A

Abrams, Jeremy

acts (story structure), 137, 139–140

Adobe Photoshop, Golden Mean application for, 8–9

Adobe RGB color space, 60

AGC. See automatic gain control (audio)

Alien-Pauly story, 127, 137

angle of view, 52, 52f, 57

Anselmi, David

aperture. See f-stops

Apple Final Cut Pro, 97–99

Artemis app, 55–56, 55f

audience emotions, 120–121

audio gear, 230–235

audio recording, 75

audio sync

automatic exposure, 164–165

automatic gain control (audio), 77

B

back lights

background light, defined, 25

background streetlamps, 24–25

backpacks, 245–246

balance. See color temperature

ball head, fluid head vs., 237

battery power, microphone, 78

BeachTec DXA-SLR XLR adapter, 84

Benro MC-91M8 monopod, 235

blocking, 5, 9–13

Bloom, Philip, 15, 20, 142, 167–169, 169f, 256, 262

boom operation, 83

boom poles, 85

brightness. See luminance compression

Buchanan, Matt, 262

built-in microphones, 82

C

Cabrera, Kris, 183

camera cases and backpacks, 245–246

camera movement, 5, 13–22

cameras, 213–220. See also gear

Cameron, James, 50

Canon 5D Mark cameras

Canon 7D, 217–218

Canon EOS Plug-in for Final Cut Pro, 97–99

Canon EOS Utility, 68f

Canon L series lenses, 223–227

Canon Rebel T2i, 214–215

Captain Stubling, 241

cardioid microphones, 78, 80, 78

cardioid pickup pattern, 78, 79f

carrying camera cases and backpacks, 245–246

case studies

cases and backpacks, 245–246

Casulo (Bernardo Uzeda), 143

CGI art case study (The Chrysalis), 177

Chaloupka, Vladimir, 19–20

Chan, Po, 9–10, 142, 192–194 205f. See also The Last 3 Minutes

character blocking. See blocking

characterization, 119–120

Charters, Rodney, 60

checklists

Cherry Blossom Girl, 20, 20f, 21f, 33f

chip size, 46, 48

Christenson, Dave, 178

chrominance compression, 267

The Chrysalis (Jeremy Ian Thomas) case study, 177

Cineform Neo Scene Workflow software, 94–96

Cinema Bundle (Redrock Micro), 242

“cinematic look”, 2, 59. See also picture styles

cinematography, importance of, 1–2

CMOS sensor

CMR Blackbird, 244

Cohen, Rob, 191–192

collapsible reflectors, 230

color

color correction, 66–67

color grading, 107

color temperature, 30–32, 31f, 32f

color tone

composition, 5–9

compression

Contax lenses, 222–223f

contrast

contrast ratio, 265, 265f

Coutard, Raoul, 3

crane, 15

Crosby, Ed, 130

Cross Fire (Zacuto), 243

Curves tool, Magic Bullet Looks, 112f

D

A Day at the Races (Philip Bloom) case study, 167

decompression software, 246–247

deinterlacing, 90

density. See neutral density filters

depth of field, 51, 53, 56–57

Developing Story Ideas (Rabiger), 124

dialog

diffusing light. See soft light

direction of light, 24–29

discovering stories, 122–136

dollies. See tracking

Dorn, Bruce, 220f

Dot Line DL-DV60 LED, 229

Double Barrel (Zacuto), 243

DR-100 audio recorder, 85–86, 85f

dramatic structure, 136–140

DT454 XLR adapter, 232f

DualEyes, 247–248

DXA-SLR XLR adapter, 84

dynamic range, 38, 265, 265f, 266f, 266f

E

editing. SeeSee postproduction; postproduction case studies

8-bit color compression, 64

emotional equivalency, 52

emotions, of audience, 120–121

EOS Utility, 68f

equipment. See gear

exercises, storytelling, 125, 127–136, 140

exposition, 136–137

exposure, 265, 265f. See also dynamic range

exposure index, 259

exposure latitude, 51

external recorders, 85–86, 85f, 86f

ExtraFlat picture style, 62, 64, 64f. See also flat picture style; SuperFlat picture style

eyeSpy, 241

F

f-stops, 38, 41–46, 42f, 43f, 44f, 51

Faithful picture style, 63, 63f

fastness. SeeSee entries at speed

Fauer, Jon, 2–3

files, getting into computer, 90

fill (light placement), 25

fill lights, 24–25

film look, 2, 262. See also case studies

film speed, shutter speed and, 49–50. See also ISO settings

Filmlike Color Curves, Magic Bullet Looks, 118f

filters. See neutral density filters

Filters windows, Magic Bullet Looks, 115f

Final Cut Pro, 97–99

flat picture style, 38, 60. See also ExtraFlat picture style; SuperFlat picture style

fluid head, ball head vs., 237

focal length, 52, 53f

follow focus, low-budget, 239

Fox, Travis, 19–20

frame rates, 50–52

franken-camera, 19–20, 19f, 239

Fricks, Charles, 147f

front lighting, 28, 28f

full frontal lighting. See front lighting

G

gamma, 265, 265f

Garn, Jake, 5, 6f

gear, 213, 215–216

Giottos MT-9241 tripod legs, 235–236

Golden Mean application, 8–9

golden mean (golden ratio), 5, 6f, 7f, 8f

Grad Exposure filter, Magic Bullet Looks, 116f

Graeme. See 16 Teeth (Rii Schroer) case study

Green, Barry, 259–260, 261f

H

H.264 codec, 89

Hakuba HG-503MX tripod, 236

handheld shots

hard drive, using for archives, 90

hard light, 23–24, 24f

harsh light. See hard light

HDSLR cinema, growing popularity of, 255

HDSLR shooting, steps of, 275

headphones, 86, 231

HG-503MX tripod, 236

higher-budget gear

high-transmission ND filters, 228

histogram, 40–41, 41f

hook (in storytelling), 137

Hurlbut, Shane, 30–31, 32f, 142, 205f, 206f, 263

I

iDC Viewfinder, 220

iDC’s Run & Gun kit, 239

ideas, sources for, 122–136

image resolution, 259, 260f

Inácio, Thaís, 147f

indirect light. See soft light

indoor day (lighting setup), 34, 35, 34f, 35f

indoor night (lighting setup), 35–36, 35f

introduction (in storytelling), 136–137

inverse square law, 40

InVision microphone shockmount, 233

iris. See f-stops

Isaacks, Levie, 3

ISO settings, 39, 51, 266, 266f

ISO tests (on Canon cameras), 263, 263f, 264f

J

Jane, Eli. See The Last 3 Minutes case study

Jell-O effect, 14

JuicedLink’s DT454 XLR adapter, 232f

JuicedLink’s Preamp DT454 adapter, 84

K

Kessler Crane Pocket Dolly Traveler, 15, 16f, 17f, 237

key (light placement), 25

kit lenses, 222

The Kitchen, 123–124

Kolar, Rachel, 204f, 207f

L

L series lenses, 223–227

Laforet, Vincent, 6

Landscape picture style, 63, 63f

The Last 3 Minutes (Po Chan), 189

Laszlo, Andrew, 3

lavaliere (lav) microphones, 78, 82, 82f, 234f

LED lights, 229–230

Leica R lenses, 222–223f

Lens tools, Magic Bullet Looks, 114f

Lensbaby lenses, 227

lenses, 52–57, 52f, 55f, 221–227

Light Craft Workshop’s ND filers, 228

light sensitivity range. See dynamic range

lighting, 23, 229–230

limiters, 86

LitePanels Micro LED, 229–230

location, light. SeeSee lighting; placement of lights

location case study (The Chrysalis), 177

Loli, Eugenia, 64

LooksBuilder editor, 110f

low-budget gear

Lowepro backpack, 246

luminance compression, 267

M

Magic Bullet Grinder, 247

Magic Bullet Looks, 107–118, 247

“Magic Formula”, 16

Manfrotto 504HD fluid head, 236–237

Manfrotto 535 tripod, 236–237

Manfrotto 700RC2 mini video fluid head, 235–236

Manfrotto 701HDV fluid mini head, 236

Mathers, Jim, 47, 65–66

MC-91M8 monopod, 235

McClellen, Margo, 127

Merlin. See Tiffen’s Steadicam Merlin

“Merlin Cookbook” website, 16

microphones. See also audio recording

midrange-budget gear

Millet, Guga, 141–142, 146, 148, 149f

MixPre, 85–86, 86f, 234–235

Mohtaseb, Khalid, 107–108, 108f

motivated light, 24–25

mounts, lens, 56–57

movement, camera. See camera movement

movement of subjects in scene. See blocking

mp3 audio compression, 77

MPEG Streamclip, 90–94

MT-9241 tripod legs, 235–236

Mysterium-X sensor, 65–66

N

narrative structure, 136–140

native files, editing, 89

ND filters. See neutral density filters

neutral density filters, 38, 48–49, 49t, 227–229

Neutral picture style, 63, 63f

noise reduction (video), 108, 154–155

O

on-camera microphones, 80, 82

180-degree shutter speed rule, 49–50

original ideas, source for, 122–136

outdoor day (lighting setup), 32–33, 33f

outdoor dusk (lighting setup), 152–153

outdoor night (lighting setup), 34, 34f

P

Panasonic Lumix DMC-GH1, 215–216

panning, 14, 15f

Photoshop, Golden Mean application for, 8–9

Picture Style Editor, 68f

picture styles, 59

pistol grips, 85, 85f

pixels, 259. See also image resolution

placement of lights. See also lighting

placing subjects in scene. See blocking

PluralEyes, 103–107, 247–248

Pocket Dolly Traveler, 15, 16f, 17f

point of view perspective, 194–196

PortaBrace backpack, 246

PortaBrace bag, 245f

Portrait picture style, 62, 62f

postproduction, 89

postproduction case studies

power, microphone, 78

practical lighting, 150

Preamp DT454 adapter, 84

prime lenses, 56, 222–223f

pulling out, 15, 15f

pushing in, 15, 15f

Q

quality, light. See lighting

R

Rabiger, Michael, 124

random movements, 9

rear key lighting, 27, 27f. See also back lights

recording audio. See audio recording

RED camera, 259, 260f, 262

Red Giant Software’s Magic Bullet Grinder, 247

Red Giant Software’s Magic Bullet Looks, 107–118, 247

Redrock Micro’s Captain Stubling, 241

Redrock Micro’s Cinema Bundle, 242

Redrock Micro’s eyeSpy, 241

Redrock Micro’s theEvent, 241

Redrock Micro’s Ultraport DSLR Bundle, 240

reflecting light. See soft light

reflectivity, skin, 39–40

reflectors, 230

Reichmann, Michael, 41

Renaud, Brent and Craig, 121–122

resolution. See image resolution

Reverie, 6

RGB color space, 60

rim lights, defined, 25

Rode NTG-2 microphone, 81, 81f

Rode VideoMic, 78–80, 80f, 231–235

room quality, sound and, 76

room tone, 77–78

Rudd, John, 162f. See also 16 Teeth (Rii Schroer) case study

Rule of Thirds, 5

Rycote Lyre Mount and Pistol Grip, 234

Rycote Miniscreen Windjammer, 231–235

Rycote’s InVision microphone shockmount, 233

S

Sachett, Isadora, 141–142, 144, 146

Salton Sea Beach, 16f, 17f

sampling rate, audio, 77

saturation

Schilowitz, Ted, 261

Schoeps CMC641, 230

Schroer, Rii, 142

screening

screenplays. See storytelling

Sennheiser Evolution G3 100 series, 234f

Sennheiser ME-66/K6, 230

Sennheiser MKH-416, 230

sensor size, 46, 48

setup (in storytelling), 136–137

700RC2 mini video fluid head, 235–236

701HDV fluid mini head, 236

shadows, 24–25, 29–30. See also direction of light; lighting

sharpness

Shooter. See Zacuto’s Tactical Shooter

shooting flat or superflat, 38, 59–65. See also ExtraFlat picture style; flat picture style; SuperFlat picture style

shotgun microphones, 78, 81, 82

shoulder-mounted rigs, 238–243

shutter speed, 49–51

Shutterfreaks’ Golden Mean application, 8–9

Sibley, Tansy, 161

side key lighting, 25, 26, 26f

Singh-Ray variable ND filters, 228

Singular Software’s PluralEyes, 103–107

16 Teeth (Rii Schroer) case study, 159

skin reflectivity, 39–40

slowness. SeeSee entries at speed

Smith, Neil, 170, 172, 176, 178

soft light, 23–24

software, 246–247

Sound Device’s MixPre, 85–86, 86f, 234–235

sound quality, 76–78. See also audio recording

sound quality, about, 75–76

special effects (The Last 3 Minutes), 199–204

speed, film. See ISO settings

speed, frame. See frame rates

speed, lens, 55–57

speed, speed. See shutter

speed spot meter, 45f, 46

Squared 5’s MPEG Streamclip, 90–94, 247

stabilization, cameraSee also camera movement

Standard picture style, 62, 62f

Steadicam Merlin, 15–16, 18–19, 18f

steadicams, 243–245

story, depicting with characters. See blocking

storytelling. See also characterization

streetlamps, 24–25

Striker (Zacuto), 242

subject movement in scene. See blocking

subject placement in scene. See blocking

supercardioid pickup pattern, 78, 79f

SuperFlat picture style, 38, 60, 64, 64f

supplies. See gear

Swing-Tilt effect, Magic Bullet Looks, 117f

syncing audio

T

Tactical Shooter, 20, 20f, 21f

Target Shooter, 240

Tascam DR-100 audio recorder, 85–86, 85f

telling stories. See storytelling

temperature, color. See color temperature

testing before shooting, 61

texture, shooting with, 146–147

theEvent, 241

Thomas, Jeremy Ian, 142

three dimensions, illusion of, 6

three-act structure (storytelling), 137, 139–140

¾ frontal key lighting, 28–29, 28f, 29f

¾ rear key lighting, 27, 27f

3-Way Color Corrector, Magic Bullet Looks, 116f

3D visual art, 183

Tiffen Merlin Steadicam, 244

Tiffen neutral density filters, 228

Tiffen’s Steadicam Merlin, 15–16, 18–19, 18f

tilting, 14, 15f

tilt-shift lens, 53–55, 54f, 55f

time of day (for shooting), 36

tips

tonal range, chip size and, 46

Torres, Gabe, 191

tracking (dolly), 15, 15f

transcoded files, 89

tripods, 235. See also camera movement

T-stops, 38, 42. See also f-stops

Turner, William. See The Last 3 Minutes

U

Ultraport DSLR Bundle, 240

Uncle Jack, 119–121, 123f, 124

used prime lenses, 222–223f

user-defined picture styles. See picture styles

Uzeda, Bernardo, 73, 141–142

V

van Vuuren, Stephen, 261, 262

variable ND filters, 228–229

“video look”, 2

view angle. See angle of view

viewfinders, 220–221

visual depiction of story. See blocking

voice, character. See characterization

W

Wade, Mike. See The Chrysalis (Jeremy Ian Thomas) case study

Water White Glass ND filters, 228

Weber, Alex, 200f, 201f, 202f

Wedding Highlights, 15–16, 18–19, 18f

Wexler, Haskell, on characters, 119–120

white balance, 30

wide angle lenses, 52, 57. See also angle of view

Willis, Gordon, 138

Winans, Jamin, 119, 120, 121, 124, 138

windscreens, 83

wireless lavs. See lavaliere (lav) microphones

X

XLR connectors or adapters, 82, 84–85, 232, 232f

Y

Yaitanes, Greg, 256

Yiu, Ken, 15–16, 18–19

Z

Zacuto Z-Finder Pro, 220–221

Zacuto’s Cross Fire, 243

Zacuto’s Double Barrel, 243

Zacuto’s Striker, 242

Zacuto’s Tactical Shooter, 20f, 21f, 20

Zacuto’s Target Shooter, 240

Zeiss Contax lenses, 222–223f

zone scale, 37, 37f, 38, 39f

Zoom H4n audio recorder, 85,85f

zoom lenses, 56–57, 165