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Digital Cinematography: Fundamentals, Tools, Techniques, and Workflows [Pehme köide]

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(Television Producer, Director and Editor; Consultant; Apple Certified Trainer, Oak Park, CA, USA)
  • Formaat: Paperback / softback, 494 pages, kõrgus x laius: 235x191 mm, kaal: 1111 g
  • Ilmumisaeg: 09-May-2014
  • Kirjastus: Focal Press
  • ISBN-10: 0240817915
  • ISBN-13: 9780240817910
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Digital Cinematography: Fundamentals, Tools, Techniques, and WorkflowsSuurem pilt
  • Formaat: Paperback / softback, 494 pages, kõrgus x laius: 235x191 mm, kaal: 1111 g
  • Ilmumisaeg: 09-May-2014
  • Kirjastus: Focal Press
  • ISBN-10: 0240817915
  • ISBN-13: 9780240817910
Teised raamatud teemal:
Püsilink: https://www.kriso.ee/db/9780240817910.html
Märksõnad:
Focused on the theory and practice of digital cinematography, this text serves as an introduction to the tools and technology of digital camera technology as it applies to film. Subjects covered include camera set-up and operation, color management, 3D, shot preparation, and focus and exposure, as well as detailed profiles of several lenses and camera types and brands. David Stump has worked for many years in the motion picture industry as a Director of Photography, Visual Effects Director of Photography, and Visual Effects Supervisor. Annotation ©2014 Ringgold, Inc., Portland, OR (protoview.com)

With the shift from film to digital, a new view of the future of cinematography has emerged. Today’s successful cinematographer must be equal parts artist, technician, and business-person. The cinematographer needs to master the arts of lighting, composition, framing and other aesthetic considerations, as well as the technology of digital cameras, recorders, and workflows, and must know how to choose the right tools (within their budget) to get the job done. David Stump’s Digital Cinematography focusses primarily on the tools and technology of the trade, looking at how digital cameras work, the ramifications of choosing one camera versus another, and how those choices help creative cinematographers to tell a story.

This book empowers you to both correctly choose the right camera and workflow for your project from today’s incredibly varied options, as well as understand the ins and outs of implementing those options. Stump sheds a light on the confusing advantages and disadvantages of shooting theatrical features using digital technology and what it can or can’t do.

Topics covered include:

* Detailed coverage of Arriflex, Blackmagic, Canon, Ikonoskop, Panasonic, Panavision, Phantom, Red, Silicon Imaging, Sony, and Weisscam digital motion picture cameras

* Coverage of a wide variety of lenses, including Angenieux, Canon, Cooke, Fujinon, Hawk, Leica, Panavision, Red, Schneider, Sony, UniqOptics, Vantage, and Zeiss

* Coverage of recorders, displays, and look management tools

* Exposure theory tips — learn how to correctly expose digital cameras

* Focusing tips — learn how to focus digital cameras correctly

* Checklists to help design digital workflows

* Practical tips on preparation — prepare for shooting a digital motion picture like a professional

* Camera set-up and operation, color management, digital intermediates, 3D stereo cinematography, future trends, and much more

If you aspire to be a successful cinematographer in this new digital age, or if you already are a working cinematographer in need of a resource to help you stay on top of your game, this is a must-read book.

Arvustused

"David Stump shares decades of sage experience, knowledge, and expertise in cinematography and the filmmaking process. Including insight from various notables in respective fields, Digital Cinematography is an important, engaging book essential to understanding existing theory, tools, and applications for the aspiring and working cinematographer, filmmaker, and those interested in how and what we see."

- Keanu Reeves, Producer, Side by Side; Actor, 47 Ronin; A Scanner Darkly; The Matrix; Bill and Teds Excellent Adventure

Acknowledgments and Dedications xxvii
Foreword xxix
What This Book Is About
xxix
What This Book Is Not About
xxix
Why Should a Cinematographer Read This Book
xxix
Do Not Bluff With Buzzwords, Do Your Homework
xxix
As a Cinematographer, You Must Ultimately Serve Three Masters
xxxi
Your Director
xxxi
Your Producer
xxxi
The Studio
xxxi
A Note on the Color xxxiii
Chapter 1 What Is Digital 1(18)
What Are Pixels?
3(1)
Photosites Are Not Pixels!
4(1)
Analog to Digital
4(2)
How Many Crayons in the Box?
6(2)
The Issues of Encoding Luminance
8(6)
The Just Noticeable Difference (JND) and Square Root Integral (SQRI)
9(1)
The Problem With Linear Encoding
10(1)
Gamma
11(3)
10-Bit Log Cineon/DPX File Format
14(1)
Cineon/DPX Encoding Ranges
15(1)
The Calculus of Color Sampling (Uh-Oh...Math Again!)
15(1)
Nyquist Sampling Theory y
16(1)
Nyquist Sampling Theory Simplified
16(3)
Chapter 2 Camera Sensors 19(34)
The Practical Differences Between Film and Digital Sensors
19(2)
Sensor Size Has an Effect on the Image We See
21(1)
CCD Versus CMOS
21(1)
3-Chip 2/3-Inch Sensors
22(1)
Prisms Are Very Difficult to Engineer
23(1)
Chromatic Aberration
24(1)
Telecentricity in Lens Design
24(1)
CCD Image Smear
25(2)
Three Solutions to the Problem of CCD Image Smear
27(1)
Interline Transfer CCD Sensors
28(1)
Bayer Pattern Sensors Versus Co-Sited RGB Pixels
29(7)
Bayer Pattern Color Filter Arrays
29(1)
Optical Low Pass Filtering
30(1)
Infrared Filtering
30(2)
Understanding Bayer Pattern Images
32(1)
"De-Bayering" Images
33(1)
Resolution in Bayer Pattern Cameras
34(1)
Converting Raw Images to RGB Images
34(2)
Dead pixel removal
34(1)
Noise reduction
34(1)
Linearization
34(1)
Black-level subtraction
34(1)
De-mosaic to RGB
35(1)
Lens corrections
35(1)
Cropping
35(1)
Scaling
35(1)
White balance
35(1)
Color conversion
35(1)
Color enhancements
36(1)
Toning curve
36(1)
Gamma curve
36(1)
Clip to fewer bits
36(1)
Lossy compression
36(1)
Cinema DNG Format
36(1)
Rolling Shutter Versus Global Shutter
36(2)
Skew
37(1)
Wobble
37(1)
Smear
38(1)
Partial Exposure
38(1)
Dark Frame Subtraction
38(1)
Dynamic Range = Exposure Latitude
39(2)
How Much Picture Noise Is Acceptable in Digital Cinema?
41(1)
Noise and Lower Dynamic Range Issues
42(1)
Fixed Pattern Noise, Readout Noise, Circuit Noise, and Photon Noise
42(2)
Highlight Handling and Headroom
44(1)
Fill Factor
45(2)
Sensitivity and ASA Rating
47(1)
Sensitivity
48(1)
ISO, ASA Rating, and Exposure Index
49(4)
Chapter 3 Color 53(14)
The CIE 1931 RGB Color-Matching Functions
54(1)
Color Space as It Relates to Cinematography
54(3)
Color Sampling and Subsampling
57(1)
YCbCr and Y'CbCr Color
57(3)
Color Space Conversion
60(1)
Color Has Traditionally Been Device-Dependent
60(1)
ACES Color Space
61(1)
One Possible Future Motion Picture Finishing Solution-ACES, the Academy Color Encoding System
61(4)
ACES Components
61(1)
ACES Benefits
62(1)
For Cinematographers
62(1)
For Visual Effects and Postproduction Facilities
62(1)
For Content Owners
62(1)
ACES Color Space Encoding
62(1)
Viewing ACES
63(2)
Preparation for Using ACES
65(1)
Digital Cinema Color Spaces: P3, XYZ, and ACES
65(2)
Chapter 4 The Color-Space Conundrum 67(44)
Douglas Bankston
What Is Color Space?
68(2)
Human Color Perception
70(2)
Quantifying Human Color Perception-CIE 1931
72(1)
Color Photography
73(1)
Color in Cinematography
73(6)
Color in Television
79(3)
CIE 1976-CIE L*a*b*
82(1)
The Birth of High-Definition Video
82(1)
Managing the Digital Revolution
83(3)
The Birth of Digital Imaging
86(2)
Hybrid Workflows-Film and Digital Coexist
88(4)
Nyquist Sampling Theory (Again!)
92(2)
Modulation Transfer Function and Contrast Sensitivity Function
94(1)
Preserving Image Quality Across File Formats
95(3)
Look-Up Tables (LUTs)
98(3)
Compression
101(2)
Looking Into the Digital Future
103(8)
Chapter 5 MTF, Resolution, Contrast, and Nyquist Theory 111(16)
Contrast Is Decreased as a Function of Frequency
113(2)
Modulation Transfer Function of a Solid-State Camera
115(2)
Optical Low Pass Filters
117(4)
Cascading Nyquist MTF Percentages-A Loose and General Example
118(1)
Resolution Does Not Equal Sharpness
119(2)
Important Factors to Consider in Achieving Picture Sharpness
121(1)
The Case for 4K
122(1)
There Is 4K and Then There Is 4K
123(1)
Resizing and Resampling
123(3)
MTF and the Final Step in the Imaging Chain: Projection
126(1)
Chapter 6 Frame Rates and Aspect Ratios 127(12)
The Range of Frame Rates for Acquisition
127(1)
Progressive and Interlace Frame Rates
128(1)
Progressive Frame Rates
129(1)
24p and 23.976p
129(1)
25p
129(1)
29.97p/30p
129(1)
50p and 60p
129(1)
Interlace Frame Rates
129(1)
60i
129(1)
50i
129(1)
Interlace Versus Progressive Frames
129(1)
Problems Caused by Interlacing
130(1)
Combing
130(1)
Interline Twitter
130(1)
Resizing and Resampling of Interlaced Images
131(1)
Progressive Scan
131(1)
Advantages of Progressive Scan
131(1)
Variable Frame Rates and High Frame Rates
131(1)
Higher Frame Rates in Exhibition and 3D Exhibition
131(2)
Historical Perspectives
133(1)
Todd-AO-65mm at 30 fps
133(1)
Showscan at 60 Frames per Second in 65mm (Figure 6.12)
133(1)
Coming Soon to a Theater Near You-Even Higher Frame Rates!
134(1)
Formats and Aspects Ratios
134(1)
Aspect Ratio
134(1)
Cinema Terminology
135(2)
1.33:1 or 4 x 3 Academy
135(1)
1.66:1 or 3 x 2
135(1)
1:85:1 135 2.39:1 or CinemaScope, Scope, or Panavision
136(1)
1.78:1 or 16 x 9
136(1)
Why 16 x 99
136(1)
1.33:1 Pillar Boxed Inside of 1.78:1 Frame
137(1)
2.39:1 Letterboxed Inside 1.78:1 Frame
137(1)
2.39:1 Panned and Scanned to Fit Inside a Narrower Screen Format
137(1)
Film Camera Aperture Sizes and HD Sensor Sizes
137(2)
Chapter 7 Lenses 139(60)
Distinctions That Go Into Evaluating Lens Quality
140(5)
Resolution
140(1)
Speed
140(1)
Contrast
140(1)
Color Matching
141(1)
Flare Characteristics
141(1)
Close Focus
141(1)
Breathing
141(1)
Lens Design
141(1)
Geometry
142(1)
Chromatic Aberration
143(1)
Bokeh
143(1)
Flat Field/Uniformity Across the Entire Stop Range
143(1)
Lens Group
144(1)
Focus and Zoom Scaling
144(1)
Construction, Dimension, Durability, and Design
144(1)
Angenieux Optimo Zoom Lenses
145(2)
Optimo Anamorphic 56-152mm 2x Squeeze Zoom Lens
147(1)
ARRI/Fujinon Alura Zoom Lenses
147(2)
Canon Cine Lenses
149(3)
Canon EF Cinema Zoom Lenses
149(2)
Canon EF Cinema Prime Lenses
151(1)
Cooke Lenses
152(4)
Cooke 5/i Prime Lenses, T1.4
152(1)
Cooke Anamorphic/i Prime Lenses
153(1)
Cooke S4/i Prime Lenses
153(1)
Cooke mini S4/i
154(1)
Cooke Zoom Lenses
155(1)
/i Technology
155(1)
What Value Does Lens Metadata Hold?
156(1)
Fujinon Cine Lenses
157(4)
Fujinon PL Mount Cine Lenses
157(1)
Fujinon E Series 2/3-Inch 3CCD B4 Mount HD Prime Lenses
158(1)
Fujinon E Series 2/3-Inch B4 Mount HD Zoom Lenses
158(2)
Fujinon C Series 2/3-Inch B4 Mount HD Zoom Lenses
160(1)
Hawk 2x and 1.3x Squeeze Anamorphic Primes and Zooms
161(3)
Hawk V-Lite 2x Squeeze Anamorphic Lenses
161(1)
Hawk V-Lite Vintage '74 Primes
162(1)
Hawk V-Plus Series 2x Squeeze Anamorphic Lenses
162(1)
Hawk V Series and C Series 2x Squeeze Anamorphic Lenses
163(1)
Hawk V-Lite 1.3 Squeeze Anamorphic Lenses
163(1)
Hawk V-Lite 16 Anamorphic Lenses
164(1)
Leica Summilux-C Lenses
164(2)
Panavision Lenses
166(9)
Primo Standard Prime Lenses
166(1)
Primo "Classic Series" Prime Lenses
166(1)
Primo Close Focus Lenses
167(1)
Primo Zoom Lenses
167(1)
4:1 Primo Zoom-SLZ
168(1)
11:1 Primo Zoom-SLZ11
168(1)
3:1 Primo Zoom-SLZ3
168(1)
Primo Macro Zoom-PMZ
168(1)
Primo Digital Lenses
169(1)
Panavision PVintage Lenses
169(1)
Standard Primes-SP
170(1)
Super Speeds and Ultra Speeds
170(1)
Super Speeds "Z" Series and Ultra Speeds "Z" Series
170(1)
Panavision Macro and Specialty Lenses
171(1)
Macro SM Series Lenses
171(1)
Panavision Frazier Lens System
171(1)
6mm T2.8 Fisheye Lens-SF6
172(1)
6mm T3.5 Nikon Fisheye Lens-SPN6
172(1)
Portrait tenses
172(1)
Flare Lenses
172(1)
Slant Focus Lenses
172(1)
Panavision/Century Swing Shift System-PVB
172(1)
Panavision Anamorphics
172(1)
G Series Anamorphic Prime Lenses
172(1)
E Series Anamorphic Prime Lenses
173(1)
C Series Anamorphic Prime Lenses
173(1)
Front Anamorphic Zooms-AWZ2 and ATZ
174(1)
Anamorphic Wide-Angle Zoom-AWZ2
174(1)
Anamorphic Telephoto Zoom-ATZ
174(1)
3:1 Primo Anamorphic Zoom-ALZ3
174(1)
11:1 Primo Anamorphic Zoom-ALZ11
175(1)
Specialty Anamorphic Lenses
175(1)
RED Prime Lenses and Zooms
175(1)
Schneider Lenses
176(2)
Schneider Cine Xenar I, II, III Lenses
176(1)
Schneider Full Frame Prime Lenses
177(1)
Sony CineAlta 4K Lenses
178(1)
UniQoptics
179(1)
Vantage ONE Lenses
179(1)
Zeiss Lenses
180(8)
Zeiss Master Primes
180(2)
Zeiss Master Zoom
182(1)
ARRI Lens Data System
182(1)
Zeiss Ultraprimes
183(1)
Zeiss Master Anamorphics
184(1)
Zeiss Compact Primes
185(1)
Zeiss Compact Prime Super Speeds
185(1)
Zeiss Compact Zooms and Lightweight Zoom
186(1)
Zeiss DigiPrimes and DigiZooms
187(1)
Zeiss DigiZooms
187(1)
Depth of Field
188(2)
Hyperfocal Distance
188(1)
Depth of Field
189(1)
Depth of Focus
190(1)
How Do Film Camera Aperture Sizes and HD Sensor Sizes Affect Lenses?
190(2)
Filter Factor
192(1)
Back Focus in 2/3-inch HD Lenses
192(1)
Focus with Zeiss Sharp Max
193(1)
Setting Back Focus With the SharpMax and Similar Portable Collimators
193(1)
Setting Back Focus With a Focus Chart
194(1)
Evaluating Lenses
194(1)
Lens Test Criteria and Methods
195(1)
Projecting Lenses for Evaluation
195(4)
Chapter 8 Camera Issues 199(12)
Camera and Lens Package Types
199(1)
"Ready to Roll" Capabilities, Boot-Up Time, Pre-Roll On-Set Management of Expectations
200(1)
Viewing the Image While Shooting
200(1)
Viewfinders-A Cautionary Note
201(1)
Video Village
201(1)
Creating, Storing, and Recalling Camera Settings
202(1)
Weight and Balance Issues
202(1)
Onboard Video Recording Versus Outboard Recording
202(1)
Onboard Sound Recording Versus Outboard Sound Recording
203(1)
Onboard Camera Controls Versus Outboard Camera Controls
203(1)
Ease of Use of Camera Controls
203(1)
Accessory Design: Focusers, Matte Boxes, and More
203(1)
In-Camera, Behind-the-Lens Filtration
204(1)
Cables, Cables, and More Cables
204(1)
Camera Power
205(1)
Lens Mount/Optical Block and Back-Focus Problems
205(1)
Shooting Log and Shooting Raw
205(1)
Digital Still Cameras Used for HD Shooting
206(2)
Shooting Handheld
208(1)
Digital Media, X-Rays/Magnetometers, and the Transportation Security Administration
208(1)
Digital Cameras and Cosmic Rays
208(3)
Chapter 9 High-Resolution Digital Motion Picture Cameras 211(66)
ARRI Cameras
211(7)
ARRI ALEXA/ALEXA XT
211(1)
ALEXA Workflows
211(1)
ALEXA XT Plus
212(1)
ALEXA XT M
213(1)
ALEXA XT Studio
213(5)
Blackmagic Cameras
218(4)
Blackmagic Camera
218(2)
Blackmagic Production Camera 4K
220(2)
Canon Cameras
222(7)
Canon EOS C100
222(2)
Canon EOS C300
224(2)
Canon EOS C500
226(3)
Ikonoscop A-Cam dII
229(1)
Panasonic AJ-HPX 3700
230(3)
Panavision Genesis
233(3)
RED Cameras
236(7)
6K RED DRAGONTM Sensor
236(1)
RED One
236(3)
RED Epic-X/M Cameras
239(2)
RED Scarlet Camera
241(2)
Silicon Imaging SI-2K
243(3)
Sony Cameras
246(18)
Sony PMW-F3
246(3)
Sony NEX-FS700U
249(2)
Sony F23
251(2)
Sony F35
253(3)
Sony PMW-F5
256(2)
Sony PMW-F55
258(3)
Sony F65
261(3)
Vision Research Phantom High Speed Cameras
264(9)
Phantom Flex
264(2)
Vision Research Phantom 65
266(3)
Vision Research Phantom HD Gold
269(2)
Vision Research Phantom 4K
271(2)
Weisscam HS-2
273(4)
Chapter 10 Camera Setup and Operation 277(36)
Bars and Tone
277(1)
SMPTE Timecode
277(1)
Timecode On Set
278(1)
How Timecode Is Carried
279(1)
29.97 Frames per Second?
279(1)
Drop-Frame and Non-Drop-Frame Timecode
279(1)
Five Running Modes for Generating Timecode
280(1)
Shutter and Exposure Time
280(1)
Exposure Time-Speed Versus Shutter Angles
280(1)
Going Beyond 180-Degree Maximum Shutter Angle
281(3)
Camera Setup and Operation-Menus
284(12)
White Balance
284(1)
Black Balance
285(1)
Gamma
286(1)
Gain
286(2)
Knee
288(1)
Master Black
288(1)
Master Black Gamma
288(1)
White Clip
288(1)
Detail
288(1)
Matrix
289(1)
Hue
290(1)
Saturation
290(1)
Lens Shading
290(1)
Gamut
291(1)
Log Output Signals
292(1)
ARRI Log C
293(1)
Panalog
294(1)
Sony S-Log
295(1)
HyperGamma Curves
295(1)
HD-SDI Outputs
296(1)
Raw Output
296(1)
Viewing Output-A Cautionary Tale
296(1)
Dual-Link Outputs-A Cautionary Tale
297(1)
Sync and Black Burst
297(1)
Test Signal Outputs
297(1)
How to Use the Waveform Vectorscope
297(5)
How and Why to Use Color Charts
302(2)
DSC Color Charts
304(2)
Electronic Viewfinders
306(3)
Viewfinder Magnification
307(1)
Zebras
307(1)
Crispening and Peaking
307(1)
False Color
308(1)
Histogram
308(1)
The "One-Eyed Jack" Exposure Ball
309(1)
Sensor Cleaning-Shooting a Sensor Dust Check Image
310(1)
How to Clean the Sensor
310(1)
Dead or "Lit" Pixels
311(2)
Chapter 11 Prep, Workflow Design, and Testing 313(28)
Failing to Prepare Is Preparing to Fail
313(1)
Sharing a Visual Language With Your Director
313(1)
Breaking Down the Script
313(1)
Location Scouting
314(1)
The Tools of Location Scouting
314(4)
Crew Size for Shooting Digital
318(1)
Hire a Great Gaffer
318(1)
Lighting Plots for Sets
318(1)
Hire a Great Key Grip
318(1)
Hire the Best Focus Puller You Can Get!
318(1)
Equipment Lists
319(1)
Digital Imaging Technician
319(1)
Workflow
319(1)
A Checklist for Determining a Workflow
320(1)
LTO, LTFS Offline/Online, and Conform from LTO
320(1)
Sample Workflows
321(1)
The Warner Brothers' Next Generation Production Workflow Report
321(20)
Representative Samples of Workflow Diagrams
327(4)
Category 1: "Custom Configured" Workflow
327(1)
Category 2: "Plug and Play" Workflow
327(1)
Category 3: "Facility provided solutions" Workflow
327(4)
How Much Data?
331(1)
Bandwidth
331(1)
10-Gig E/Fibre Channel
331(1)
WAN Transport
331(1)
Sohonet
332(1)
Latisys/Datacenters
332(1)
Aspera, Netflight, Ekinops, and Others
332(1)
PIX Systems
332(1)
Test, Test, Test!
332(18)
The 2009 Camera Assessment Series
332(2)
The 2012 Image Control Assessment Series
334(2)
Makeup Tests
336(1)
Wardrobe Tests
336(1)
Lighting Tests
337(1)
Color Temperature Is Not the Same Thing as Spectral Power Distribution
337(1)
Location Tests
338(1)
Workflow Tests
338(1)
Filmout Tests
339(2)
Chapter 12 The Shoot 341(4)
Monitors, Tents, and Directors
342(1)
You Are the Producer's Business Partner
342(1)
You Are the Director's Hardest Working Best Friend
342(1)
The Studio-What Time Did You Get the First Shot of the Day?
342(1)
Making a Shot
342(1)
Picking Up the Pieces at the End of the Day-The Crew
343(1)
Dailies
343(2)
Chapter 13 Color Management, Compression, and Workflow 345(34)
Baked-In Look Versus Full Range Data
345(1)
On-Set Look Management
345(1)
The Need for Look Management
346(1)
The Look Management Challenge for Cameras That Exceed HD Video
346(1)
Look Management from On-Set and/or Near-Set Through Final Color Grading
346(1)
Viewing Environment and Monitor Calibration
346(1)
On-Set Color Correction-A Cautionary Tale
347(1)
LUTs, Exchange Spaces, and Working Spaces
347(2)
ASC CDL
349(1)
ASC CDL Transfer Functions
350(1)
Slope
350(1)
Offset
350(1)
Power
351(1)
Saturation
351(1)
Behavior for Different Image Encodings
351(1)
Video-Gamma and Linear (Gamma 1.0)
351(1)
Slope
351(1)
Offset
352(1)
Power
352(1)
Saturation
352(1)
Video-Gamma Examples
352(1)
Log
353(1)
Slope
353(1)
Offset
353(1)
Power
353(1)
Saturation
353(1)
Log Examples
353(2)
ASC CDL Interchange Formats
354(1)
On-Set Look Management Hardware and Software
355(1)
Adobe SpeedGrade On Set
355(1)
Assimilate Scratch
356(1)
Black Magic DaVinci Resolve
356(6)
CineTal DAVIO LUT Box
357(1)
Colorfront On-Set Dailies and Express Dailies
358(1)
FilmLight Truelight
358(1)
FilmLight Image Processor (FLIP)
359(1)
FotoKem nextLab
359(1)
Fujifilm CCBOXX
360(1)
Gamma & Density 3cP
360(1)
LUTher Box
361(1)
MTI Film Control Dailies
361(1)
Panavision Genesis Display Processor
362(1)
Pandora Pluto/YoYo
362(2)
Pomfort LiveGrade
363(1)
Technicolor DP Lights
364(1)
Workflow
364(1)
Compression
365(3)
Interframe Versus Intraframe Compression Schemes
368(2)
Interframe Compression
368(1)
Intraframe Compression
369(1)
JPEG 2000 Wavelet Compression
370(3)
How JPEG 2000 Works (Figure 13.56)
371(1)
Pre-Processing
371(1)
The Discrete Wavelet Transform
371(1)
Compression of the Wavelet Coefficients
372(1)
The Entropy Coding Unit
372(1)
Rate Control
373(1)
Data Ordering
373(1)
JPEG 2000 Decoding Architecture
373(1)
JPEG 2000 Parser
373(1)
Entropy Decoder
373(1)
Inverse Quantizer
373(1)
External Memory
373(1)
Inverse Discrete Wavelet Transform (IDWT)
373(1)
Multiple Component Transformation (MCT)
373(1)
Error Handling
374(1)
Process Control
374(1)
Delivering Materials From Acquisition to Editorial
374(1)
Who Is Making the Dailies and How?
374(2)
Codecs and Wrappers
374(1)
AVID Codecs
374(1)
Apple ProRes Codecs
375(1)
What Are ALE and XML Files?
376(3)
ALE Files
376(1)
XML Files
376(1)
AAF Files
376(1)
EDL Files
376(1)
Metadata
376(3)
Chapter 14 Recorders 379(30)
How Is the Project Being Recorded?
379(1)
AJA Recorders
379(3)
AJA Ki Pro
379(1)
AJA Ki Pro Rack Mount
380(1)
AJA Ki Pro Mini
381(1)
AJA Ki Pro Quad
381(1)
Astrodesign Recorders
382(1)
Astrodesign HR-7502-A
382(1)
Astrodesign HR-7510
383(1)
Atomos Recorder
383(2)
Atomos Samurai
383(1)
Atomos Ronin Recorder
384(1)
Atomos Samurai Blade Recorder
385(1)
Blackmagic Recorders
385(2)
Blackmagic HyperDeck Shuttle 2 and Studio Decks
385(1)
Blackmagic HyperDeck Studio Pro Deck
386(1)
Cinedeck Recorders
387(4)
Cinedeck EX
387(1)
Cinedeck RX
387(1)
Cinedeck MX
388(1)
Codex Digital Onboard S Recorder
389(1)
Codex Digital Onboard M Recorder
390(1)
Codex Digital ARRIRAW Recorder
391(1)
Convergent Design Gemini
391(1)
Keisoku Giken Recorders
392(3)
Keisoku Giken UDR D100
392(1)
Keisoku Giken UDR-5S
393(1)
Keisoku Giken UDR-10S
393(1)
Keisoku Giken UDR-20S
394(1)
Keisoku Giken UDR-N50A
394(1)
Panasonic Recorders
395(4)
Panasonic AG-HPD24PJ
395(1)
Panasonic AG-HPG20
396(1)
Panasonic AJ-HPM200
397(1)
Panasonic AJ-HPD2500
398(1)
Panavision SSR Solid-State Recorder
399(1)
Pix 240i
399(1)
RED Drive
400(1)
S-Two Recorders
401(1)
S-Two OB-1 On-Camera Recorder
401(1)
S-Two DFR2K-AR Recorder
402(1)
Sony Recorders
402(4)
Sony SRR4 Recorder
402(1)
Sony S1-R1 Recorder
403(1)
Sony HDCam SRW-1
403(1)
SxS Cards
404(1)
Sony Solid-State XDCAM and XDCAM EX Recorders
405(1)
Vision Research CineMag and CineStation
406(3)
Chapter 15 Displays 409(14)
The Waveform Monitors and Vectorscopes
409(1)
Display Technologies
410(2)
Cathode Ray Tube Monitors
410(1)
Liquid Crystal Displays
411(1)
Light-Emitting Diode Displays
411(1)
Gas Plasma Displays
411(1)
Organic Light-Emitting Diode Displays
411(1)
Calibration
412(3)
Manual Monitor Calibration
412(1)
Datacolor Imaging Resource
412(1)
NEC Spectraview
413(1)
THX CineSpace
413(1)
X-Rite
414(1)
Monitors for Use On Set
415(5)
Onboard Monitors
415(1)
Small Viewing Monitors
415(2)
On-Set Monitors
417(3)
Digital Projection for Dailies, Previews, and Digital Cinema
420(2)
Dailies Projectors
420(1)
Digital Projectors-DCI and SMPTE Compliant
420(2)
PR 730 Spectroradiometer
422(1)
Chapter 16 Postproduction and Digital Intermediate 423(18)
The Digital Intermediate
423(1)
The Tools of Finishing-The Digital Media Ingest
423(1)
The Tools of Finishing-The Digital Intermediate Color Correction
424(1)
Color Correction Systems
424(4)
Adobe Speedgrade
424(1)
Apple Color
425(1)
Assimilate Scratch
425(1)
Autodesk Lustre
425(1)
Avid Artist Color
426(1)
Blackmagic DaVinci Resolve
426(1)
Digital Vision Nucoda
426(1)
FilmLight Baselight
427(1)
Pandora Revolution
427(1)
Mistika
427(1)
Quantel Pablo
428(1)
Red Giant Magic Bullet Colorista II
428(1)
Primary Color Corrections
428(1)
Color Correction Parameters
428(1)
Lift, Gamma, and Gain
429(4)
Lift, Offset
429(4)
Gamma
430(1)
Gain
431(1)
Hue
432(1)
Saturation
432(1)
Secondary Color Corrections
433(2)
Power Windows and Shapes
433(1)
Color Vectors
434(1)
Color Curves
434(1)
Masks, Mattes, and Keys
434(1)
Dynamics
434(1)
Color Correction and Decimation-Cautionary Notes
435(1)
Decimation, Downsampling, or Subsampling
435(1)
The Tools of Finishing-The Digital Intermediate Output
435(1)
What Possibilities Does ACES Hold for Color Grading
435(5)
Images Corrected in a 10-Bit Log Environment
436(2)
Images Corrected in a 16-Bit ACES Environment
438(2)
Additional Useful Resources AJA
440(1)
Blackmagic Design
440(1)
Gluetools
440(1)
Pomfort
440(1)
PIX Systems and VICI Post Solutions
440(1)
Chapter 17 Delivering and Archiving Digital Movies 441(8)
Delivering a Motion Picture
441(1)
Archiving a Motion Picture in the Digital Age
442(1)
Taking Digital Out to Archival Film
443(1)
The Digital Dilemma
443(1)
The Digital Cinema Package
444(1)
The Migration From Film to Digital
445(1)
The Structure of Digital Exhibition-Virtual Print Fees
445(1)
A Simplified Motion Picture Studio Archival Deliverables List
446(3)
Media
446(1)
Distribution Elements
447(1)
Editorial Items
447(1)
Sound Elements (on Firewire Drive and DVDR)
448(1)
International Elements
448(1)
Trailer Material
448(1)
Videotape Master Material
448(1)
Publicity Materials
448(1)
DVD Blu-ray Bonus Materials
448(1)
Clearance Documents
448(1)
Legal Materials
448(1)
Index 449
David Stump, ASC has worked on numerous motion pictures and television productions as Director of Photography, as Visual Effects Director of Photography, and as a Visual Effects Supervisor, garnering Emmy nominations and an Academy Award for Scientific and Technical Achievement. A member of the Producer's Guild of America (PGA), the Visual Effects Society (VES), the Society of Motion Picture & Television Engineers (SMPTE), the Academy of Television Arts & Sciences (ATAS), and the Academy of Motion Picture Arts and Sciences (AMPAS), Stump has worked in Digital Visual Effects for over 25 years, since the advent of Computer Generated Images for film. In 2001 he was accepted for full membership into the American Society of Cinematographers, where he is currently chairman of the Camera and Metadata Subcommittees of the ASC Technical Committee.