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Contents

Introduction xx Chapter 1 Fundamentals of DSLR Filmmaking 1 Features of DSLR Cameras 1 Sensor Size 2 Frame Rates 8 ISO Settings 9 Features of SLR Lenses 10 Aperture, f-stops, and t-stops 10 Cine-Style Lenses vs. Photo Lenses 11 Types of Lenses 12 How Sensor Size and Lenses Interact 17 Focal Length Multiplication Factors 17 Focal Length and Field of View 18 Angle of View and Magnification Factor 20 Chapter 2 Gear and Recommendations 23 What Camera Is Right for You? 23 Decisions in Choosing a Camera 24 Best Camera For 27 Manual Controls 29 Lenses and Accessories 29 50 mm Lens 29 Set of Prime Lenses 30 Trade-offs 30 Lens Brands 32 Lens Mounts and Adapters 33 Matte Boxes 34 Filters 35 Lens Accessories 38 Viewing While Shooting 39 Lights 44 Studio Lighting 44 LED Lighting 45 Hardware-Store Lighting 45 Audio 46 Mixers 47 Microphones 48 Slate (Clapboard) 49 Tripod and Dollies 50 Specialty Items and Miscellaneous 53 Camera Mounts 53 Follow Focus 54 Stabilizers and Handheld Rigs 55 Carrying Case 57 CF Cards and SD Cards 58 Batteries 58 Planning Your Gear Package 59 Low Budget 60 Independent Budget 60 Blockbuster Budget 61 The Next Three Things You Should Buy 61 Should You Buy or Rent? 62 Gear That Goes Together 63 Chapter 3 Testing and Custom Settings 65 Camera-Specific Testing 66 Testing ISO 66 Testing Exposure and Color 69 Testing Color Temperature and White Balance 72 Testing Frame Rate and Shutter Speed 73 Testing Recording Length Limitations and File Size Limitations 73 Testing File Formats and Codecs 74 Testing Equipment Interactions 74 Testing Lenses 74 Testing Filters, Hoods, and Matte Boxes 76 Testing Viewfinders and EVF 77 Testing Lighting: Color Temperature and Amount of Light 78 Using and Calibrating External Monitors 79 Testing Focus Pulling and Follow Focus 84 Remote Starting the Camera and Rigging in Unique Spots 85 Testing Camera Movement 85 Testing Off-Camera Audio 86 Testing Cables 86 More Things to Test 86 Using In-Camera Presets 87 Native Canon Picture-Style Settings 87 Changing the Camera Presets for Image Control 89 Customizing a Camera Preset 90 Creating a Unique Custom Setting from Scratch 93 Should You Bother Creating a Preset? 96 Settings That Prepare for Post-Production 97 Settings to Work without Post 99 Customizing Your Picture Style: Steps for Canon DSLR Cameras 101 Chapter 4 Cameras and Lenses on Location 109 Using Cameras on Location 109 Mixing Multiple Cameras, Makes, and Models 109 Powering Your Camera 110 Understanding Recording Time Limitations 112 Managing Memory Cards 112 Using Lenses on Location 113 Perspective 114 Depth of Field and Focus 118 Perceived Distance and Compression 121 Blur and Distortion 123 Sharpness 126 Image Stabilization and Vibration Reduction 128 Focusing 128 Methods of Pulling Focus 130 De-clicking a Lens 132 Zooming 135 Chapter 5 Camera Motion and Support 137 Camera Motion 137 Why Add Movement? 138 Restricting Movement 139 On-Screen Action and Position with Movement 139 Types of Camera Movement 139 Pan and Related Movements 140 Whip Pan 141 Zooming 141 Push-In 141 Pull-Back (or Pull-Out) and Widen-Out 142 Combined Push-In and Pan 142 Combined Push-In and Whip Pan 143 Circling 143 Dolly Moves 144 Tracking Lateral Movement through Space and Retracking 144 Moving or Tracking through Solid Objects 144 Pendulum Pan 144 Crane Moves 145 Movement with a Jib Arm 146 Planning the Motion 146 Blocking and Previsualization 147 Storyboarding and Diagrams 147 Rehearsals and Run-Throughs 147 Gear for Designing and Controlling Movement 147 Tripods 147 Monopods 153 Accessories for Camera Angle 155 Stabilizing Your Camera Motion 156 Why Stabilize? 156 Gear for Motion 158 Unique Movement and Support 171 Motion, the Edit, and Cutting 172 Chapter 6 Lighting on Location 175 Planning the Lights 176 Timing: When to Set Lights 176 Choosing Lights 177 Distribution and Shape 178 Color 180 Principles for Setting Lighting 182 Adding Depth and Dimension 182 Lighting the Entire Scene 182 Using Logic to Create a Natural Look 183 Reflecting Mood and Emotion 184 Setting Visual Priority and Focus 185 Types of Fill Light 185 Light Direction and Angle of Light 187 Types of Lights by Position 189 Key Light 190 Backlight 190 Fill Light 192 Illuminating the Rest of the Set: The Traditional Three-Point Light Setup 193 Light Sources and Ambient Light 196 Lighting for Special Situations 196 Shadows 197 Light at Night 197 Fire and Flames 199 Mirrors 200 Glare 200 Close-up Lighting, Matching, and Cheating 201 Lighting for Green Screen or Chroma Key 201 Managing Light 204 Diffusion 204 Bouncing 205 Blocking 206 Tools for Controlling Light 206 Light Quality 211 Changing the Quality of the Light 213 Picking Exposure 215 Chapter 7 Sound on Location 219 The Role of Sound 219 Hiring a Professional 220 Recording Sound with DSLR Cameras 221 Using an External Recording Device 223 Capturing Reference Audio 224 Using an XLR Audio Adapter 226 Wearing Headphones 227 Microphones and Key Accessories 227 Types of Microphones 227 Placing Microphones 230 Microphone Pickup Patterns 231 Sound-Managing Accessories 234 Planning, Setting Up, and Recording a Shoot 234 Planning for Dialogue 235 Recording a Shoot 236 Managing Sound on Set 237 Chapter 8 Organizing and Storing Data in the Field 243 Setting Up a File System 243 Labeling Equipment 244 Manually Setting File Numbering 246 Setting Up Separate Folders in the Camera 250 Understanding Current Types of Capture Media 253 Transferring Files from Capture Media to Hard Drive 255 Understanding Different Capture Formats 258 Backing Up Your Footage on Set 259 Organizing Data on Set 260 Managing Files on the Set 260 Arranging Your Footage 260 Chapter 9 Troubleshooting 263 Avoiding Problems: What to Do, What to Take 264 Emergency Items 264 iPhone/iPad Applications for Filmmaking 268 Planning for Sufficient Power 270 Shooting Problems 270 Rolling Shutter Dilemmas and Sensor Problems 271 Difficulties Achieving Sharp Focus 273 Chapter 10 Converting and Editing Your Footage 299 Setting the Foundation for Post-Production Workflow 300 Choosing the Right Hard Drives 300 Internal Hard Drives 301 External Hard Drives 301 Hard Drive Recommendations 304 Drive Speed and Cache 305 Backing Up Data 305 Choosing and Using an Editing Codec 307 Format Is Not Codec 307 Delivery Codec vs. Capture Codec 308 To Convert or Not to Convert 308 Online vs. Offline Editing 309 Codecs for Online and Offline Editing 310 Converting Your Footage 312 Editing Your Footage 312 Choosing a Nonlinear Editor 312 Organizing Your Footage in Your NLE 313 Chapter 11 Audio Crash Course 317 Syncing Your Audio and Video 318 Setting Up Your Editing Timelines Properly 318 Syncing Footage Directly in Your NLE 319 Syncing Automatically with PluralEyes 326 Unsynced Files? 329 Troubleshooting Out-of-Sync Sound 329 Automated Dialogue Replacement and Sound Effects 330 Finding Music 334 Chapter 12 Color Correction and Grading 337 Color Theory and the Eye 338 Subjective Properties of Color 340 Objective Properties of Color 343 Color Correction on Set: Outside the Camera 344 Multiple Light Sources and Color Temperature 344 On-Set Changes in Light 345 Gels and Filters 346 Sometimes the Camera Sees Things You Don t 347 Color Correction Card 347 Single Camera Shoot vs. Multiple Cameras 347 Color Correction on Set: Inside the Camera 348 White Balance: Setting It in the Camera and Changing for Effect 348 Picture-Style Settings 351 What Is This Camera Shooting Anyway and Why Do I Care? 351 Color Spaces in Video and Encoding 352 Bit Depth and Color Depth 353 Compression, Subsampling, and Color 354 Post-Production Color Correction and Grading 356 Evaluating Footage 357 Scopes and How to Read Them 357 Primary Corrections 360 Evaluating Color 363 Secondary Corrections 365 Chapter 13 Compressing Your Film 369 Understanding Compression 370 Outputting Your Video 372 Creating a Self-Contained Master Digital File 373 Creating a DVD or Blu-ray Disc 375 Compressing Your Footage 376 Authoring Your DVD/Blu-ray Disc 376 Publishing to the Web 377 Chapter 14 Post-Production Looks 383 Primary Color Correction 383 Micromanaging with Regional Color Corrections 384 Secondary Color Correction 388 Creating a Hard-Hitting Action Movie Look 388 Saturation 388 Faux Lens Effects 391 Diffusing Your Footage 391 Applying Color, Filters, or Tints 394 Behind-the-Lens Fakery 396 Adding Vignettes 396 Understanding Grain 399 Making Genuine Film-Grained Footage 399 Removing Banding 402 Chapter 15 Workshops 405 A Brief Guide to Underwater Cinematography 405 Remember Where You Are 406 Bring a Flash, Ideally Two 409 Shoot Up 413 Buoyancy 414 You Need Two Lenses Only If You Have the Option of Changing Them Out 415 Focus. Not the Camera, You. 417 The Manual Method 418 Autofocus 418 Preparation before Shooting 418 Pre-Dive Prep 419 Histograms 419 Rigging a Car 421 Safety First 421 Interior Dialogue Scenes 421 Car Chase 427 Achieving That Cinematic Look: Ramping and Changing Frames per Second 431 Shooting in Slow Motion 432 Rubber Arms (or the Bending of Images That Shouldn t Bend That Way) 432 The 180 * Rule 433 Index 434

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