The story of Eastmancolor's arrival on the British filmmaking scene is one of intermittent trial and error, intense debate and speculation before gradual acceptance. This book traces the journey of its adoption in British Film and considers its lasting significance as one of the most important technical innovations in film history. Through original archival research and interviews with key figures within the industry, the authors examine the role of Eastmancolor in relation to key areas of British cinema since the 1950s; including its economic and structural histories, different studio and industrial strategies, and the wider aesthetic changes that took place with the mass adoption of colour. Their analysis of British cinema through the lens of colour produces new interpretations of key British film genres including social realism, historical and costume drama, science fiction, horror, crime, documentary and even sex films. They explore how colour communicated meaning in films ranging from the Carry On series to Monty Python's Life of Brian (1979), from Lawrence of Arabia (1962) to A Passage to India (1984), and from Goldfinger (1964) to 1984 (1984), and in the work of key directors and cinematographers of both popular and art cinema including Nicolas Roeg, Ken Russell, Ridley Scott, Peter Greenaway and Chris Menges.

The story of Eastmancolor's arrival on the British filmmaking scene is one of intermittent trial and error, intense debate and speculation before gradual acceptance. This book traces the journey of its adoption in British Film and considers its lasting significance as one of the most important technical innovations in film history. Through original archival research and interviews with key figures within the industry, the authors examine the role of Eastmancolor in relation to key areas of British cinema since the 1950s; including its economic and structural histories, different studio and industrial strategies, and the wider aesthetic changes that took place with the mass adoption of colour. Their analysis of British cinema through the lens of colour produces new interpretations of key British film genres including social realism, historical and costume drama, science fiction, horror, crime, documentary and even sex films. They explore how colour communicated meaning in films ranging from the Carry On series to Monty Python's Life of Brian (1979), from Lawrence of Arabia (1962) to A Passage to India (1984), and from Goldfinger (1964) to 1984 (1984), and in the work of key directors and cinematographers of both popular and art cinema including Nicolas Roeg, Ken Russell, Ridley Scott, Peter Greenaway and Chris Menges.

Practical Art of Motion Picture Sound, 4e relies on the professional experience of the author and other top sound craftspeople to provide a comprehensive explanation of film sound, including mixing, dubbing, workflow, budgeting, and digital audio techniques. Practically grounded with real-world stories from the trenches throughout, the book also provides relevant technical data, as well as an appreciation of all the processes involved in creating optimal motion picture sound. New to this edition are exclusive sound artist lessons from the field (including 2 new production cases studies), including insight from craftspeople who have worked on the latest Harry Potter and Batman films. Any and all technological changes have been updated, and new to this edition is the inclusion of a fully revamped DVD. All of the features from the prior edition's DVD are still included, but new to this one is a series of 10 minute video interviews with professional motion picture sound craftspeople, including established supervising sound editors, music composers, dialog editors, sound transfer engineers, foley artists, mastering engineers, and dozens others.

Shooting Movies without Shooting Yourself in the Foot is the book for all those film enthusiasts who can't get on a professional set or can't undertake studies at an expensive film school. The book approaches the subject of cinematography from a "hands-on, in the trenches" viewpoint, as though the reader were an apprentice on the set. It's a book about learning to shoot a film without making an idiot of yourself and wasting lots of time and money. It's a book about how to take artistic inspiration and make it a reality. Young filmmakers want to learn how to make better films, and they want easy-to-read books that show them how it's really done, told by seasoned experts. Shooting Movies does that. Its combination breezy writing style mixed with practical, interactive exercises geared for both film and video give filmmakers the experience they need to move to the next level. Beginning with fundamental techniques and concepts of cinematography, the author shares his many years of experience with the reader, imparting invaluable advice and guidance on how to avoid common pitfalls, and more importantly, learn from mistakes. Cinematography is broken out into two key aspects: composition and lighting. Each is dealt with separately and incrementally -the author builds upon topics presented early in the book, and progresses to cover more and more advanced techniques, always keeping an eye on what a filmmaker needs to know how to do at every moment.

This text provides a thorough introduction into the history and theory of moving image film, video, sound recording and allied technologies. The author explains scientific, technical and engineering concepts clearly, using language that can be understood by non-scientists. Enticknap Integrates a discussion of traditional film-based technologies with the impact of emerging 'new media' technologies such as digital video, e-cinema and the Internet. This is a book designed for students with some technological knowledge studying the humanities who have an interest in becoming better versed in moving image technology.

The story of one of the most important and least-understood jobs in moviemaking--film editing--is here told by one of the wizards, Ralph Rosenblum, whose credentials include six Woody Allen films, as well as "The Pawnbroker, The Producers," and "Goodbye, Columbus," Rosenblum and journalist Robert Karen have written both a history of the profession and a personal account, a highly entertaining, instructive, and revelatory book that will make any reader a more aware movie-viewer.

The cinematographer must translate the ideas and emotions contained in a script into something that can be physically seen and felt onscreen, helping the director to fulfil the vision of the film. The shots may look good, but they will not serve the story until the composition, lenses, and lighting express, enhance, and reveal the underlying emotions and subtext of the story. By making physical the ideas and emotions of the story, the cinematographer supports blocking as a visual form of the story through these tools. Rather than delve into technical training, Basic Cinematography helps to train the eye and heart of cinematographers as visual storytellers, providing them with a strong foundation for their work, so that they're ready with creative ideas and choices on set in order to make compelling images that support the story. The book includes tools, tables, and worksheets on how to enhance students and experienced filmmakers with strong visual storytelling possibilities, including such features as: Dramatic script analysis that will help unlock blocking, composition, and lighting ideas that reveal the visual story Ten tools of composition Psychological impact of lenses, shot sizes, and camera movement Six elements of lighting for visual storytelling What to look for beneath the "hood" of cameras, including using camera log, RAW, and LUTs Dramatic analysis chart and scene composition chart to help plan your shoots Case studies from such visually cinematic shows and documentaries as Netflix's Godless, Jessica Jones, The Crown, and Chef's Table, as well as examples from classroom exercises Features insights from the DP of Jessica Jones, Manuel Billeter, and the DP of Chef's Table, Adam Bricker.

Building on the success of the bestselling "Master Shots," this volume goes much deeper, revealing the great directors' secrets for making the most of the visual during the usual static dialogue scene. Includes more than 200 diagrams illustrating camera positions.

This book contains 55 of the 110 interviews conducted from 2003-2005 for the feature-length documentary Cinematographer Style. The lessons from these interviews is that there is no textbook for cinematography. It is an art, like painting, writing or composing. No two artists express themselves in exactly the same way. Peter Anderson, ASC Bill Bennett, ASC Gabriel Beristain, ASC Larry Bridges Jonathan Brown, ASC Stephen Burum, ASC Bill Butler, ASC Bobby Byrne, ASC Russell Carpenter, ASC Peter Collister, ASC Ericson Core Dean Cundey, ASC Caleb Deschanel, ASC Ron Dexter, ASC Ernest Dickerson, ASC Richard Edlund, ASC Don Fauntleroy, ASC Steve Fierberg, ASC Michael Goi, ASC Stephen Goldblatt, ASC, BSC Robbie Greenberg, ASC Ernie Holzman, ASC Judy Irola, ASC Mark Irwin, ASC, CSC Johnny Jensen, ASC Francis Kenny, ASC Richard Kline, ASC Fred Koenekamp, ASC Matthew Leonetti, ASC Matthew Libatique, ASC Stephen Lighthill, ASC Bruce Logan, ASC Isidore Mankofsky, ASC Clark Mathis, ASC Rob McLachlan, ASC Chuck Minsky, ASC Kramer Morgenthau, ASC Hiro Narita, ASC Michael Negrin, ASC Sol Negrin, ASC Woody Omens, ASC Daniel Pearl, ASC Wally Pfister, ASC Bob Primes, ASC Tony Richmond, ASC, BSC Pete Romano, ASC Paul Ryan, ASC John Schwartzman, ASC Dante Spinotti, ASC Uli Steiger, ASC Tom Stern, ASC Vittorio Storaro, ASC, AIC Rodney, Taylor, ASC John Toll, ASC Amy Vincent, ASC

The Art of Film Projection: A Beginner's Guide is a beautifully produced, comprehensive outline of the materials, equipment and knowledge needed to present the magic of cinema to an enthralled audience.
Part manual and part manifesto, The Art of Film Projection compiles more than 50 years of expertise from the staff of the world-renowned George Eastman Museum and the students of the L. Jeffrey Selznick School of Film Preservation into the most complete and accessible guide to film projection ever produced. The product of more than ten years of painstaking work by renowned film preservation specialists, and featuring a foreword by Tacita Dean and Christopher Nolan, this volume addresses a changing film landscape.
No film comes to life until it is shown on the big screen, but with the proliferation of digital movie theaters, the expertise of film projection has become increasingly rare. Written for both the casual enthusiast and the professional projectionist in training, this book demystifies the process of film projection and offers an in-depth understanding of the aesthetic, technical and historical features of motion pictures. Fully accessible for the layperson, student, technician or scholar, the book is designed to be used: richly illustrated with photographs and easy-to-read diagrams, it is printed at a size that is easy to carry, with a ribbon bookmark and pages for notes. The Art of Film Projection invites readers to help save the authentic experience of seeing motion pictures on film.

onedotzero is a cross-media production company that runs an acclaimed international network of events. The onedotzero festival has become a global phenomenon, reaching over 60 cities worldwide and thousands of people. In "Screen International"'s 25th anniversary issue, onedotzero was named as one of the top ten visionaries of the UK film industry alongside Ridley Scott and Lynne Ramsey.

With its pioneering vision, onedotzero champions new forms of moving image, and this book celebrates the next generation of creators who are accelerating the medium into the 21st century, following the success of the first "Motion Blur." It features 27 international filmmakers who are exploring the evolving possibilities of motion graphics, broadcast design, digital film effects, and animation. Their work is illustrated by screen grabs, storyboards, and sketches, and the groundbreaking nature of their work is highlighted in exclusive interviews and short texts accompanying every production.

The camera's movement in a film may seem straightforward or merely technical. Yet skillfully deployed pans, tilts, dollies, cranes, and zooms can express the emotions of a character, convey attitude and irony, or even challenge an ideological stance. In The Dynamic Frame, Patrick Keating offers an innovative history of the aesthetics of the camera that examines how camera movement shaped the classical Hollywood style. In careful readings of dozens of films, including Sunrise, The Grapes of Wrath, Rear Window, Sunset Boulevard, and Touch of Evil, Keating explores how major figures such as F. W. Murnau, Orson Welles, and Alfred Hitchcock used camera movement to enrich their stories and deepen their themes. Balancing close analysis with a broader poetics of camera movement, Keating uses archival research to chronicle the technological breakthroughs and the changing division of labor that allowed for new possibilities, as well as the shifting political and cultural contexts that inspired filmmakers to use technology in new ways. An original history of film techniques and aesthetics, The Dynamic Frame shows that the classical Hollywood camera moves not to imitate the actions of an omniscient observer but rather to produce the interplay of concealment and revelation that is an essential part of the exchange between film and viewer.

Due to its ability to freeze a moment in time, the photo is a uniquely powerful device for ordering and understanding the world. But when an image depicts complex, ambiguous, or controversial events--terrorist attacks, wars, political assassinations--its ability to influence perception can prove deeply unsettling. Are we really seeing the world "as it is" or is the image a fabrication or projection? How do a photo's content and form shape a viewer's impressions? What do such images contribute to historical memory? About to Die focuses on one emotionally charged category of news photograph--depictions of individuals who are facing imminent death--as a prism for addressing such vital questions. Tracking events as wide-ranging as the 1906 San Francisco Earthquake, the Holocaust, the Vietnam War, and 9/11, Barbie Zelizer demonstrates that modes of journalistic depiction and the power of the image are immense cultural forces that are still far from understood. Through a survey of a century of photojournalism, including close analysis of over sixty photos, About to Die provides a framework and vocabulary for understanding the news imagery that so profoundly shapes our view of the world.

* Become an eloquent visual storyteller through effective and expressive choices for each and every shot in your film with hundreds of full-color examples from your favorite blockbusters in this easy-to-reference guide * Types of shots covered include close-ups, long shots, over the shoulder shots, group shots, zoom shots, pan shots, dolly shots, tracking shots, and more * The 2nd edition has been comprehensively updated with new movie examples of various shots featured, a new chapter on The Overhead Shot, expanded sections on aspect ratios, rule of thirds, shooting formats, and updated organisation into parts on sizes conventions and dynamics.

Put the essential concepts and techniques of digital compositing to work for you without the need of a single mathematical equation. Compositing Visual Effects is lavishly illustrated with hundreds of film shots, figures, illustrations, and diagrams to help the visual reader gain a valuable vocabulary and understanding of the full range of visual effects, in which digital compositing plays a key role.

Beginning with an inspirational tour of the scope and magnitude of digital compositing, you get a solid overview of the kinds of digital effects routinely executed today. See how CGI is composited with live action, how set extensions are done, and what a match-move shot is. Following that you learn each of the key applications of digital compositing, which include bluescreen compositing, bullet-time shots, motion tracking, and rotoscoping. The subsequent chapters dig down into each of the major digital compositing applications, introducing the fundamental concepts, and processes behind them.

Learn what is easy and hard, possible and impossible, and what to expect when working on a job that entails digital compositing. New to this edition are 4 new chapters on:

* 3D compositing, with lessons on what camera tracking is, how it is used to put CGI into a live-action plate, as well as live action into a 3D scene.

* Stereo compositing, with descriptions of key stereoscopic terms and concepts, lessons on compositing shots that were filmed in stereo (both bluescreen and CGI), as well as the stereo conversion process when a flat 2D movie is converted to a stereo 3D movie

* RED and Digital Capture with Log Images, including log image formats. This is a very hot topic these days. Colleges hang around video because it is cheaper. Film is still big in the real world of production.

* Tracking an entire project from start to finish

This is in addition to robust updates on topics such as:

* planar tracking, Z compositing, working with Anamorphic HD formats, mocap, and more

This edition also includes a companion website (https://routledgetextbooks.com/textbooks/_author/wright-9780240817811/resources.php) with images from the book for you to work with in your own compositing exercises.

An accessible introduction to a complex subject for novice and aspiring compositors, from experienced author and compositing whose compositing credits include Night at the Museum 2, Shutter Island, Solaris, Traffic, and more

Full color presentation illustrating the art and techniques of the practice, provides inspiration along with instruction

New to this edition is a companion website, new chapters on 3D compositing, stereo compositing, RED and digital capture with log images, and more will have you understanding the latest in compositing technology in no time

Table of Contents

Introduction, Acknowledgements, Chapter 1 Visual Effects Today, Chapter 2 Digital Images, Chapter 3 Compositing CGI, Chapter 4 Bluescreen Compositing, Chapter 5 Creating Masks, Chapter 6 Rotoscoping, Chapter 7 Image Blending, Chapter 8 Animation, Chapter 9 The Art of Compositing, Chapter 10 Scene Salvage, Chapter 11 Working with Video, Chapter 12 Working with Film, Chapter 13 Digital Capture, Chapter 14 Stereo Compositing, Chapter 15 Life of a VFX Shot, Glossary, Index.

The Five C's of Cinematography is one of the three most important books on cinematic technique ever published -- American Cinematographer

Mr. Mascelli provides the attentive reader with the equivalent of a complete course in filmmaking. -- New York Times

The Five C's is the most widely respected book on cinematography ever published. With the aid of hundreds of photographs and diagrams, it clearly and concisely presents al of the essential concepts and techniques of motion picture camera work.

Used copies of this timeless, long-out-of-print volume, which was first published in 1965, have been fetching hundreds of dollars per copy from students and teachers of cinematography and filmmaking. Now it is published for the first time in a paperback edition.

The five C's, and some of the related subjects this book covers, are:

Camera Angles -- Objective, Subjective, Point-of-View, Subject Size, Subject Angle, Camera Height

Continuity -- Cinematic Time and Space, Filming Action, Master Scenes, Screen Direction, Transitional Devices

Cutting -- Types of Editing, Cross-Cutting, Cutting on Action

Close-ups -- Over-the-Shoulder, Cut-in, Cutaway

Composition -- Compositional Rules, Compositional Language, Types of Balance, Attracting or Switching the Center of Interest.

This book examines the art and craft of motion picture photography through a veteran professional cinematographer's personal experiences on five major motion pictures, each selected to illustrate a particular series of challenges for the photographer. "Every Frame a Rembrandt" is an expression heard on sound stages and locations the world over. While in most cases the expression is used lightly and not infrequently with a certain amount of sarcasm, its true meaning speaks highly of most cinematographers' commitment to producing the best, most interesting, unusual and memorable images for the screen. Through the five films he selected for this book Laszlo is able to show the broad range of complexity in motion picture photography, from the relatively simple "point and shoot" in the typcal western to complex in-camera effects. In recounting his "war stories" Laszlo is able to show the day to day activities of a cinematographer before, during and after filming the project, discussing equipment, film stocks, testing, labs, unions, agents, budget requirements, and working with the director and producer. The five films discussed are Southern Comfort, The Warriors, Rambo: First Blood, Streets of Fire, and Innerspace. The book is illustrated throughout with production stills from Laszlo's extensive collection (12 in a color insert).

"Master Shots" gives filmmakers the techniques they need to execute complex, original shots on any budget. By using powerful master shots and well-executed moves, directors can develop a strong style and stand out from the crowd.