Practical Cinematography SECOND EDITION

Filmmaking is an art, but, like so many art forms, there are basic underlying tools and techniques and a body theoretical knowledge that must be understood and mastered before artistic expression can flourish. This book is an invaluable resource for all aspiring DoPs.
Practical Cinematography can be dipped into for quick reference - perhaps to answer a specific question or deal with practical problems relating to a shoot - or read from cover to cover. It discusses the principles of cinematography and the expertise which is unique to the Director of Photography (DoP). It deals with all the basic theory such as color temperature and sensitometry, and all the practical things a DoP needs to know, from the make-up of the crew to how to prepare an equipment list.
* An accessible introduction to the principles of cinematography written by an award winning cinematographer
* Illustrated with 150+ images
* Includes a new section on DV

PART ONE The unitThe Director of PhotographyThe DP's ResponsibilitiesIn early Pre-productionCloser to shoot preparationDuring shootingPost production The DP's PreparationResearchPreparing for a shootThe reccesThe DP's preparationThe camera equipment listThe lighting equipment listThe film stock breakdownThe technical scheduleThe Camera CrewAn OverviewThe TraineeThe Clapper Loader (AC 2)The Focus Puller (AC 1)The Camera OperatorThe GripThe GafferCrew ProtocolPART TWO The TechnologyThe Motion Picture CameraThe Persistence of VisionFrame RatesThe Intermittent MechanismThe Reflex ViewfinderViewing ScreensThe Film MagazineFilm Camera LayoutLensesArtistic DecisionsCharacteristics of LensesThe FundamentalsPerceived sharpness with regard to contrastMaximum apertureTelephoto lensesWide-angle lensesZoomsConclusionsChoiceModern Lens DesignsLens Distortion and AberrationsFilm StockWhat is Film?The history of the negative/positive photographic processThe basic photographic process Colour Negative FilmGrain and GraininessWhen does Grain become unacceptable?PerforationsEdge NumbersCare, Shipping and HandlingBasic SensitometryThe LaboratoryThe Laboratory ContactPrinter LightsContact PrintingOptical PrintingNegative CuttingCinema Release PrintsThe "Long Handled Negative CutFilm GradingTelecine GradingPART THREE The Cinematographers CraftExposure Meters Camera SpeedShutter SpeedAverage Scene Reflectance ValueTypes of Exposure MeterLighting RatiosDefining a Lighting RatioVisualising Lighting RatiosLighting Ratios for Film and TelevisionLighting Ratios when shooting for both Film and TelevisionUsing Lighting Ratios on the SetControlling the Whole SceneThree Point Image ControlThere's no such thing as exposure latitudeThree Point Image ControlRelating the three points to the sensitometric curveControl for televisionUsing the 18% Grey ScaleThe MessengerControlling Print DensityShifting ColourIntentional Colour ChangesDevelopments in Grey CardsConclusionsColour TemperatureWhat is Colour Temperature?Filters and Mired Shift ValuesThe Colour Temperature MeterColour FilmCorrecting LampsCamera FiltersColour Compensating FiltersColour Correction FiltersSkin Tone WarmerSepia, Coral, colour effects, etc.Graduated FiltersNeutral DensityLow ContrastUltra ContrastFogDouble fogPro MistStar filtersNetsMatching ShotsEnhancing FiltersFluorescent Light CorrectionPola ScreensFilter FactorsThe Pan GlassDepth of FieldDepth of FocusCircles of ConfusionDepth of Field and Super 16mm to 35mm Blow UpsSuper 16mm and 16 x 9 Television35mm Film Depth of Field when only shown on TelevisionDepth of Field CalculatorsThe Effect of Aperture on Depth of fieldThe Effect of Focal Length on Depth of FieldThe Mathematics of Depth of FieldTestingWhy so much checking?Who Checks?Tests that involve shooting film include:Lens TestingGamma TestingWhat to do with the Film TestsNon Film TestingStoresThe Camera CarPART FOUR OperatingComposition and the Rule of ThirdsFraming using the Rule of ThirdsFraming using the SixthsDiagonal FramingComplex and Combined CompositionLenses and PerspectiveFrame Size and Focal LengthPerspectiveFocal length and emotional involvementWhat is a Normal focal length?Aspect RatiosThe 35mm FrameThe Aspect RatioWidescreenThree Perforation Pull DownTwo perforation pull downAnamorphic65mm and 70mmSuper 35TelevisionPART FIVE The FutureShooting Super 16mm for TelevisionAspect Ratios when shooting for televisionHistory - The evolution of the Super 16mm format16 x 9 Television and Super 16Framing in several formatsFraming SolutionsFestival PrintsHigh DefinitionHD - is it the future?Picture QualityHD AcquisitionMulti episodicFeaturesTelevisionEditing HDPresentationDistributionCinema projectionWill Digital Cinema come?So, film is not dead!

Paul Wheeler BSC FBKS was trained at the BBC rising to become a Senior Drama Film Cameraman. Paul Shot one of the first BBC Drama Series to be photographed using the then new Digi Beta cameras, by which time he was freelance. He is a renowned cinematographer/director of photography and trainer, he has been Head of Cinematography at National Film & Television School and still runs courses on Digital Cinematography there. He has also been Head of Cinematography on the Royal College of Arts MA course. Paul was invited to become an associate of Panavision in order to help them introduce the Panavised version of Sony's HDW 900f camera which meant he joined the HD movement 3 days before the first Panavision camera arrived in Europe. Despite all this he is still very much a working cinematographer. He has been twice nominated by BAFTA for a Best Cinematography award and also twice been the winner of the INDIE award for Best Digital Cinematography. His previous books, "Practical Cinematography and "Digital cinematography , are both published by the Focal Press.