This book presents three interrelated essays about cinematography which offer a theoretical understanding of the ways that film practitioners orchestrate light in today's post-digital context. Cinematography is a practice at the heart of film production which traditionally involves the control of light and camera technologies to creatively capture moving imagery. During recent years, the widespread adoption of digital processes in cinematography has received a good deal of critical attention from practitioners and scholars alike, however little specific consideration about evolving lighting practices can be found amongst this discourse. Drawing on new-materialist ideas, actor-network theory and the concept of co-creativity, these essays examine the impact of changing production processes for the role and responsibilities of a cinematographer with a specific focus on lighting. Each essay advances a new perspective on the discipline, moving from the notion of light as vision to light as material, from technology as a tool to technology as a network, and from cinematography as an industry to cinematography as a collaborative art.

A breathtaking collection of photographs and expert commentary that shed light on the most mysterious creatures of the deep seaJellyfish come in a dazzling array of colors, shapes, and sizes, drifting through every ocean, from the surface to the deepest of the deep seas, and are even found in freshwater locations. These ancient creatures, also called sea jellies (they are not, technically, fish), are so otherworldly and luminous that it is no wonder they are often compared to mythical shapeshifters. Some are so delicate that they shatter with the smallest disturbance to the water, while the tenacity of others means they can withstand almost any temperature, any salinity, starvation, and even being dismembered. And some are truly biologically immortal. This visually breathtaking book showcases 100 species of jellyfish within its pages—from the ubiquitous Aurelia to the enigmatic Velella—along with astounding facts about these fascinating marine life-forms. Some are splendid, some strange, some poisonous, some deadly. Some carry surprising secrets and some are barely known, but every one of them is remarkable and has a tale to tell. An introduction by noted expert Lisa-ann Gershwin, with her commentary throughout, invites you into the wondrous world of jellyfish.

Karl Freund is the most important film pioneer you've never heard of. From the silent film era to the rise of the American sitcom, Freund was there at every turn. Countless camera techniques can be traced back to his "unchained camera." His lighting setup for filming I Love Lucy live remains standard to this day. He was the man behind the lens for many influential and award-winning films, from Metropolis to The Good Earth to Key Largo. This biography is the first book-length look at one of the world's greatest cameramen. It details the events of his early life, his entrance into the world of film, his work in both Germany and America, and his legacy, while also putting his life and films into the historical context of the 20th century. The author gives particular attention to Freund's role in the early horror films Der Golem, Dracula, Murders in the Rue Morgue, The Mummy, and Mad Love.

This superb book provides a unique insight into professional visual effects for motion pictures. Special effects have long been used to enhance scale and place, and to suggest realities that are but imagined. Once intended to save money, special effects films have now developed into the dominant motion picture genre.

In the Blink of an Eye is celebrated film editor Walter Murch's vivid, multifaceted, thought -- provoking essay on film editing. Starting with what might be the most basic editing question -- Why do cuts work? -- Murch treats the reader to a wonderful ride through the aesthetics and practical concerns of cutting film. Along the way, he offers his unique insights on such subjects as continuity and discontinuity in editing, dreaming, and reality; criteria for a good cut; the blink of the eye as an emotional cue; digital editing; and much more. In this second edition, Murch reconsiders and completely revises his popular first edition's lengthy meditation on digital editing (which accounts for a third of the book's pages) in light of the technological changes that have taken place in the six years since its publication.

Packed with gems of wisdom from the current 'masters of light', this collection of conversations with twenty leading contemporary cinematographers provides invaluable insight into the art and craft of cinematography. Jacqueline Frost's interviews provide unprecedented insight into the role as cinematographers discuss selecting projects, the conceptual and creative thinking that goes into devising a visual strategy, working with the script, collaborating with leading directors such as Martin Scorcese, Spike Lee, and Ava DuVernay, the impact of changing technology, and offer advice for aspiring cinematographers. Interviews include Maryse Alberti, John Bailey, Robert Elswit, Kirsten Johnson, Kira Kelly, Ellen Kuras, Edward Lachman, Matthew Libatique, John Lindley, Seamus McGarvey, Reed Morano, Polly Morgan, Rachel Morrison, Rodrigo Prieto, Cynthia Pusheck, Harris Savides, Nancy Schrieber, John Seale, Sandi Sissel, Dante Spinotti, Salvatore Totino, Amy Vincent and Mandy Walker. Filled with valuable information and advice for aspiring cinematographers, directors, and filmmakers, this is essential reading for anyone interested in the art and craft of cinematography.

This is Ronnie Maasz's account of his more than fifty years in the film business as a cameraman. With candid humor, Maasz offers a light-hearted collage of the international locales, quirky people, exciting events, and special effects gone wrong that the author encountered during his noteworthy film career. He includes his impressions of working with talented performers including Janet Leigh, Sir Michael Caine, Christopher Lee, and Sir Laurence Olivier, as well as renowned directors Joseph L. Mankiewicz, Tony Richardson, and John Huston. In this charming memoir of life behind the camera, Maasz clearly illustrates that the art of filmmaking bridges the gap between people of many different backgrounds and sensibilities.

In Producing Great Sound for Film and Video, Fourth Edition audio guru Jay Rose revises his popular text for a new generation of filmmakers. You’ll learn practical, time-saving ways to get better recordings, solve problems with existing audio, create compelling tracks, and boost your filmmaking to the next level!

Here you’ll find real-world advice and practical guidelines for every aspect of your soundtrack: planning and budgeting, field and studio recording, editing, sound effects and music, audio repair, processing, and mixing. Rose’s combination of solid technical information and a clear, step-by-step approach has made this the go-to book for producers and film students for over a decade.

New in this edition:

Insights and from-the-trenches tips from top professionals

Instructions for getting the best results from new DSLRs and digital recorders

What you need to know about new regulations for wireless mics and broadcast loudness

An expanded "How Do I Fix This?" section to help you solve problems quickly

Whether you’re an aspiring filmmaker who wants better tracks, or an experienced professional looking for a reference, Producing Great Sound for Film and Video, Fourth Edition has the information you need.

Table of Contents

Chapter 1: Audio Basics

Chapter 2: How Digital Audio Works

Chapter 3: Audio on a Wire

Chapter 4: Planning and Pre-Pro

Chapter 5: Budgeting, Scheduling, and Pre-production

Chapter 6: Production Sound

Chapter 7: Production Mic Technique

Chapter 8: Production Recording

Chapter 9: Recording, Voice-overs, ADR, and Effects (available as an online supplement)

Chapter 10: Postproduction

Chapter 11: Postproduction Hardware

Chapter 12: Levels and Digitizing

Chapter 13: Editing Voices

Chapter 14: Working with Music

Chapter 15: Sound Effects

Chapter 16: Processing

Chapter 17: The Mix

Chapter 18: "Help! It Doesn’t Sound Right!"

Appendix A: Glossary

Appendix B: Resources

Aesthetic 3D Lighting: History, Theory, and Application delves into the history, the theory, and the practical and aesthetic application of lighting in the fine arts and 3D animation. In this book, animation industry veteran and lighting expert Lee Lanier examines the importance of lighting and its ability to communicate information to the viewer. Lee examines the history of lighting as applied to the fine arts, film, photography, and 3D animation. He discusses the use of light color, light location and direction, and light shadow types to recreate specific locations and to generate moods. He includes guides for successful lighting in 3D animation. Software-agnostic examples lead you through useful 3D lighting set-ups. Chapter-long case studies step you through more complex 3D lighting projects in Autodesk Maya. An accompanying eResource (www.routledge.com/9781138737570) features 3D model files, scene files, and texture bitmaps, allowing you to practice the discussed techniques in Autodesk Maya and many other 3D programs. The lighting techniques covered in this book include: History of lighting as used in the fine arts The scientific mechanisms of light Light types and light application in 3D programs Light qualities including shadows variations Basic and advanced 3D lighting approaches 1-, 2-, 3-point, naturalistic, and stylistic lighting techniques Replication of real-world lighting scenarios and locations Overview of advanced 3D lighting and rendering systems

In Producing Great Sound for Film and Video, Fourth Edition audio guru Jay Rose revises his popular text for a new generation of filmmakers. You'll learn practical, time-saving ways to get better recordings, solve problems with existing audio, create compelling tracks, and boost your filmmaking to the next level! Here you'll find real-world advice and practical guidelines for every aspect of your soundtrack: planning and budgeting, field and studio recording, editing, sound effects and music, audio repair, processing, and mixing. Rose's combination of solid technical information and a clear, step-by-step approach has made this the go-to book for producers and film students for over a decade. New in this edition: Insights and from-the-trenches tips from top professionals Instructions for getting the best results from new DSLRs and digital recorders What you need to know about new regulations for wireless mics and broadcast loudness An expanded "How Do I Fix This?" section to help you solve problems quickly Whether you're an aspiring filmmaker who wants better tracks, or an experienced professional looking for a reference, Producing Great Sound for Film and Video, Fourth Edition has the information you need.

Basic Betacam Camerawork offers a complete introduction to both the analogue and digital beta camera formats: Betacam, Digital Beta, Betacam SX and DV & DVCAM. Step-by-step instructions are given covering everything from pre-recording checklists, to technical camera specifications, instruction on exposure and lighting, composition, editing and sound and techniques for different programme styles. Aimed at TV camera operators just starting out and film cameramen and women converting to video this book will also appeal to students on film and television production courses. Peter Ward is a freelance cameraman and trainer working with the International Television Training Consultancy and ex-Chairman of the Guild of Television Cameramen. He spent many years working on a variety of programmes at the BBC before becoming Head of Cameras at Television South West. Peter is author of the following books for Focal Press: Digital Video Camerawork, Picture Composition for Film and Video , Studio & Outside Broadcast Camerawork, TV Technical Operations and co-author of Multiskilling for TV Production. Basic Betacam Camerawork offers a complete introduction to both the analogue and digital beta camera formats.

Location filming is growing in popularity with the abundance of affordable cameras. You don't need a studio, a broadcast truck, or even extensive knowledge of how to use a 16mm film camera--all you need is a digital camera, and you can take your job on the road and shoot wherever action is happening! This book will give you the knowledge and confidence you need to take your on-location shooting skills to the next level. Better Location Filming is packed with the things you will need to know to have great results while shooting your documentary, interview, sporting event, fashion or glamour event, or current affairs/news show. Beyond introductory techniques, the author will tell you how to plan, troubleshoot, handle legal requirements and issues, and of course - he'll teach you all about location filming equipment. Practical and filled with hands-on pointers, this book is perfect for working and aspiring film & video professionals seeking a leg up in their careers. As a bonus, advanced tips are included for novices who are ready to take shooting techniques to the next level.

The Practical Guide to Documentary Editing sets out the techniques, the systems and the craft required to edit compelling professional documentary television and film. Working stage by stage through the postproduction process, author Sam Billinge explores project organization, assembling rushes, sequence editing, story structure, music and sound design, and the defining relationship between editor and director. Written by a working documentary editor with over a decade's worth of experience cutting films for major British and international broadcasters, The Practical Guide to Documentary Editing offers a unique introduction to the craft of documentary editing, and provides working and aspiring editors with the tools to master their craft in the innovative and fast-paced world of contemporary nonfiction television and film.

The twelve interviews in this book cover all aspects of cinematography from pre-production planning to post-production, special effects, aerial photography, and second unit. Each interview gives a behind-the-scenes look at how some of the most popular shots in movies and television shows were lit and captured. Technically and philosophically oriented, Contemporary Cinematographers on Their Art explores the tools, trends, personalities, and professional achievements of contemporary cinematographers, highlighting the behind-the-scenes struggles of the business of making motion pictures. Each chapter delves into the personal challenges, political properties, inter-departmental interactions, and artistic achievements of the artists who bring scripts to life through their choice of cameras, lights, lenses, filters, gels, and other supporting equipment. Covering a variety of film and television genres--from soaps to half-hour sitcoms, to cable and network productions and low- and big-budget features--each interview explores the tools cinematographers use to capture their shots, from traditional equipment to innovative camera and lighting "toys," as well as the integration of mechanical and computer graphic effects.

Anyone working with lighting in the entertainment industries will find this an immensely readable source of information. The authors, themselves experienced lighting practitioners, have collected a wealth of essential lighting technology and data into one comprehensive reference volume in an accessible, jargon-free style. The new edition of this popular text covers the very latest technology, including advances in lamps, motorised lights, dimmers and control systems and current safety regulations.

Studio and outside broadcast is often done with more than one camera and has its own distinct discipline and operational procedures. Many camera operators now start with single camera operations and have little or no experience of the skills required for multi-camera operation, whereas it used to be the other way round. This book prepared newcomers to multi-camerawork and the techniques required to produce professional results. Studio and Outside Broadcast Camerawork is a revised edition of Multi-Camera Camerawork, including new material on widescreen shooting and an update on BBC (and worldwide) policy of 'shoot and protect' for dual aspect ratio format production.

An easy to follow, quick reference introductory guide for beginning professionals and students in filmmaking and postproduction. It explains all film laboratory procedures in the context of the wide range of technology that is used by filmmakers, explaining what happens and why at every stage. A technical understanding of film processing and printing, telecine and laboratory and digital processes will help you get the best results for your film. The book is particularly useful for those who have come to film making from other media - video or digital. The book is based on the author's own experience as a lab technician and technical film consultant and provides answers to many frequently asked questions. The different pathways for film production and postproduction are demonstrated as well as the function of the lab at each stage of the process. The complete range of services is offered, with particular emphasis on the often confusing requirements for super 16 and the blow up to 35mm, the intricacies of negative cutting to match a non-linear edit and the process of grading and regrading for the answer print. This new edition includes: * An update on all digital formats of image and sound * Revision sections on Super 16, Super 35 * Additional information on syncing rushes at telecine and to digital images * The latest telecine machines * A new, clear and simple glossary

This book traces the history and current practice in film and television arguing that a solid base of knowledge of the craft of the skill is essential for the proper application of the new techniques. Based on the highly acclaimed and well-used first edition published by Thames and Hudson a decade and a half ago, this second edition has been thoroughly updated, revised and extended. The aesthetics and techniques of editing are examined in depth and illustrated with numerous examples from past and present films and individual editors' work. Of relevance to the directors, camera and sound people as well as editors and aspiring editors, it will provide an invaluable reference tool to all students of film and video.

In film history, director-cinematographer collaborations were on a labor spectrum, with the model of the contracted camera operator in the silent era and that of the cinematographer in the sound era. But in Weimar era German filmmaking, 1919-33, a short period of intense artistic activity and political and economic instability, these models existed side by side due to the emergence of camera operators as independent visual artists and collaborators with directors. Berlin in the 1920s was the chief site of the interdisciplinary avant-garde of the Modernist movement in the visual, literary, architectural, design, typographical, sartorial, and performance arts in Europe. The Weimar Revolution that arose in the aftermath of the November 1918 Armistice and that established the Weimar Republic informed and agitated all of the art movements, such as Expressionism, Dada, the Bauhaus, Minimalism, Objectivism, Verism, and Neue Sachlichkeit ("New Objectivity"). Among the avant-garde forms of these new stylistically and culturally negotiated arts, the cinema was foremost and since its inception had been a radical experimental practice in new visual technologies that proved instrumental in changing how human beings perceived movement, structure, perspective, light exposure, temporal duration, continuity, spatial orientation, human postural, facial, vocal, and gestural displays, and their own spectatorship, as well as conventions of storytelling like narrative, setting, theme, character, and structure. Whereas most of the arts mobilized into schools, movements, institutions, and other structures, cinema, a collaborative art, tended to organize around its ensembles of practitioners. Historically, the silent film era, 1895-1927, is associated with auteurs, the precursors of Francois Truffaut and other filmmakers in the 1960s: actuality filmmakers and pioneers like R. W. Paul and Fred and Joe Evans in England, Auguste and Luis Lumiere and Georges Melies in France, and Charles Chaplin and Buster Keaton in America, who, by managing all the compositional, executional, and editorial facets of film production-scripting, directing, acting, photographing, set, costume, and lighting design, editing, and marketing-imposed their personal vision or authorship on the film. The dichotomy of the auteur and the production ensemble established a production hierarchy in most filmmaking. In formative German silent film, however, this hierarchy was less rank or class driven, because collaborative partnerships took precedence over single authorship. Whereas in silent film production in most countries the terms filmmaker and director were synonymous, in German silent film the plural term filmemacherin connoted both directors and cinematographers, along with the rest of the filmmaking crew. Thus, German silent filmmakers' principle contribution to the new medium and art of film was less the representational iconographies of Expressionist, New Objective, and Naturalist styles than the executional practice of co-authorship and co-production, in distinctive cinematographer-director partnerships such as those of cinematographer Theodor Sparkuhl and director Ernst Lubitsch; Fritz Arno Wagner with F. W. Murnau, Fritz Lang, and G. W. Pabst; Rudolf Mate with Carl Theodor Dreyer; Guido Seeber with Lang and Pabst; and Carl Hoffmann with Lang and Murnau.

Readers of Mike Uva's GRIP BOOK who are interested in more detailed information on the work of the grip department will welcome his new rigging manual, clearly detailing all the ways to mount cameras and lights both on a set as well as on location. The book covers the latest truss systems, rigging equipment and portable stages, as well as lifts, boom arms and camera mounts for every type of moving vehicle. The book is not limited to equipment specifications, however; Uva offers tips and tricks throughout in order to make the process of setting up and shooting safer and more efficient. Grips often need to invent makeshift solutions in a short time, and Uva shares many such devices developed over his years in the film and TV industry. This book will help grips and key grips move on to the bigger feature projects and commercials that require this equipment. It will also be useful for directors of photography and producers in pre-planning the required equipment for specific shots.

This new AFI Film Reader is the first comprehensive collection of original essays on the use of color in film. Contributors from diverse film studies backgrounds consider the importance of color throughout the history of the medium, assessing not only the theoretical implications of color on the screen, but also the ways in which developments in cinematographic technologies transformed the aesthetics of color and the nature of film archiving and restoration. Color and the Moving Image includes new writing on key directors whose work is already associated with color such as Hitchcock, Jarman and Sirk as well as others whose use of color has not yet been explored in such detail including Eric Rohmer and the Coen Brothers. This volume is an excellent resource for a variety of film studies courses and the global film archiving community at large.

This new AFI Film Reader is the first comprehensive collection of original essays on the use of color in film. Contributors from diverse film studies backgrounds consider the importance of color throughout the history of the medium, assessing not only the theoretical implications of color on the screen, but also the ways in which developments in cinematographic technologies transformed the aesthetics of color and the nature of film archiving and restoration. Color and the Moving Image includes new writing on key directors whose work is already associated with color-such as Hitchcock, Jarman and Sirk-as well as others whose use of color has not yet been explored in such detail-including Eric Rohmer and the Coen Brothers. This volume is an excellent resource for a variety of film studies courses and the global film archiving community at large.

A history of the lightweight workhorse camera that transformed postwar cinematography This volume provides a history of the most consequential 35mm motion picture camera introduced in North America in the quarter century following the Second World War: the Arriflex 35. It traces the North American history of this camera from 1945 through 1972--when the first lightweight, self-blimped 35mm cameras became available. Chronicle of a Camera emphasizes theatrical film production, documenting the Arriflex's increasingly important role in expanding the range of production choices, styles, and even content of American motion pictures in this period. The book's exploration culminates most strikingly in examples found in feature films dating from the 1960s and early 1970s, including a number of films associated with what came to be known as the "Hollywood New Wave." The author shows that the Arriflex prompted important innovation in three key areas: it greatly facilitated and encouraged location shooting; it gave cinematographers new options for intensifying visual style and content; and it stimulated low-budget and independent production. Films in which the Arriflex played an absolutely central role include Bullitt, The French Connection, and, most significantly, Easy Rider. Using an Arriflex for car-mounted shots, hand-held shots, and zoom-lens shots led to greater cinematic realism and personal expression. Norris Pope, Palo Alto, California, is program director for scholarly publishing at Stanford University Press. The author of Dickens and Charity, he has a doctorate in modern history from Oxford University. He owns--and often uses--an Arriflex 35.

Being a successful editor is about more than just knowing how to operate a certain piece of software, or when to make a certain transition. On the contrary, there are many unwritten laws and a sense of propriety that are never discussed or taught in film schools or in other books. Based on their own experiences, first as upcoming assistant editors, then as successful Hollywood editors, the authors guide you through the ins and outs of establishing yourself as a respected film and video editor. Insight is included on an array of technical issues such as script breakdown, prepping for sound effects, organizing camera and sound reports, comparison timings, assemply footages and more. In addition, they also provide first-hand insight into industry protocol, providing tips on interviewing, etiquette, career planning and more, information you simply won't find in any other book. The book concludes with a chapter featuring Q+A sessions with various established Hollywood editors about what they expect from their assistant editors.