The DSLR Filmmaker's Handbook

The DSLR Filmmaker's Handbook
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Andersson Barry. The DSLR Filmmaker's Handbook

Copyright

Credits

Dedication

Acknowledgments

About the Author

Introduction

Who Should Read This Book

What Is Covered in This Book

How to Contact the Author

Chapter One. Fundamentals of DSLR Filmmaking

Features of DSLR Cameras

Features of SLR Lenses

How Sensor Size and Lenses Interact

Chapter Two. Gear and Recommendations

What Camera Is Right for You?

Lenses and Accessories

Lights

Audio

Tripod and Dollies

Specialty Items and Miscellaneous

Planning Your Gear Package

Chapter Three. Testing and Custom Settings

Camera-Specific Testing

Testing Equipment Interactions

Using In-Camera Presets

Changing the Camera Presets for Image Control

Customizing Your Picture Style: Steps for Canon DSLR Cameras

Chapter Four

Using Cameras on Location

Using Lenses on Location

Chapter Five. Camera Motion and Support

Camera Motion

Types of Camera Movement

Planning the Motion

Gear for Designing and Controlling Movement

Stabilizing Your Camera Motion

Motion, the Edit, and Cutting

Chapter Six. Lighting on Location

Planning the Lights

Choosing Lights

Principles for Setting Lighting

Types of Lights by Position

Lighting for Special Situations

Managing Light

Light Quality

Picking Exposure

Chapter Seven. Sound on Location

The Role of Sound

Recording Sound with DSLR Cameras

Microphones and Key Accessories

Planning, Setting Up, and Recording a Shoot

Chapter Eight. Organizing and Storing Data in the Field

Setting Up a File System

Understanding Different Capture Formats

Backing Up Your Footage on Set

Organizing Data on Set

Chapter Nine. Troubleshooting

Avoiding Problems: What to Do, What to Take

Shooting Problems

Hardware Problems

Ways to Save the Shot

Chapter Ten. Converting and Editing Your Footage

Setting the Foundation for Post-Production Workflow

Choosing the Right Hard Drives

Backing Up Data

Choosing and Using an Editing Codec

Editing Your Footage

Chapter Eleven. Audio Crash Course

Syncing Your Audio and Video

Troubleshooting Out-of-Sync Sound

Automated Dialogue Replacement and Sound Effects

Finding Music

Chapter Twelve. Color Correction and Grading

Color Theory and the Eye

Color Correction on Set: Outside the Camera

Color Correction on Set: Inside the Camera

What Is This Camera Shooting Anyway and Why Do I Care?

Post-Production Color Correction and Grading

Chapter Thirteen. Compressing Your Film

Understanding Compression

Outputting Your Video

Chapter Fourteen. Post-Production Looks

Primary Color Correction

Micromanaging with Regional Color Corrections

Secondary Color Correction

Faux Lens Effects

Behind-the-Lens Fakery

Chapter Fifteen. Workshops

A Brief Guide to Underwater Cinematography

Rigging a Car

Achieving That Cinematic Look: Ramping and Changing Frames per Second

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Acquisitions Editor: Mariann Barsolo

Development Editor: Kim Wimpsett

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Figure 1-11: Zeiss CP.2 lenses are modified still lenses that are housed in a cinema-style body that allows for measurements on both sides of the lens and a longer focus throw for better focus pulling.

Lenses can be put into cine-style casings (Figure 1-11), or you can get a cine-style lens that is easier to use when shooting video. A real cine lens is more expensive than a comparable still lens. Cine lenses are also quite heavy and can feel cumbersome to use, especially if used with added matte boxes or other accessories.

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