| Acknowledgements |
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xiii | |
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Chapter 1 The Shooter's Point of View |
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1 | (12) |
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Your Story's Point of View |
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4 | (1) |
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5 | (1) |
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6 | (2) |
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8 | (1) |
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9 | (1) |
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10 | (1) |
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11 | (1) |
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12 | (1) |
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Chapter 2 Let Me Tell You a Story |
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13 | (14) |
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15 | (1) |
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Know Your Genre and Make Sure Your Audience Knows |
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15 | (3) |
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What Does Your Poster Look Like? |
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18 | (1) |
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19 | (1) |
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19 | (1) |
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20 | (1) |
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Your Comparative Advantage |
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20 | (1) |
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21 | (1) |
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Respect Your Camera's Dynamic Range |
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22 | (1) |
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23 | (1) |
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23 | (1) |
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24 | (1) |
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25 | (2) |
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Chapter 3 The Video Storyteller |
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27 | (32) |
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27 | (1) |
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Put a Frame Around the World |
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28 | (1) |
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Exclude, Exclude, Exclude! |
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29 | (1) |
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30 | (4) |
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34 | (1) |
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Obscure Hide, and Conceal |
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35 | (1) |
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36 | (2) |
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Box-Girder Bridges, Anyone? |
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38 | (2) |
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40 | (1) |
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41 | (1) |
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41 | (2) |
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43 | (1) |
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44 | (1) |
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45 | (2) |
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Close-Ups Are Your Meat and Potatoes |
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47 | (1) |
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48 | (1) |
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Shot Progression and Frame Size |
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48 | (1) |
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49 | (1) |
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Shooting the Less than Perfect |
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50 | (1) |
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The Story Within the Story |
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51 | (1) |
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Backgrounds Tell the Real Story |
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52 | (1) |
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We Are All Liars and Cheats |
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53 | (1) |
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54 | (2) |
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Working With the Ego-Crazed |
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56 | (3) |
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Chapter 4 The Storyteller's Box |
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59 | (44) |
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59 | (1) |
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Cameras Reflect the Changes |
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60 | (3) |
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63 | (2) |
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2K, 4K, and Higher Resolution |
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65 | (1) |
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Grappling With the Technical |
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66 | (1) |
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67 | (1) |
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When the Technical Matters |
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68 | (1) |
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The Technical Nature of the World |
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68 | (1) |
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The Processor in Your Mind |
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69 | (1) |
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Let's Have an Analog Experience |
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69 | (1) |
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Improving Our Digital Recordings |
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70 | (1) |
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71 | (2) |
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73 | (4) |
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Does Your Camera Pass the 10-Minute Rule? |
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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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Human Limits to Perception of Resolution |
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83 | (1) |
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83 | (1) |
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84 | (1) |
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Three-Chip Versus Single-Chip |
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85 | (2) |
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Why Is Compression Necessary? |
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87 | (1) |
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87 | (1) |
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88 | (1) |
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You Don't Miss What You Can't See |
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89 | (2) |
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Interframe Versus Intraframe Compression |
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91 | (2) |
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93 | (1) |
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Why the Goofy Frame Rates---or Why 24p Isn't 24p? |
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93 | (2) |
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95 | (1) |
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95 | (2) |
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If SD Still Lives Within You |
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97 | (1) |
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97 | (2) |
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99 | (4) |
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103 | (16) |
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103 | (1) |
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104 | (1) |
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More Than Low-Light Capable |
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105 | (1) |
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105 | (2) |
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107 | (1) |
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108 | (1) |
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Narrow Depth of Field: Blessing or Curse? |
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109 | (1) |
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The Operational Challenge |
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110 | (2) |
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112 | (1) |
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113 | (2) |
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115 | (4) |
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Chapter 6 Your Window on the World |
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119 | (22) |
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120 | (1) |
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To Flatter or Not to Flatter |
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121 | (1) |
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Maximize Use of the Storytelling Tools |
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122 | (1) |
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Go Long for the Touchdown |
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123 | (1) |
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124 | (3) |
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Optical Versus Digital Zoom |
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127 | (1) |
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127 | (2) |
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129 | (2) |
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131 | (1) |
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131 | (1) |
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Why One-Piece Camcorders Make Better Pictures |
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132 | (1) |
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Chromatic Aberration Compensation |
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132 | (1) |
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Making Peace With Your Not-So-Hot Lens |
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133 | (1) |
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134 | (2) |
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Dubious Focus, Zoom and Onion Rings |
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136 | (1) |
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136 | (1) |
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Source of Enchantment and Frustration |
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137 | (1) |
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137 | (2) |
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139 | (2) |
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141 | (32) |
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142 | (2) |
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144 | (1) |
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145 | (1) |
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146 | (2) |
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148 | (2) |
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Interaxial Versus Interocular |
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150 | (3) |
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Where to Set the Screen Plane |
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153 | (2) |
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155 | (1) |
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Avoiding Tolerance Issues |
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156 | (2) |
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158 | (1) |
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Parallax: Getting It Right |
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159 | (1) |
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160 | (1) |
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Thinking About the 3D Story |
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161 | (1) |
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161 | (1) |
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Shedding Your Evil 2D Ways |
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162 | (2) |
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The Future Is Glasses Free |
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164 | (2) |
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166 | (1) |
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3D Postproduction and Output |
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167 | (2) |
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169 | (1) |
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170 | (1) |
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170 | (1) |
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Show Me a World I Haven't Seen Before |
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171 | (2) |
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Chapter 8 Story Command and Control |
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173 | (38) |
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Auto-Everything: Who Needs It? |
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174 | (1) |
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174 | (3) |
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177 | (2) |
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179 | (1) |
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I Shutter To Think About It |
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179 | (2) |
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181 | (1) |
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Frame Rates and Your Story |
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181 | (2) |
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Focusing on What's Important |
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183 | (1) |
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These Guys Are Not Artists |
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183 | (1) |
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184 | (2) |
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186 | (1) |
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187 | (1) |
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187 | (2) |
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Setting Manual White Balance |
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189 | (1) |
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The Illogic of Auto-White |
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189 | (2) |
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191 | (1) |
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191 | (2) |
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193 | (1) |
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194 | (2) |
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Serial Digital Versus High-Definition Multimedia Interface |
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196 | (1) |
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Interconnectivity and Streaming |
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197 | (1) |
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198 | (1) |
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199 | (3) |
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Managing Viewfinder Clutter |
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202 | (1) |
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203 | (1) |
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204 | (1) |
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204 | (1) |
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Shooting in Extreme Conditions |
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204 | (4) |
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Shooting Wild Life and Wildlife |
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208 | (3) |
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Chapter 9 Tweaking Your Story's Look |
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211 | (28) |
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Getting Started on Your Look |
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212 | (2) |
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Master Pedestal: Where Is Black? |
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214 | (1) |
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The Legacy of Standard Definition |
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214 | (1) |
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Respecting Your Camera's Dynamic Range |
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214 | (1) |
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215 | (1) |
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216 | (1) |
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216 | (1) |
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217 | (1) |
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218 | (1) |
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219 | (1) |
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220 | (1) |
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220 | (1) |
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221 | (1) |
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222 | (1) |
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223 | (1) |
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224 | (1) |
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The High-Contrast Dilemma |
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225 | (1) |
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226 | (3) |
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Christian Dior to the Rescue |
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229 | (1) |
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230 | (1) |
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231 | (1) |
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232 | (1) |
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232 | (1) |
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233 | (1) |
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233 | (2) |
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235 | (1) |
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236 | (3) |
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Chapter 10 Making Light of Your Story |
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239 | (28) |
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240 | (2) |
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Shooters Who Light, Edit, Produce, and Wash Windows |
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242 | (1) |
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LED Lighting Comes of Age |
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243 | (2) |
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HMI Lighting: Expensive But Worth It |
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245 | (2) |
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Fluorescents and the Green Plague |
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247 | (1) |
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248 | (1) |
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249 | (1) |
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249 | (2) |
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251 | (1) |
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251 | (1) |
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252 | (1) |
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253 | (1) |
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Lighting Front and Center |
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254 | (1) |
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254 | (1) |
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On- and Off-Camera Options |
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255 | (1) |
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256 | (1) |
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Lighting for Green Screen |
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257 | (1) |
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257 | (2) |
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259 | (1) |
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259 | (2) |
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261 | (1) |
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262 | (1) |
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262 | (1) |
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Tape Makes the Man (or Woman) |
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263 | (1) |
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264 | (1) |
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Lighting = Craft + Ingenuity |
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265 | (2) |
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Chapter 11 Supporting Your Story |
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267 | (14) |
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Getting a Head in Your Support |
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268 | (3) |
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What Pretty Legs You Have |
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271 | (3) |
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274 | (4) |
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278 | (1) |
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You Shoot; Therefore You Are |
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278 | (3) |
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Chapter 12 Listening to Your Story |
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281 | (14) |
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282 | (1) |
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282 | (1) |
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Bad Connections = Bad Sound |
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283 | (1) |
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Keep Balance in Your Life |
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284 | (1) |
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285 | (1) |
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286 | (1) |
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287 | (1) |
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287 | (1) |
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288 | (1) |
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289 | (1) |
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Noise Reduction for the Video Shooter |
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290 | (1) |
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Shooting Double System: Is It Necessary? |
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291 | (1) |
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292 | (1) |
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293 | (2) |
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Chapter 13 Going with the Flow |
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295 | (18) |
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296 | (1) |
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297 | (1) |
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298 | (1) |
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We Should Be Less Fearful Now |
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299 | (1) |
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300 | (1) |
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Proxy Video and the iPhone |
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301 | (1) |
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302 | (1) |
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303 | (1) |
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304 | (1) |
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Encoders Have Personalities |
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305 | (1) |
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Scenes That Spell Trouble |
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306 | (1) |
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The Noise-Reduction Imperative |
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306 | (1) |
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307 | (1) |
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308 | (1) |
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309 | (1) |
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310 | (3) |
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AFTERWORD There Is No Best Button |
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313 | (8) |
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314 | (1) |
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315 | (1) |
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316 | (1) |
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317 | (1) |
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318 | (3) |
| Index |
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321 | |