps students understand difficult material and visualize the equipment and methods currently used in the film industry.

Preface

PART I Blocking for the Camera

(98)

Initiating the Process

(16)

The Future of Film

(2)

The Shape of Film Editing

(2)

Shooting, Editing, and Finishing on Film

(4)

Shooting, Editing, and Finishing on Video

(4)

Shooting on Film, Editing and Finishing on Video

(1)

Shooting on Film, Editing on Video, and Finishing on Film

(1)

Shooting, Editing, and Finishing on Video and Transferring to Film

(2)

Creating the Shots

(24)

The Language of the Camera

(1)

The Shots

(1)

Proxemics

(6)

Long Shot

(1)

Medium Shot

(1)

Close-up

(1)

Angles

(1)

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

(9)

Pans and Tilts

(1)

Wheeled Camera Supports

(1)

Dollies

(3)

Cranes

(1)

Arms

(2)

Handheld Camera

(1)

Specialized 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

(1)

Conceptual Errors

(2)

Screen Direction

(2)

Crew Organization

(13)

The Sequence of Events

(3)

The Production Crew

(2)

Team Spirit

(1)

The Crew's 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

(3)

The Director/DP Relationship

(1)

Grip/Electric

(1)

The Art Department

(2)

Previsualization

(26)

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

(4)

The Production Board

(1)

Storyboards and Organization

(1)

The Lined Script

(1)

Production Forms

(2)

Another Typical Scene

(13)

The Line

(1)

Organizational Considerations

(2)

PART II The Camera

(84)

The Camera Body

100

(42)

Movement and Perception

100

(1)

The Basic Mechanism

101

(7)

Frames per Second

106

(1)

Motors

107

(1)

Formats

108

(2)

35mm

109

(1)

16mm

109

(1)

Super 16

110

(1)

Camera Loads

110

(2)

Daylight Spools

110

(2)

Core Loads

112

(1)

Cameras

112

(2)

Basic Threading Procedures

114

(3)

Magazines

117

(2)

Single and Dual Compartments

117

(1)

Coaxial

118

(1)

Viewing Systems

119

(3)

Rangefinders

119

(1)

Reflex Viewing

119

(2)

Viewing Screens

121

(1)

Diopters

121

(1)

Camera Options

122

(2)

Variable Frame Rates

122

(2)

Single Framing

124

(1)

Camera Features

124

(1)

Cleaning and Care

125

(5)

Cleaning Kit

126

(1)

Cleaning Method

126

(3)

Batteries

129

(1)

Tripods

130

(4)

Legs

130

(1)

Heads

131

(1)

Attaching the Camera

132

(1)

Leveling the Head

133

(1)

Camera Safety Checklist

133

(1)

Video and the Digital Domain

134

(2)

Analog and Digital

135

(1)

The Video Image and the Video Camera

136

(6)

Technical Specifications

137

(1)

Equipment and Formats

138

(3)

Using a Digital Camera

141

(1)

The Lens

142

(17)

Focus

143

(2)

f-stop

145

(2)

Focal Length

147

(2)

Depth of Field

149

(6)

Determining Depth of Field

150

(2)

Depth of Field and Setting Focus

152

(2)

Notes on Depth and Movement

154

(1)

Prime Versus Zoom

155

(1)

Lens Mounts

155

(1)

Front-Filters and Matte Boxes

156

(1)

Care and Maintenance

157

(2)

Film Stocks, Processing, and Video Transfer and Capture

159

(24)

Construction of the Film Stock

159

(2)

Negative and Reversal

160

(1)

Exposure Index

161

(1)

Color Balance

161

(3)

Raw Stocks

164

(2)

Color Stocks

164

(1)

Black-and-white Stocks

165

(1)

Processing

166

(5)

Printing

167

(2)

Edge Numbers

169

(1)

Viewing Dailies

170

(1)

Video Applications

171

(1)

Film-to-Video Transfer and Digital Editing

172

(3)

The Big Question

172

(1)

The Telecine

173

(2)

Basic Definitions

175

(5)

Broadcast Quality

175

(1)

Off-Line and On-Line

175

(1)

Resolution and Storage

175

(1)

Time Code

176

(1)

Three: Two Pull-Down

176

(1)

A, B, C, and D Frames

177

(1)

Pull-Up/Pull-Down

178

(1)

Formats

179

(1)

Flex Files and Organization

179

(1)

Capturing Video

180

(3)

PART III Shooting

183

(70)

Composition

184

(21)

The Director of Photography

184

(1)

The Frame

185

(7)

Balance and the Frame, and the Rule of Thirds

185

(2)

General Design Characteristics

187

(1)

Composition and Content

188

(1)

Composition and Stress

189

(1)

Stress and Photographic Factors

190

(2)

Lining Up the Shots

192

(9)

Headroom and Eyeroom

192

(1)

Cleaning the Image

193

(1)

Cheating

194

(1)

Movement and Anticipatory Camera

194

(3)

Movement and Compositional Balance

197

(1)

Subject Movement Toward or Away from the Camera

197

(1)

Camera Movement Toward or Away from a Subject

198

(1)

Movement to Create Space

199

(1)

Character Movement to Balance Composition

200

(1)

Movement and Meaning

200

(1)

Practical Considerations

201

(2)

Composition and Compromise

201

(1)

Camera and Performance

202

(1)

Informal Camera Styles

203

(1)

Notes and Suggestions

203

(2)

Procedures and Equipment

205

(12)

The Take

205

(1)

The Slate

206

(3)

Executing the Shots

206

(1)

Sync and MOS

207

(1)

Camera Reports

208

(1)

The Camera Assistant

209

(6)

Camera Preparation

209

(1)

Magazines and Loading

209

(2)

Racking Focus

211

(1)

Racking Focus and Depth of Field

212

(1)

A Note on Movement and Efficiency

213

(1)

Lens Flares

214

(1)

Scratch Tests

214

(1)

Lab Instructions

214

(1)

Equipment

215

(2)

Equipment Checklist

215

(2)

Sound

217

(36)

Toward a Final Sound Track

217

(2)

Applications

218

(1)

Single- and Double-System Sound

219

(2)

Synchronization

221

(1)

The Character of Sound

222

(4)

Sync Recorders

224

(1)

Nagra

224

(1)

DAT

225

(1)

Microphones

226

(11)

Audio Connectors and Microphone Cords

228

(3)

Recorder Features and Accessories

231

(6)

The Production Sound Crew

237

(2)

Riding Gain

239

(1)

Recording a Scene

240

(8)

Complicating Factors

240

(4)

Sync Recording

244

(3)

Automated Dialogue Replacement

247

(1)

Sound Effects

248

(2)

Recording Effects on Location

249

(1)

Foley

249

(1)

Sound Transfers

250

(1)

Cleaning and Repair

251

(2)

PART IV Lighting and Exposure

253

(94)

Concepts and Equipment

254

(21)

The Importance of Lighting

254

(1)

Basic Three-Point Lighting

255

(2)

Key Light

255

(1)

Fill Light

255

(1)

Backlight

256

(1)

High-key and Low-key

257

(2)

High-key

257

(1)

Low-key

258

(1)

Lighting Styles

259

(1)

Types of Lighting Instruments

260

(6)

Focusable Spots

261

(3)

Floodlights

264

(2)

Other Types of Sources

266

(1)

Ellipsoidal Spots

266

(1)

Practicals

266

(1)

Reflectors

267

(1)

Light Meters

267

(4)

Shutter Speed

269

(1)

The Computer

270

(1)

Manipulation of Lights

271

(4)

Problem

271

(1)

Solutions

271

(4)

Exposure and Latitude

275

(21)

Exposure Index, Foot-candles, and f-stops

275

(1)

Using the Light Meter

276

(5)

Halving and Doubling

280

(1)

The Central Confusion

281

(1)

Evaluating Existing Light

281

(4)

Latitude

285

(7)

Reflectant Quality

292

(3)

t-stops

295

(1)

Planning the Lighting

296

(22)

Thinking Out the Process

296

(1)

Lighting: A Basic Strategy

296

(2)

f-stop Choice

297

(1)

Lighting Applications

298

(4)

Guidelines

298

(1)

Tests

299

(3)

Problems and Solutions

302

(5)

Shooting an Existing Situation

302

(3)

Averaging

305

(1)

Working with Artificial Light

305

(2)

The Setup: Decision Making

307

(3)

The Setup: Fine-tuning

310

(8)

Direction and Shadow

313

(2)

Natural Light

315

(1)

Night Shooting

316

(2)

Executing the Lighting

318

(29)

A Checklist

318

(1)

Lighting Continuity

318

(3)

f -stops and Consistency

321

(3)

Controlling Focus

324

(1)

Matching Color Sources

325

(4)

Electricity

329

(2)

Printing, Processing, and Exposure Manipulations

331

(3)

Reference Charts

331

(2)

Force Processing and Flashing

333

(1)

Slow Motion and Fast Motion

334

(2)

Filming Various Skin Tones

336

(2)

Safety

338

(2)

Planning and Preparation

340

(3)

Transferring to Video

343

(1)

Video and Latitude

343

(1)

Video and the Characteristic Curve

343

(1)

Video Image Manipulation

344

(1)

f-stop Choice and the Checklist Revisited

344

(2)

A Typical Scene

346

(1)

PART V Editing

347

(81)

Principles, Procedures, and Equipment

348

(22)

Film Editing and Digital Nonlinear Editing

348

(1)

The Purposes of Editing

348

(1)

General Editing Principles

349

(3)

Transitional Devices

349

(1)

Economy and Pace

350

(2)

Structuring the Editing

352

(4)

The Basic Rule

352

(1)

Cutting on Action

352

(1)

The 30-Degree Rule

353

(1)

Emphasis

354

(1)

Visual Interest

355

(1)

Variety

355

(1)

Continuity Problems

355

(1)

Basic Terms

356

(2)

Procedures in Film Editing

358

(2)

The Editorial Staff

358

(1)

Organization

359

(1)

Approaching the Edit

359

(1)

Film Equipment and Supplies

360

(5)

Projectors

360

(2)

The Bench

362

(1)

Supplies

363

(2)

The Shape of Digital Nonlinear Editing

365

(1)

Finishing

366

(4)

NTSC

366

(1)

Temporal Accuracy Versus Frame Accuracy

366

(1)

24-Frame Digital Video

367

(3)

Cutting Picture and Sound

370

(35)

The Film Edit

370

(2)

The Control Panel

371

(1)

Practical Cutting Considerations

371

(1)

The NLE System Edit

372

(2)

Film: Preparing to Edit Sync Sound

374

(9)

Syncing Up

375

(4)

Coding and Edge Numbering

379

(1)

First Assembly

380

(3)

NLE: Preparing to Edit Sync Sound

383

(1)

Syncing Up

383

(1)

First Assembly

384

(1)

Dialogue Cutting

384

(6)

Straight Cuts: Film and NLE

385

(3)

Overlapping Cuts: Film and NLE

388

(2)

Cutting Nonsync Sound and Picture

390

(6)

Film: Cutting Sound Effects

391

(2)

Film: Cutting to Music

393

(1)

Film: Cutting Voice-overs

394

(1)

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

395

(1)

MOS Inserts: Film and NLE

396

(1)

A & B Rolling Sync Sound

397

(3)

A Typical Scene

400

(3)

Audio Finishing

403

(2)

Finishing the Film

405

(23)

Titling

406

(1)

Film: Preparing Leaders

406

(1)

Final Sound Mixing

406

(5)

Film: Mixtrack Configurations

407

(1)

The ``Conventional'' Film Audio Mix

408

(2)

The NLE Mix

410

(1)

Preparation for the Negative Cutter

411

(3)

Film: Marking the Workprint

411

(2)

NLE: Creating an EDL

413

(1)

Negative Cutting

414

(9)

The Clean Room

414

(1)

Cement Splicing

414

(2)

A & B Rolling Picture

416

(3)

Cutting the Original

419

(1)

Notes and Cautions

420

(3)

The Final Print

423

(5)

Reversal Versus Negative

424

(1)

The Printing Program

424

(2)

The First Answer Print

426

(2)

Glossary

428

(10)

Index

438

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Film Production Technique

Summary

Table of Contents

Supplemental Materials