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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Отрывок из книги
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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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