Muutke küpsiste eelistusi

Video Shooter: Mastering Storytelling Techniques 3rd edition [Pehme köide]

(Veteran Director of Photography; Director of DVD training at Video Symphony; and Contributing Editor to Video Systems magazine, Burbank, CA, USA)
  • Formaat: Paperback / softback, 344 pages, kõrgus x laius: 235x191 mm, kaal: 720 g, 4 Tables, color; 888 Halftones, color
  • Ilmumisaeg: 04-Sep-2013
  • Kirjastus: Focal Press
  • ISBN-10: 0240825179
  • ISBN-13: 9780240825175
Teised raamatud teemal:
  • Formaat: Paperback / softback, 344 pages, kõrgus x laius: 235x191 mm, kaal: 720 g, 4 Tables, color; 888 Halftones, color
  • Ilmumisaeg: 04-Sep-2013
  • Kirjastus: Focal Press
  • ISBN-10: 0240825179
  • ISBN-13: 9780240825175
Teised raamatud teemal:
"Tired of the all the digital filmmaking guidebooks that give you only the nuts and bolts of how to use a camera? The third edition of Video Shooter takes the how-to knowledge a step further by showing you how to craft a story in your video. Barry Braverman is an experienced shooter and filmmaker whose is highly regarded in the field. This book covers everything from framing a shot, to lighting, to the type of camera (and tripod) you should use, and perhaps most importantly--how to translate the use of all the equipment and techniques into a story. The author is a veteran cinematic storyteller, and he shares practiced film-style techniques for use on your own DV cam.Humorous and opinionated, the author provides anecdotes and full-color illustrations thathelp you to learn the tricks of the trade. He gets right to the point of what you need to know to get good shots-and on a budget. New to this edition: * more up-to-date techniques involving HD technology* more coverage on the multi-skillset required of today's filmmakers (who are asked to act simultaneously as Director, Director of Photography, Cinematographer, Sound Recordists, etc.)*Website including craft tips, equipment review/blogs, and a teacher's corner to support use of the book in film studies/digital media class (includes student work completed in class using the text)"--



Tired of the all the digital filmmaking guidebooks that give you only the nuts and bolts of how to use a camera? The third edition of Video Shooter takes the how-to knowledge a step further by showing you how to craft a story in your video. Barry Braverman is an experienced shooter and filmmaker whose is highly regarded in the field. This book covers everything from framing a shot, to lighting, to the type of camera (and tripod) you should use, and perhaps most importantly--how to translate the use of all this equipment and techniques into a story. The author is a veteran cinematic storyteller, and he shares practiced film-style techniques for use on your own DV cam. Humorous and opinionated, the author provides anecdotes and full-color illustrations that help you to learn the tricks of the trade. He gets right to the point of what you need to know to get good shots-and on a budget. New to this edition: * more up-to-date techniques involving HD technology * more coverage on the multi-skillset required of today's filmmakers (who are asked to act simultaneously as Director, Director of Photography, Cinematographer, Sound Recordists, etc.) *Website including craft tips, equipment review/blogs, and a teacher's corner to support use of the book in film studies/digital media class (includes student work completed in class using the text)



* Engaging and informative, veteran shooter Barry Braverman shares the ins and outs of crafting a story using DV cams.
* Extensively illustrated in full color, readers will see examples of good video shooting that will help them learn what to do (and what to avoid) in their own videos.
* Companion website offers tutorials, bonus illustrations, examples, demos, equipment reviews, craft tips, blogs, and an instructor's corner complete with students' work.

Arvustused

"One of the strengths of this book is the author's tone, which manages to present both basic and complex material in a way that is easily understandable to the neophyte.: --Gustavo Mercado, Hunter College

Acknowledgements xiii
Chapter 1 The Shooter's Point of View
1(12)
Your Story's Point of View
4(1)
No More Chasing Rainbows
5(1)
Wearing Many Hats Now
6(2)
Learning the Discipline
8(1)
New Points of View
9(1)
Look Who's Shooting Now
10(1)
Hire Your Clients!
11(1)
You Have the Power
12(1)
Chapter 2 Let Me Tell You a Story
13(14)
What Makes a Good Story?
15(1)
Know Your Genre and Make Sure Your Audience Knows
15(3)
What Does Your Poster Look Like?
18(1)
Know Your Log Line
19(1)
Embrace Your Limitations
19(1)
For Different Reasons
20(1)
Your Comparative Advantage
20(1)
Limit Your Canvas
21(1)
Respect Your Camera's Dynamic Range
22(1)
Shoot the Magic Hour
23(1)
Authenticity Matters
23(1)
The Story Never Stops
24(1)
Ethics Matter
25(2)
Chapter 3 The Video Storyteller
27(32)
Still Lofty Expectations
27(1)
Put a Frame Around the World
28(1)
Exclude, Exclude, Exclude!
29(1)
Make 'Em Suffer
30(4)
A Unique Perspective
34(1)
Obscure Hide, and Conceal
35(1)
Matters of Perspective
36(2)
Box-Girder Bridges, Anyone?
38(2)
The Rule of Thirds
40(1)
The Golden Rectangle
41(1)
Evoking Pain
41(2)
What Kind of Place?
43(1)
Embrace the Theory
44(1)
Craft Matters
45(2)
Close-Ups Are Your Meat and Potatoes
47(1)
Attack Obliquely
48(1)
Shot Progression and Frame Size
48(1)
The Power of Eyeline
49(1)
Shooting the Less than Perfect
50(1)
The Story Within the Story
51(1)
Backgrounds Tell the Real Story
52(1)
We Are All Liars and Cheats
53(1)
Know What You Want
54(2)
Working With the Ego-Crazed
56(3)
Chapter 4 The Storyteller's Box
59(44)
Too Many Choices
59(1)
Cameras Reflect the Changes
60(3)
Framing the Argument
63(2)
2K, 4K, and Higher Resolution
65(1)
Grappling With the Technical
66(1)
What You Need to Know
67(1)
When the Technical Matters
68(1)
The Technical Nature of the World
68(1)
The Processor in Your Mind
69(1)
Let's Have an Analog Experience
69(1)
Improving Our Digital Recordings
70(1)
A Bit of Knowledge
71(2)
The 10-Bit Workflow
73(4)
Does Your Camera Pass the 10-Minute Rule?
77(2)
Be Sensor-Tive
79(2)
Size Matters, Sort Of
81(1)
The Resolution Ruse
82(1)
Human Limits to Perception of Resolution
83(1)
Is the End Game Near?
83(1)
Pixels in a Grid
84(1)
Three-Chip Versus Single-Chip
85(2)
Why Is Compression Necessary?
87(1)
For Practical Reasons
87(1)
Redundancy, Redundancy
88(1)
You Don't Miss What You Can't See
89(2)
Interframe Versus Intraframe Compression
91(2)
Selecting a Frame Rate
93(1)
Why the Goofy Frame Rates---or Why 24p Isn't 24p?
93(2)
The Many Flavors of 24P
95(1)
So You're Shooting 24p
95(2)
If SD Still Lives Within You
97(1)
Attention Laggards!
97(2)
Once Upon a Time
99(4)
Chapter 5 The DSLR Story
103(16)
A Matter of Performance
103(1)
It's Not a Video Camera
104(1)
More Than Low-Light Capable
105(1)
Load Shedding
105(2)
Setting Up
107(1)
Jello-Cam
108(1)
Narrow Depth of Field: Blessing or Curse?
109(1)
The Operational Challenge
110(2)
Seeing What We're Doing
112(1)
Unsound Thoughts
113(2)
Getting to Work
115(4)
Chapter 6 Your Window on the World
119(22)
Control Your Space
120(1)
To Flatter or Not to Flatter
121(1)
Maximize Use of the Storytelling Tools
122(1)
Go Long for the Touchdown
123(1)
Beware of Dubious Claims
124(3)
Optical Versus Digital Zoom
127(1)
Going Wider and Longer
127(2)
Tale from the Trenches
129(2)
Why Lenses Look Cheap
131(1)
Say No to Small F-Stops
131(1)
Why One-Piece Camcorders Make Better Pictures
132(1)
Chromatic Aberration Compensation
132(1)
Making Peace With Your Not-So-Hot Lens
133(1)
How Sweet It Is
134(2)
Dubious Focus, Zoom and Onion Rings
136(1)
Cine-Style Lenses
136(1)
Source of Enchantment and Frustration
137(1)
Excessive Depth of Field
137(2)
Lens Adapters
139(2)
Chapter 7 The 3D Shooter
141(32)
The Essence of 3D
142(2)
3D Is a Technical Trick
144(1)
Depth Cues, Anyone?
145(1)
Monoscopic Depth Cues
146(2)
Stereoscopic Depth Cues
148(2)
Interaxial Versus Interocular
150(3)
Where to Set the Screen Plane
153(2)
3D Camera Setup
155(1)
Avoiding Tolerance Issues
156(2)
Screen Size Matters
158(1)
Parallax: Getting It Right
159(1)
Window Violations
160(1)
Thinking About the 3D Story
161(1)
The Roundness Factor
161(1)
Shedding Your Evil 2D Ways
162(2)
The Future Is Glasses Free
164(2)
Is 3D Here to Stay?
166(1)
3D Postproduction and Output
167(2)
3D Is Coming---Again!
169(1)
2D to 3D Conversion
170(1)
Evolution of the Craft
170(1)
Show Me a World I Haven't Seen Before
171(2)
Chapter 8 Story Command and Control
173(38)
Auto-Everything: Who Needs It?
174(1)
Down With Auto-Exposure
174(3)
The China Girl
177(2)
Riding the Waveform
179(1)
I Shutter To Think About It
179(2)
The Synchronized Shutter
181(1)
Frame Rates and Your Story
181(2)
Focusing on What's Important
183(1)
These Guys Are Not Artists
183(1)
HD Focus Can Be Tough!
184(2)
Following Focus
186(1)
White Balance Your Story
187(1)
To Preset or Not Preset
187(2)
Setting Manual White Balance
189(1)
The Illogic of Auto-White
189(2)
Automatic Black Balance
191(1)
No Gain, No Pain
191(2)
Keep the Noise Down
193(1)
The Timecode Swamp
194(2)
Serial Digital Versus High-Definition Multimedia Interface
196(1)
Interconnectivity and Streaming
197(1)
Monitoring Your Work
198(1)
More Power to You
199(3)
Managing Viewfinder Clutter
202(1)
Animation and Time Lapse
203(1)
The Magic of Pre-Record
204(1)
Here We Go Loopy Loo
204(1)
Shooting in Extreme Conditions
204(4)
Shooting Wild Life and Wildlife
208(3)
Chapter 9 Tweaking Your Story's Look
211(28)
Getting Started on Your Look
212(2)
Master Pedestal: Where Is Black?
214(1)
The Legacy of Standard Definition
214(1)
Respecting Your Camera's Dynamic Range
214(1)
Going, Going Gamma
215(1)
Minding Your Highlights
216(1)
Auto-Knee
216(1)
Controlling Chroma
217(1)
Matrix
218(1)
Filtering Your Image
219(1)
Getting Physical
220(1)
Consider a Filter Last
220(1)
Designed for the Task
221(1)
Neutral Density
222(1)
A Polarized View
223(1)
Sky Control
224(1)
The High-Contrast Dilemma
225(1)
The Diffused Look
226(3)
Christian Dior to the Rescue
229(1)
The Matte Box
230(1)
How They Stack Up
231(1)
Warming Up
232(1)
Out of the Fog
232(1)
The Post-Camera Finish
233(1)
Roll Your Own
233(2)
Color Correction
235(1)
Shooters, Take Charge!
236(3)
Chapter 10 Making Light of Your Story
239(28)
Think Small
240(2)
Shooters Who Light, Edit, Produce, and Wash Windows
242(1)
LED Lighting Comes of Age
243(2)
HMI Lighting: Expensive But Worth It
245(2)
Fluorescents and the Green Plague
247(1)
Think Big
248(1)
Soft Is Key
249(1)
Choosing a Soft Light
249(2)
Spilling the Beans
251(1)
The Art of Diffusion
251(1)
The Jelly Roll
252(1)
The Standard Setup
253(1)
Lighting Front and Center
254(1)
Having Your Fill
254(1)
On- and Off-Camera Options
255(1)
Lighting in Planes
256(1)
Lighting for Green Screen
257(1)
Why Green?
257(2)
Green Screen Alternative
259(1)
Get a Grip
259(2)
Kooks and Cookies
261(1)
Being Snooty
262(1)
Clamping Down
262(1)
Tape Makes the Man (or Woman)
263(1)
The Ditty Bag
264(1)
Lighting = Craft + Ingenuity
265(2)
Chapter 11 Supporting Your Story
267(14)
Getting a Head in Your Support
268(3)
What Pretty Legs You Have
271(3)
Getting a Leg Up
274(4)
Place Anywhere
278(1)
You Shoot; Therefore You Are
278(3)
Chapter 12 Listening to Your Story
281(14)
An Unsound Proposition?
282(1)
Sound Advice
282(1)
Bad Connections = Bad Sound
283(1)
Keep Balance in Your Life
284(1)
Mixing It Up
285(1)
Setting Audio Level
286(1)
For the Love of Mic
287(1)
Riding (Short) Shotgun
287(1)
Going Wireless
288(1)
Going Boom
289(1)
Noise Reduction for the Video Shooter
290(1)
Shooting Double System: Is It Necessary?
291(1)
You are Surrounded
292(1)
To Improvise Is Good
293(2)
Chapter 13 Going with the Flow
295(18)
Not One Workflow
296(1)
The Promise of MXF
297(1)
The Beauty of Metadata
298(1)
We Should Be Less Fearful Now
299(1)
The Advent of SSD
300(1)
Proxy Video and the iPhone
301(1)
Outputting Your Story
302(1)
The Decline of DVD
303(1)
Eye on the Encoded Image
304(1)
Encoders Have Personalities
305(1)
Scenes That Spell Trouble
306(1)
The Noise-Reduction Imperative
306(1)
Know Your Encoding Mode
307(1)
Blu-Ray, Anyone?
308(1)
Reaching for the Clouds
309(1)
The Archiving Challenge
310(3)
AFTERWORD There Is No Best Button
313(8)
Beware the Hype
314(1)
Resist Complexity
315(1)
Future of Viewing
316(1)
Rapid Change Is Upon Us
317(1)
Dog-Eat-Dog World
318(3)
Index 321
Barry Braverman is a cinematographer with over thirty years experience in television documentaries and feature films. His credits include Wes Andersons Moonrise Kingdom (2012), The Darjeeling Limited (2007), as well as National Geographic TV Specials, HBO First Look and CBS News Sunday Morning. Braverman is a member of Hollywoods cinematographer guild and conducts regular 2D and 3D camera workshops around the world. He lives in Studio City, CA.

Check out the Video Shooter website and blog at www.barrybraverman.com.