Introduction |
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xxiii | |
1 Getting Started |
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2 | (10) |
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3 | (5) |
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8 | (1) |
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What Kind of Digital Film Should You Make? |
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8 | (4) |
2 Writing and Scheduling |
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12 | (22) |
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13 | (13) |
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14 | (1) |
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14 | (2) |
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16 | (2) |
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18 | (5) |
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23 | (1) |
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24 | (1) |
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Writing for Corporate Projects |
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25 | (1) |
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26 | (1) |
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27 | (7) |
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Choosing a Shooting Order |
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29 | (1) |
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How Much Can You Shoot in a Day? |
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29 | (1) |
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30 | (2) |
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Scheduling for Unscripted Projects |
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32 | (2) |
3 Digital Video Primer |
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34 | (26) |
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35 | (1) |
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Components of Digital Video |
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36 | (7) |
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36 | (1) |
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36 | (1) |
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37 | (1) |
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38 | (3) |
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41 | (1) |
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42 | (1) |
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Working with Analog or SD Video |
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43 | (3) |
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46 | (3) |
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47 | (1) |
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48 | (1) |
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49 | (1) |
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49 | (1) |
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Understanding Digital Media Files |
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49 | (6) |
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Digital Video Container Files |
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50 | (1) |
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50 | (5) |
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Audio Container Files and Codecs |
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55 | (1) |
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55 | (2) |
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57 | (1) |
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Unscientific Answers to Highly Technical Questions |
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58 | (2) |
4 Choosing a Camera |
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60 | (32) |
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61 | (1) |
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62 | (7) |
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62 | (3) |
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65 | (1) |
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66 | (2) |
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68 | (1) |
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68 | (1) |
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69 | (3) |
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69 | (1) |
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70 | (1) |
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71 | (1) |
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Never Mind the Reasons, How Does It Look? |
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72 | (1) |
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73 | (14) |
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73 | (3) |
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76 | (1) |
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76 | (1) |
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77 | (2) |
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79 | (2) |
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81 | (1) |
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82 | (1) |
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83 | (1) |
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84 | (1) |
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85 | (1) |
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86 | (1) |
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Batteries and AC Adaptors |
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86 | (1) |
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87 | (1) |
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Use Your Director of Photography |
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88 | (1) |
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89 | (2) |
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89 | (1) |
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90 | (1) |
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90 | (1) |
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90 | (1) |
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90 | (1) |
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91 | (1) |
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91 | (1) |
5 Planning Your Shoot |
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92 | (28) |
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93 | (11) |
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95 | (2) |
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97 | (4) |
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Computer-Generated Storyboards |
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101 | (3) |
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104 | (1) |
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Camera Diagrams and Shot Lists |
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104 | (4) |
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108 | (4) |
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112 | (4) |
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113 | (1) |
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113 | (1) |
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114 | (1) |
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114 | (2) |
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Visual Planning for Documentaries |
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116 | (1) |
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117 | (3) |
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Creating Rough Effects Shots |
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119 | (1) |
6 Lighting |
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120 | (22) |
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121 | (1) |
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122 | (3) |
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122 | (3) |
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125 | (4) |
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125 | (1) |
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126 | (1) |
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126 | (3) |
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Controlling the Quality of Light |
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129 | (3) |
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131 | (1) |
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131 | (1) |
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132 | (3) |
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Tutorial: Three-Point Lighting |
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132 | (3) |
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135 | (1) |
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135 | (1) |
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Mixing Daylight and Interior Light |
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135 | (1) |
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136 | (1) |
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136 | (2) |
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Enhancing Existing Daylight |
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137 | (1) |
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138 | (1) |
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139 | (1) |
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Special Lighting Situations |
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139 | (3) |
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Lighting for Video-to-Film Transfers |
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140 | (1) |
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Lighting for Blue and Green Screen |
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140 | (2) |
7 Using the Camera |
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142 | (34) |
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143 | (4) |
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147 | (5) |
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151 | (1) |
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152 | (6) |
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153 | (1) |
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154 | (2) |
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156 | (1) |
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157 | (1) |
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Exposure and Depth of Field |
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157 | (1) |
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158 | (4) |
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162 | (8) |
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164 | (1) |
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164 | (3) |
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Following Versus Anticipating |
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167 | (1) |
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Don't Be Afraid to Get Too Close |
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167 | (1) |
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168 | (1) |
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168 | (1) |
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169 | (1) |
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169 | (1) |
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169 | (1) |
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170 | (1) |
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170 | (4) |
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170 | (1) |
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171 | (1) |
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171 | (1) |
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171 | (2) |
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173 | (1) |
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174 | (2) |
8 Production Sound |
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176 | (24) |
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177 | (1) |
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178 | (10) |
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179 | (3) |
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182 | (1) |
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183 | (2) |
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185 | (1) |
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186 | (1) |
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187 | (1) |
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188 | (9) |
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188 | (6) |
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Getting the Right Sound for the Picture |
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194 | (1) |
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195 | (1) |
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196 | (1) |
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196 | (1) |
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197 | (2) |
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198 | (1) |
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198 | (1) |
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199 | (1) |
9 Shooting and Directing |
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200 | (10) |
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201 | (1) |
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Updating the Shooting Script |
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202 | (1) |
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202 | (1) |
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203 | (1) |
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204 | (1) |
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Putting Plans into Action |
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205 | (3) |
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Double-Check Your Camera Settings |
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206 | (1) |
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206 | (1) |
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206 | (2) |
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208 | (2) |
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Script Supervising for Scripted Projects |
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208 | (1) |
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209 | (1) |
10 DSLRs and Other Advanced Shooting Situations |
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210 | (30) |
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What's Different with a DSLR? |
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211 | (3) |
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DSLR Camera Settings for HD Video |
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214 | (2) |
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Working with Interchangeable Lenses |
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216 | (2) |
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216 | (2) |
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How to Get a Shallow Depth of Field |
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218 | (1) |
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Measuring and Pulling Focus |
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219 | (2) |
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220 | (1) |
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220 | (1) |
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Advanced Camera Rigging and Supports |
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221 | (3) |
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224 | (3) |
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Double-System Audio Recording |
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227 | (3) |
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How to Record Double-System Audio |
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229 | (1) |
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230 | (3) |
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231 | (1) |
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Challenges of Multi-Cam Shoots |
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232 | (1) |
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233 | (4) |
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On-set Media Workstations |
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234 | (1) |
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234 | (1) |
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Organizing Media on the Set |
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235 | (2) |
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237 | (1) |
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Shooting Blue-Screen Effects |
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237 | (3) |
11 Editing Gear |
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240 | (14) |
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241 | (6) |
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242 | (1) |
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242 | (1) |
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242 | (1) |
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243 | (1) |
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244 | (2) |
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Custom Keyboards and Controllers |
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246 | (1) |
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246 | (1) |
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247 | (2) |
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Storage Area Networks (SANs) and Network-Attached Storage (NAS) |
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247 | (1) |
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248 | (1) |
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248 | (1) |
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249 | (1) |
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Digital Video Cables and Connectors |
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250 | (2) |
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250 | (1) |
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250 | (1) |
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250 | (1) |
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251 | (1) |
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251 | (1) |
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251 | (1) |
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251 | (1) |
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252 | (2) |
12 Editing Software |
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254 | (16) |
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255 | (1) |
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256 | (5) |
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256 | (1) |
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256 | (1) |
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257 | (1) |
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Insert and Overwrite Editing |
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257 | (1) |
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258 | (1) |
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Ripple and Roll, Slip and Slide |
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258 | (1) |
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259 | (1) |
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260 | (1) |
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261 | (1) |
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262 | (2) |
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264 | (2) |
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264 | (2) |
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266 | (1) |
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266 | (2) |
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267 | (1) |
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Audio Effects and Filters |
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267 | (1) |
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267 | (1) |
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267 | (1) |
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268 | (1) |
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268 | (1) |
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Our Software Recommendations |
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268 | (1) |
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269 | (1) |
13 Preparing to Edit |
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270 | (20) |
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272 | (4) |
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273 | (1) |
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274 | (2) |
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Importing and Transcoding |
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276 | (4) |
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Capturing Tape-based Media |
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280 | (2) |
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280 | (2) |
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282 | (1) |
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282 | (1) |
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283 | (1) |
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284 | (1) |
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Sorting Media After Ingest |
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285 | (1) |
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286 | (1) |
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Synchronizing Double-System Sound and Picture |
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286 | (2) |
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Preparing Multi-Camera Media |
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288 | (1) |
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288 | (2) |
14 Editing |
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290 | (26) |
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291 | (2) |
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Applied Three-Act Structure |
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293 | (1) |
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293 | (12) |
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294 | (1) |
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294 | (1) |
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Master Shot—Style Coverage |
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294 | (1) |
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Tutorial: Creating a First Cut |
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295 | (10) |
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305 | (6) |
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Cutaways and Reaction Shots |
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305 | (1) |
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306 | (1) |
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307 | (1) |
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307 | (1) |
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Matching Emotion and Tone |
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308 | (1) |
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308 | (1) |
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Hard Sound Effects and Music |
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309 | (1) |
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Tutorial: Refining Your Cut |
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309 | (2) |
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Transitions Between Scenes |
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311 | (1) |
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311 | (1) |
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Dissolves, Fades, and Wipes |
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311 | (1) |
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311 | (1) |
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Clearing Frame and Natural "Wipes" |
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312 | (1) |
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Solving Technical Problems |
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312 | (1) |
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312 | (1) |
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312 | (1) |
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313 | (1) |
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314 | (2) |
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314 | (1) |
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315 | (1) |
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315 | (1) |
15 Sound Editing |
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316 | (28) |
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317 | (1) |
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318 | (1) |
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319 | (1) |
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320 | (1) |
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321 | (1) |
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Using Your Editing App for Sound |
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321 | (4) |
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Dedicated Sound Editing Apps |
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325 | (2) |
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327 | (1) |
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328 | (3) |
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328 | (1) |
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329 | (1) |
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Is There Extraneous Noise in the Shot? |
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329 | (1) |
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Are There Bad Video Edits That Can Be Reinforced with Audio? |
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330 | (1) |
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330 | (1) |
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Are There Vocal Problems You Need to Correct? |
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330 | (1) |
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331 | (2) |
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332 | (1) |
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Non-Dialogue Voice Recordings |
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332 | (1) |
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333 | (3) |
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336 | (1) |
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337 | (1) |
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337 | (5) |
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338 | (1) |
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339 | (1) |
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340 | (1) |
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341 | (1) |
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342 | (2) |
16 Color Correction |
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344 | (22) |
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346 | (4) |
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349 | (1) |
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350 | (5) |
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A Less Scientific Approach |
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353 | (1) |
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354 | (1) |
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355 | (3) |
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Compensating for Overexposure |
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358 | (2) |
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Correcting Bad White Balance |
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360 | (1) |
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Matching Footage from Different Cameras and Shoots |
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361 | (1) |
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Using Tracks and Layers to Adjust Color |
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362 | (1) |
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362 | (1) |
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Correcting Color for Film |
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363 | (1) |
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Making Your Video Look Like Film |
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363 | (2) |
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365 | (1) |
17 Titles and Effects |
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366 | (44) |
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367 | (10) |
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Choosing Your Typeface and Size |
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368 | (1) |
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369 | (1) |
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370 | (1) |
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370 | (1) |
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371 | (1) |
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Tutorial: Create Your Main Title |
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372 | (5) |
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377 | (2) |
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Keyframes and Interpolating |
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377 | (2) |
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379 | (1) |
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Integrating Still Images and Video |
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379 | (1) |
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380 | (3) |
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383 | (21) |
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384 | (1) |
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Tutorial: Creating a Luminance Key |
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385 | (5) |
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Tutorial: Using a Chroma Key |
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390 | (4) |
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394 | (2) |
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396 | (2) |
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398 | (3) |
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Tutorial: Adding Camera Shake |
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401 | (3) |
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Using Effects to Fix Problems |
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404 | (5) |
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404 | (1) |
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405 | (4) |
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409 | (1) |
18 Finishing |
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410 | (33) |
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412 | (2) |
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412 | (1) |
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413 | (1) |
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414 | (1) |
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Preparing for Film Festivals |
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414 | (1) |
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415 | (5) |
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415 | (3) |
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418 | (1) |
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419 | (1) |
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420 | (2) |
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420 | (1) |
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421 | (1) |
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Web Video and Video-on-Demand |
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422 | (4) |
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422 | (1) |
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423 | (2) |
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425 | (1) |
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Choosing a Keyframe Interval |
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425 | (1) |
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426 | (6) |
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DVD and Blu-Ray Compression |
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428 | (2) |
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DVD and Blu-Ray Disc Authoring |
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430 | (2) |
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432 | (3) |
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432 | (1) |
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Preparing for a Professional Audio Mix |
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433 | (1) |
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Preparing for Professional Color Grading |
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434 | (1) |
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Putting Audio and Video Back Together |
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435 | (1) |
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Digital Videotape Masters |
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435 | (2) |
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437 | (3) |
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The Film Printing Process |
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438 | (1) |
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438 | (1) |
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439 | (1) |
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439 | (1) |
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440 | (1) |
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441 | (2) |
Glossary |
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443 | (28) |
Index |
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471 | |