The page numbers in this index refer to the printed version of this book. To find the corresponding locations in the text of this digital version, please use the “search” function on your e-reader. Note that not all terms may be searchable.
above-the-line costs, 728, 729
A&B rolling, 682, 708
A/B test, 423
AAC, 20, 617, 673
AAF (Advanced Authoring Format), 244, 613, 614, 655–57
Academy aperture, 42, 45
Academy leader, 653
Acmade numbers, 284, 693
acoustics, 445–46, 668
acoustifoam, 425
AC (alternating current) power supply, 127–28, 131, 482, 519
acrylic filters, 497
AC-3 (Dolby Digital), 670
active autofocus, 113–14
active glasses, 400, 401
active pixels or lines, 8
actors, 56, 356, 358, 373, 731–33
acts, 525
acutance, 173
adapter rings, 319
ADAT, 411, 412n
additional photography, 3
additive primaries, 304, 305
additive printing, 710
ADR (automatic dialogue replacement), 47, 98, 360, 532, 635, 642
AES/EBU format, 416–17, 551
AGC (automatic gain control), 109, 453–54, 455
air travel, 132, 270, 285, 366
aliasing, 13, 14, 230, 408
Allen, Woody, 334, 335, 524
Almendros, Néstor, 507
alpha channels, 590–91
Altman, Robert, 373, 461
ambient sound, 443, 587, 645, 667
American Cinematographer Manual, 162
American Graffiti (film), 46
amplitude, 402, 518
analog optical tracks, 713–14
analog sound levels, 451–52
analog sound recorders, 7, 8, 405–6, 415–16, 419
analog-to-digital (A/D) converters, 228, 229, 406
analog TV, 62
analog video formats, 7–8, 32, 193–94, 209, 227
anamorphic images, 75, 78, 259, 705
anamorphic lenses, 75–76
angle of acceptance, 289–90
angle of view, 73, 142–43, 148, 150, 151, 788–90
angle/reverse angle style, 323
animation, 140, 392–93
animation stand, 596
Annie Hall (film), 334, 335
answer prints, 51, 696, 710–11
antihalation backing, 271, 272
aperture correction, 138
aperture plate, 254
appearance releases, 349, 735, 739–41
apple boxes, 381, 496
APS-C sensor, 67
archival material, 347, 523, 747
archival storage, 93–94
A-rolling, 707
art direction, 362, 364, 374
art houses, 4, 749
artifacts, 13, 14, 61, 211–16
ASA number, 275
aspect ratios, 15–16, 24, 41–42, 62, 74–81, 105, 106, 222, 232–33, 328, 599–600, 618, 684, 705
assemble-edit recording, 620
assemble lists, 701
assemblies, 3, 537
associate producers (APs), 362
astigmatism, 173
ATA drives, 240
ATSC (Advanced Television Systems Committee) standard, 62–63, 250
attenuators, 313, 432, 453
audio gain automation, 585
audio levels, 446–55, 585–86, 659–65
audio recording, see sound recording
audio reference tone, 616, 621, 622
audio syncing, 587–90, 689–90
audio timecode frame rates, 467–68
audiovisual (AV) distribution, 4, 755, 760
audio waveforms, 573, 585, 589, 660
auditions, 363, 584
autoexposure (AE), 108–9
autofocus, 113–14, 160, 166
auto-iris control, 108–9
automatic gain (level) control (AGC), 109, 453–54, 455
automatic knee function, 197–98
automatic white balance, 111–12
auto scene detection, 570
autostereoscopic displays, 400
auto tracing white balance (ATW), 111
available light, 471
AVC (Advanced Video Coding), 26
AVCAM, 26
AVCHD, 17, 18, 20, 22, 25, 26, 92, 95, 123, 247, 251, 400, 562
AVC-Intra, 26
AVC Ultra, 26, 28
average sound level, 447, 448
averaging light meters, 289, 294
AVI, 116
Avid Media Composer and Symphony, 36, 96, 206, 221, 249, 541, 547, 563, 568, 570, 575, 577, 580–81, 584, 589, 610, 611–13, 629–30, 698, 701
A-wind, 282–83
baby legs, 379
back focus, 181–82
background noise, 98, 444–45, 642, 645
background plate, 212
backing up camera files, 118–19, 121, 566
backlighting, 70, 294–96, 475, 476, 499–501, 504, 505, 514
backstory, 525
backtimed edits, 570
balanced cables, 432–34
ballast, 481
banana plugs, 433
banding, 231, 232
bandwidth, 12, 236
barndoors, 493, 505
barneys, 267
barrel distortion, 173
bars and tone, 127, 306, 452, 767–69
base, 124, 272
base plate, 319
bash lights, 492
bass (bass cut) filters, 459
bass filtering, 459, 641, 666
batch capturing, 612
batch processing, 559
batteries, 128–32, 366, 429, 439
battery belts and packs, 128, 130
battery charging, 130–31
battery memory, 131
Bayer pattern filter, 16, 137, 203, 233n
Bazin, André, 332
beam-splitter reflex, 260–61
bed, 645
behind-the-lens filters, 319–20
below-the-line costs, 728
best boy, 362
best-light prints and transfers, 301, 687, 694
Betacam camcorders, 32
Betacam SP (superior performance), 32, 550
Betamax, 32
beta movement, 5
Bezier handles, 593, 596
B-frames (bidirectionally predicted frames), 247, 248
bidirectional microphones, 420
big close-ups, 323, 324
binary code, 228, 407
bins, 564, 567
bird’s-eye view, 324
bit depth (bit length, word length), 24, 229, 230, 232, 408–9, 414, 418
bitmapped graphics, 595
bit rate, 20, 600
bits, 204, 228, 236, 407
black-and-white film, 69–70, 193n, 310, 498
black-and-white film filters, 310
black-and-white negative, 712
black-and-white TV, 17
black balance, 113
black body, 308
black clip, 274n
black gamma, 207
blacking and coding, 621
blacking a tape, 621
black level, 205–6, 629, 768, 770–71
black stretch/compress, 207
black wrap, 494
bleach bypass process, 278
blocking action, 354, 372, 373
blowdown, see reduction printing
blowups, 708–9
Blu-ray disc format, 20, 27, 34, 49, 63, 64–65, 219, 250, 251, 622–24, 747, 753, 755, 756
bogey wheels, 382
boke, 157
Bonnie and Clyde (film), 390
boominess, 443
boom operators or mixers, 362
booms, 98, 329, 330, 381, 382, 436–37, 443
booster gels, 496
Born Yesterday (film), 324, 338, 478
boundary microphones, 421, 422, 443
Bound for Glory (film), 388
box office gross, 750
breakaway cables, 438
breathing (lens), 167
breathing in the gate, 270
Breathless (film), 528
Bresson, Robert, 521
brick battery, 129, 132
briefcase dolly, 383
brightness, 292, 768, 770–71
broadband, 236
Broadcast News (film), 353
broads, 488
B-roll, 347, 708
Brooks, James, 353
Brown, Garrett, 388
budgets, 3, 58–59, 355, 721–22, 727–30
built-in light meters, 289
bulbs, 480–85
Buñuel, Luis, 526
burn-in timecode, 222, 653, 695
Burton, Tim, 392
business arrangements, 731–36
busted takes, 372
BWF (Broadcast Wave Format), 413, 414, 442, 673
B-wind, 282–83
bytes, 228
cablemen, 362
cable ties, 440
cable TV, 4, 20, 49, 62, 63, 747, 752, 760
cadence, 603
Caine, Michael, 373
callbacks, 363
call sheets, 361, 368
camera angles, 323, 327, 338–39, 341, 342, 352–53
camera aperture, 259
camera choice, 87–89
camera cranes, 381
camera motors, 254, 258, 465
camera-mounted lights, 130, 492
camera obscura, 172–73
camera operators, 362
camera original, 42, 49, 124, 283
camera reports, 377–78
camera roll, 39
cameras, see film cameras; video cameras
camera sensitivity, 133–39
camera speed, 40, 257, 287
camera take, 323
camera trigger, 126
Cameron, James, 86
Canted shot, 326–27
canvas, 571
Capote (film), 73, 502
capstans, 121
capture cards, 550–51
capturing from tape, 37, 553, 569–71
cardioid microphones, 420–22, 427, 436, 461
case noise, 425, 427
Cassavetes, John, 61, 334
casting, 3, 363, 732–33
cathode ray tube, see CRT monitors
CBR (constant bit rate) format, 249
CCD (charge-coupled device), 6, 8, 16, 29, 103, 141, 185, 215, 229n
CCIR 601, see ITU-R 601
C-clamps, 496
CDs (compact discs), 411
cel animation, 393
cell-phone video, 64
cell scratch, 302
cellulose acetate (safety) film, 40, 272
cement splicing, 707–8
center crop, 78
center-weighted light meters, 289
century stands (C-stands), 496
CF (CompactFlash) cards, see flash memory cards
CG (character generator), 594
change lists, 538, 701
changeover marks, 713
changing bags, 263, 264, 266
characteristic curves, 273–75, 276
chase sequences, 392
checkerboarding, 652
checkerboard printing, 708
check prints, 712
checksum verification, 119
Chinatown (film), 337
chroma keys, 211–13
chroma setting, 139
chroma subsampling, 210
chromatic aberration, 173
chrominance (chroma), 17, 209, 626, 630, 770, 771
chyron, 594
cinch marks, 302
CineAlta (Sony), 27, 28, 29, 91, 199
CineForm, 252, 556, 561, 598
cine gamma, 196, 198–200
cine lens adapters, 73
CinemaDNG format, 29
CinemaScope, 46, 74, 76
cinematographers, 321, 362
items in bag, 270, 374
cinema verité, 127, 347, 350–51, 386
cine scale, 288
cine-style lenses, 164, 166, 168
circle of confusion (CoC), 155, 157, 162, 782
circle of least confusion, 162
circle takes, 269, 370, 372, 415
Citizen Kane (film), 74, 146, 333, 477
clapper boards (clap sticks), 368, 370, 466
clapper loaders, 362
claws, 39, 254–55
clearance issues, 355, 736–37, 741–47
clicks, 649
clipped peaks, 450, 451, 660
clip reels, 763
clips, 552, 610
see also NLEs
clones, 227, 608
close focusing, 170–71
close-up (CU), 71, 147, 293–94, 323, 324, 333
close-up diopters, 170–71
closing down, 152
cloud storage, 94
CMOS (complementary metal oxide semiconductor), 6, 8, 16, 29, 103, 141, 185, 203, 215, 229n, 400
coated filters, 319
coaxial cables, 416
coaxial magazines, 262, 389
codecs (compressor/decompressor, coder/decoder), 20–21, 25, 243–49, 250, 251, 558–59, 615–17
collimation, 177, 180–82
color, 304–11
in film systems, see color film
monitors and, 221–22
in video systems, 16–18, 207–11, 306
color balance, see color temperature
color bars, 306, 610, 616, 621, 622, 767–69, 771
color-compensating filters, 317
color contrast, 516
color conversion filters, 310
color correction (color grading), 51, 203, 626–31, 676, 687–88, 695, 704, 711
color difference signals, 209
colored filters and gels, 317, 319–20, 507
color film, 306
characteristic curves for, 274–75
color temperature and, 309–11, 709–11
exposure and image quality, 298
exposure indexes, 134, 275–76
standardizing reproduction, 306–7
vs. black-and-white film, 69–70
color gamut, 18, 195
colorists, 626, 627, 687, 688, 695
color negative original, 49, 696, 711–12
color sampling, 18, 209–11
color saturation, 139, 221, 306, 628, 630
color scales (chip charts), 306
color separation negatives (YCM masters), 711–12
color space, 206–9, 618, 631, 773–74
color subsampling, 18, 210
color temperature, 109n, 308–9, 770
in film systems, 309–11, 709–10
mixed lighting and, 514–16
print, 710–11
in video systems, 109–13, 309
color temperature meters, 310–11
color timers (color graders), 51, 710
combing, 13, 14
coming-attraction promo, 57
CompactFlash, see flash memory cards
compact fluorescent lamps (CFLs), 308, 480, 483, 507
company move, 359
complementary colors, 305
completion bonds, 736
component video, 17, 209, 219
composers, 636, 646–48, 704
composite prints, 51, 713–16
composite video, 17, 209
compositing, 590, 591, 594
composition, 259, 324–28
compound clips, 583
compression, 19–22, 245–50
audio, 412–14, 660–62, 673
common video codecs, 250–52
methods, 246–50
NLEs and, 248–49, 558–62, 624
Web, 616–19
workflow and, 94–97
compressor/expander (compander), 454
compressors (audio), 454–55, 660–62
computer-generated imagery (CGI), 6, 590
computer monitors, 218–20, 548, 768
computers, 236–42, 547–49
condenser microphones, 420
confidence list, 698
confidence monitoring, 415, 470
conforming, 51, 249, 612–13, 622, 700, 706–7
connections, 222, 237–38, 415–17, 431–34
Conner, Bruce, 523
consolidating media, 610–11
contact printers, 707
container formats, 242–45, 614–17
contingency costs, 728
continuity, sound and, 642–44
continuity scripts, 376–77, 757
continuity style, 341–44, 526–28
continuity supervisor, 342
contrast, 173
film image, 276–78
in lighting, 69, 88, 471, 476–78, 505, 512–14
“look” of the movie and, 69
in telecines, 687–88
video image, 69, 191–207
contrast ratio, 192n, 222, 476
contrasty images, 193, 276, 291–92
contre-jour, 475
convergence (vergence), 397
conversion boxes, 550–51
cookies, 494, 505
Coppola, Francis, 357
copyright issues, 99, 445, 456, 736–38, 741–47
core adapters, 265
core-mounted film, 281
corporate projects, 726–27
Corpse Bride (film), 392
corrected prints, 51, 709–13
costume design, 362
Coutard, Raoul, 176
countdown leaders, 616, 621–22, 653, 656, 696
coverage, 334–35, 371–72
cover set, 359
crabbing, 330
crab dolly, 381
craft service, 359
cranes, 329, 381
crash recording, 621
crawls, credit, 541
creative commons license, 743
credit buying, 726, 735
credits, 541, 543, 705
crew, 3, 359, 361–63, 373, 441, 731–32
crop factors, 150, 788
crossfades, 587, 642, 643, 652
cross lighting, 507, 508
crowdfunding (crowdsourcing), 54, 725
CRT film recorders, 703
CRT monitors, 7, 194, 217, 327–28, 395, 600
crystal sync, 48
C-stands, 496
CTB (color temperature blue) gels, 496–97, 515
CTO (color temperature orange) gels, 496, 507, 515
cucoloris, 494
cue cards, 375
cue sheets, 647, 657
curtained, 79
curvature of field, 173
custom picture files, 207
cutaways, 342–44, 371, 523, 528, 531
cutters, 493
cutting, see film editing
cutting frames (cutback frames), 700
D-5 HD, 28, 687
D-9, 31
DA-88 recorders, 412
D-Beta, see Digital Betacam
dailies, 3, 49, 50, 300–301, 372, 537, 589, 681
see also syncing up
daily production report, 377, 727
daisy-chained, 237
darkroom load, 266
DAT (digital audiotape), 48, 410
data rates, 20, 22, 236, 413, 559–62, 617, 775–81
DAWs (digital audio workstations), 37, 556, 637–40, 648–50, 655–57, 664, 668, 673, 679, 681
day-for-night, 517
daylight-balanced film, 280–81, 310
daylight-balanced lighting instruments, 513, 515
daylighting, 301
daylight spools, 266, 281
day-out-of-days schedule, 358
day rates, 731
dBFS (decibels full scale), 449, 452, 664, 665
DBV digital broadcasting, 250
DCI P3, 197
DCT (discrete cosine transform), 246
deal memos, 732
decibels, 449, 452, 664, 665
decks, 7
deep-focus shots, 332, 333
de-essers, 668–69
deferred salaries, 728, 732, 733
degrees Kelvin, 110, 308–9, 317
deinterlacing, 14, 213, 214, 597, 600, 618, 705
delete edits, 578
deliverables, 608, 673–74, 758
depth of field (DOF), 67, 72–74, 153–57, 174, 180
depth of field charts, 162, 782–85
depth of focus, 180–82
depth perception, 396
detail adjustment, 72, 107, 138–39, 689
developer, 271
development period, 2–3, 53–54, 718–30
DGA (Directors Guild of America), 534, 747
dialogue editing, 355, 531–33, 586–87, 635
diaphragm, 405
dichroic filters (dike), 481, 497–98
diffraction, 173–74
diffraction-limited lens design, 174
diffuse light, 472–74
diffusion filters, 72, 315
diffusion material, 488, 490, 491, 504, 507
DigiBeta, see Digital Betacam
digislate, 369, 466
Digital 8, 32
digital audio recording, 406–17
digital audio workstations, see DAWs
Digital Betacam, 20, 31–32
digital cinema (D-cinema) cameras, 62, 67
Digital Cinema Initiative (DCI), 197, 246, 252, 625
Digital Cinema Package (DCP), 3, 46, 49, 62, 77, 625–26, 680, 748, 749
digital cinematography systems, 28–30
digital connections, 222, 236–45, 415–17
hard drives, 7, 33–34, 238–42
see also digital video formats
digital cut, 621
digital dailies, 49, 678, 679, 681, 694–95
digital delivery, 752–54
digital film editing, 48, 49, 696–700
digital-film transfers, see film-outs
digital imaging technician (DIT), 137
digital intermediates (D.I.s), 43, 62, 680, 681, 685, 701
digital nonlinear editing, see NLEs
digital projection, 62
digital sound level, 449–51, 585–86, 659–65
digital sound recording, 227–28, 406–17
digital sound tracks on prints, 715–16
digital stretch (digital 16.9), 76
digital television, see DTV
digital-to-analog (D/A) converters, 228
digital-to-film transfers, see film-outs
digital video discs (DVDs), see DVDs
digital video formats, 8–34, 104
feature films shot in, 61–62
NLEs and, 556, 558–62
pixels, 8–11
recording to media, 90–97
resolution, 9–11, 69, 71–72, 220, 230–35
sensor size and, 67
telecine transfers, 693, 698
digital video recording, 227–52
basics of, 227–28
compression, see compression
digital connections, 236, 237–38
digital zoom, 164
digitizing, 7, 37, 553
dimensionalization, 398
dimmers, 491–92, 496
DIN number, 275
diode-type voltage changers, 519
diopters:
adjustment of, 107, 261
close-up, 170–71
split-field, 171
dipping filters, 668
direct cinema, 347
directionality (light), 474–76, 500
directionality (microphone), 420–23, 436, 444, 445, 446
directors, 321, 361, 373
director’s finder, 364
director’s line, 344–46, 529
directors of photography (DPs, DoPs), 354, 356, 362, 472
director’s viewfinder, 365
direct-to-edit (DTE) technology, 33
DirecTV, 63
Dirt on film, 302
dirty close-up, 323
Dish Network, 63
DisplayPort cable, 218
dissolves, 51, 140, 525–26, 592, 700
distant landscapes, 296
distorting images, 592–93
distribution, 2, 3–4, 49, 55–56, 60–62, 540, 615, 625, 723, 747–59
distribution costs, 728, 730
dither, 409n, 600
DITs (digital image technicians), 362
DLP (digital light processing) displays, 218
D-max, 274
DM&E tracks, 674
D-min, 274
DNxHD, 21, 92, 252, 559, 561, 562, 598, 615, 676, 685, 687
Dr. Strangelove (film), 473
docudrama, 348
documentaries, 3, 54, 57, 58, 65, 98, 99, 163, 166, 263, 321, 322, 346–53, 363, 438, 499, 533, 534, 535, 537, 540, 740, 741
Dolby sound formats, 670–71, 714, 715–16
dollies, 381–84
dolly grips, 362, 382, 384
dolly shots, 144, 169, 329, 330–31, 353
doorway dolly, 381
dots per inch (DPI), 235
Double 8mm film, 41
double-perforated (double-perf) film, 282
double-system (dual-system) recording, 36, 47, 48, 92, 98–99, 464–70, 589–90, 637
downconverting (downscaling, down-resing), 11, 599
downloading (offloading) camera files, 118–20
DPX (Digital Picture Exchange), 201, 202, 244–45, 676, 678, 684, 685, 701, 702
dramatic films, 321, 332–46
dressing a set, 80
drop frame (DF) timecode, 223–24
dropouts, 30, 127
drop shadows, 543
DSLRs (digital single-lens reflex cameras), 7, 8, 11, 20, 24, 25, 29, 31, 41, 66, 67, 72, 74, 75, 84, 88, 93, 97–99, 102, 104, 109–11, 113, 115, 126–27, 129, 133, 137, 140, 159, 160, 161, 167, 171–72, 179, 188, 213–14, 224, 318, 353, 374, 387, 388, 392, 409, 417
DSPs (digital signal processors), 103, 195
DTS (Digital Theater Systems), 716
DTV (digital television), 62–63
see also HDTV; SDTV
dual-link configurations, 238
dual-roller trim, 580, 581
dubbers, 652, 654
dubbing, 47
dub stage, 637, 640
dulling spray, 374, 507
dupe frames, 700
dupe lists, 701
duplicate negatives (dupe negs), 51, 696, 711
duplication, 623
dust busting, 689
dust on lens, 183, 302
Dutch angle, 326–27
duvetyn, 496
DV (Digital Video), 17–19, 31, 418, 550, 558, 569, 570
DVCAM, 17, 18, 31, 91, 122, 124, 418, 550, 569, 570
DVCPRO, 17, 18, 31, 50, 122, 124, 550, 569, 570
DVCPRO HD, 26, 27, 95, 418, 550, 558, 595, 605, 618
DVCs (digital video cassette), see MiniDVs
DVD burners, 34, 623
DVDs (digital video discs), 20, 34, 49, 62, 64–65, 94, 219, 250, 411, 622–25, 747, 753, 755–57, 760, 764
DVI (Digital Video Interface) cable, 218
DVRs (digital video recorders), 34
dye couplers, 275
Dynamic Contrast Control (DCC), 198
dynamic microphones, 405, 420
dynamic range (audio), 403, 659–61
Dynamic Range Stretch (DRS), 198
dynamic range (video/film), 69, 187, 192, 196, 197, 204–5
ear prompters (earwig), 375, 457
EBU timecode, 223, 622, 691, 693
echo, 443
edge code, 50–51, 225, 284
edge crop, 78
edge enhancement, 138
edge fog, 269, 302
edge numbers, 284
edge tear, 13, 14
Edison, Thomas, 40, 346
editing, 321–22, 521–43
continuity and, 341–44, 525, 526–28
coverage and, 335
cutting styles, 525–30
dialogue, 355, 531–33, 586–87
documentaries, 350–51
film, see film editing
length and, 539–40, 758
managing data, 697–700
montage theory, 521–24
organizing material, 534–35
process, 533–40
saving time in, 93
schedule, 534
selecting shots, 55–536
sound, see sound editing
story structure, 524–25
test screenings, 538–39
3D, 400
titles, 541–43
video, see NLEs; tape editing
editing interface, 571, 573–75
editing team, 533–34
edit master tapes, 620
editors, 533–34
editor’s cut, 534
editor’s daily log, 377, 535
edit point, 521
EDLs (edit decision lists), 39, 554, 614, 632–34, 656, 697, 701
educational distribution, 4, 755–56, 760
eggcrate, 489, 495
8K format, 11
8mm film, 32, 41, 42, 683
Eisenstein, Sergei, 523
electret condenser microphones, 420
electricians, 362, 519
electric power, 430–31, 518–19
electronic image stabilization (EIS), 388
electronic press kit (EPK), 763
electronic viewfinder (EVF), 105
elevator pitch, 54
embed code, 619
emulsion, 271–75, 405
endorsements, 57
ENG (electronic news gathering), 32
enhancement, 138, 689
enhancement circuit, 72
EQ (equalization), 459, 651, 652, 655, 665–67
equalizers, 404, 458, 459, 666
equipment package, 366–68
equity financing, 723
errors and omissions (E&O) insurance, 736, 737, 738–40, 743
essence, 242
establishing shot, 323
estimated budget, 58, 727
Ethernet connections, 238
EVF (electronic viewfinder), 105
exclusive rights, 742
executive producers, 56, 361, 719
expedition batteries, 130
exporting files, 614–19, 655–56
expository scenes, 525
exposure:
control, 298
film camera shutter speed and, 135–36, 256, 287–89, 298
film image, 286–98
lighting and, 511–12
setting on video cameras, 107–9, 190–91
video image, 185–91
exposure error, 297–98
exposure index (EI), 134–35, 275–76
exposure latitude, 297
exposure lock, 109
exposure meters, see light meters
exposure range, 69, 187, 296–97
extended batteries, 129
extend edits, 587
extension bellows (extension tubes), 170
exterior scenes, scheduling, 359
extract edits, 578
extreme close-up (ECU), 323, 324
extreme wide angle lens, 145
eyebrows, 317, 318
eyedropper tool, 630–31
eye line, 338, 339
eyepieces, 261
facial lighting, 502–6, 508–11
fader filters, 312
fades, 51, 140, 525–26, 700
fair use, 99, 737, 741, 742–43
fast lenses, 168
fast motion, 391–93
feed reels, 254
festivals, 55, 703, 712, 737, 752, 759, 761, 764–65
fiber-optic viewing screens, 258
fibre channel systems, 240
field blending, 213
field mixers, 430, 438, 455
field of view, 142–43, 148, 150, 151, 788–90
field order (field dominance), 600
field rate, 18–19
50i, 85, 686, 704
50mm lens, 151
50p, 85–86
file-based recorders, 48
fill light, 477, 499–505, 513–14
fill-to-fit edits, 584, 592
film cameras, 1, 253–70
collimation checking, 182
components, 253–54
defects, 303
film capacity, 262–66
film gate, 254–55, 263, 268–69
filters for, 311–20
focus, see focus
formats, 40–47
in-camera timecode, 267–68, 284, 469
lenses, see lenses
lens mounts, 177–78
“look” of the movie and, 68–74
film cameras (cont.)
multiple-format, 268
music playback and, 457
shooting CRT video displays with, 395
shooting digital versus shooting film, 51–52
shutter, 39, 103, 254, 255–57
size of, 88–89
sound dampening, 267
speeds, 257
tests and maintenance, 268–70, 366
video assist, 267
viewfinders, 230, 258–61
film chains, 683
film-to-digital transfers, 675–98, 700, 701, 704–6
film editing, 3, 639, 706–7
with NLEs, 49
traditional, 38–39, 49–51, 700–702
film formats, 40–47, 60–62
film gamma, 193–94, 273–78
film gate, 254–55, 263, 268–69, 716
film gauge, 41, 66, 87–88
film image, 271–303
film labels, 281–82
film laboratory, 299–303
film-outs, 3, 29, 49, 62, 278, 675–98, 700–702, 704–6
film pitch, 40
film preservation, 52
film printing, 709–13
film processing, 299–303
film projectors, 10, 39–40, 716–17
film recorders, 703
film scanners, 676, 680, 683–85
film speed, 275–76, 280, 288, 298
film stock, see raw stock
film systems, 39–52
film timecode, see in-camera timecode
film-to-video transfers, 675–696
filter effects, 593
filter factors, 311–12
filters:
lens, 311–17
lighting, 481, 496–98, 507, 515–17
sound, 587, 665, 667, 668
Final Cut Pro, 93, 251, 400, 535, 537,546, 547, 561, 563–67, 573–76, 578, 582–84, 588, 593, 596, 609n, 612, 613, 656–57, 662, 665, 672
fine-cutting, 3, 537–38
fingerprints on lens, 183–84
finishing, 3, 49, 90, 559–62, 608–610, 728
fire, lighting and, 517–18
FireWire connections, 25, 31, 92, 226, 237, 550, 569
FireWire drives, 240
first answer prints, 51
first assistant cameramen (1st ACs), 362
first assistant directors (1st ADs), 361
first cameramen, 362
first frame of action (FFOA), 653
first-generation prints, 709
first money, 57
first-run movie houses, 4, 749
fiscal agents, 723
fishpole booms, 35, 318, 425, 443, 436–37
fit-to-fill edits, 584, 592
fixed focal length lenses, 142, 163, 165, 168–69, 180
flags, 493, 505, 506
Flaherty, Robert, 40
flange back, 181
flange focal distance, 176–77, 180, 182
flare, 174–76, 294, 296
flash frames, 701, 702
flashing process, 278
flash memory cards and drives:
sound recording, 35, 48, 410, 411, 414, 470
video recording, 23, 25, 27, 32–34, 37, 90–93, 115–17, 120–21, 204, 239, 566, 568
flat disc diffusers, 290
flat images, 193, 276
flat prints, 76
flat rates, 731
flats, 365
flat-screen TVs, 60
flat transfers, 687
Fleming, Victor, 524
flicker, 5, 82, 136, 303, 392, 394, 482, 517–18
flicker box, 517
flipping, 593
flopping, 593
fluid heads, 378, 379
fluorescent lighting, 136, 308, 392, 483–85, 496, 515–16
flying spot telecine systems, 683
foam-core sheets, 489
focal length, 67, 141–43, 146, 148–50, 163–65, 173, 174
focal length multipliers, 150, 788
focal plane, 141–42
focus:
close focusing, 170–71
depth of field, 67, 72–74, 153–57
“look” of the movie and, 70–72
perspective, 143–45, 147
selective, 72
setting, 113–14, 158–61
video camcorder settings, 113–14
viewfinder adjustment, 106–7
focus charts, 181
fog:
film, 274, 277
lighting, 517
fog filters, 316–17
folder management, 119–21, 566
Foley stage, 635, 644–45, 673–74
follow focus, 5, 158–69
force processing, 277–78, 280
foreign distribution, 608, 639, 673–74, 757, 758
formats:
evolution of, 21
most common notation for, 18
sound, 412–14, 639, 669–73
widescreen, see widescreen formats
see also film formats; video formats
4:4:4, 4:2:2, 4:1:1, see color sampling
4K format, 16, 23n, 29, 62, 71, 203, 230, 551, 560, 599, 616, 625, 676, 677, 680–85, 687, 702–5
4K2K format, 11, 16
Four Thirds sensor, 167, 788
four-walling, 752
frame blending, 592
frame line, 40
frame rates, 14–15, 18, 29, 81–87, 104, 257, 467–68, 482, 598–99, 618, 625, 685–88, 690, 704–5, 715
frames:
film, 40
video, 6, 8, 15–16
frame size, 11, 19, 43, 234, 560, 599–600, 617–18, 685
frames per second (fps), 4
framing charts, 269
free run mode, 225
freeze frames, 597
French flags, 296, 317, 318, 493
frequency, sound wave, 402, 403–4
frequency range, 665–67
frequency response, 404, 423, 424
Fresnel lens, 486
friction heads, 378
front light, 474–75
front rods, 318
f-stops (f-numbers), 108, 151–53, 156, 162, 165–66, 173, 174, 189, 280, 287–89, 511–12
fulfillment houses, 757
fullcoat, 50
full-frame sensor, 67, 788
Full HD, 9, 19, 24, 26, 625
full-height anamorphic (FHA) format, 76
full scale, 449
full white, 187
fundamental (sound), 404
funding, 54, 56–59, 57, 721, 723–27
future proofing, 53
gaffers, 362
gaffer’s tape, 496, 498
gain setting (audio), 446–55, 585–86, 641, 661, 659–65, 668
gain setting (video), 69, 103–5, 108, 110, 133
gain structure (gain-staging), 455
gamma, 773–74
in film, 193–94, 273–78, 704
in video, 69, 138, 191, 194–95, 198–200, 618, 628
garbage mattes, 591
gator grips, 496
geared heads, 378, 379
gels, 317, 319–20, 496–97, 507, 515–16
generators, 519
genlock, 226
geometric distortions, 173
Get Low (film), 477
glass filters, 317–18, 319
glass masters, 623
Glidecam, 388–80
globes, see bulbs
gobo heads, 496
gobos, 493, 505
Godard, Jean-Luc, 175, 176, 528
Godfather, The (film), 322, 476
Good, the Bad, and the Ugly, The (film), 46
GoodFellas (film), 331
GOP (group of pictures), 247–49, 617
grading, see color correction
Graduate, The (film), 526
graduated filters (grads, wedges), 313
graininess, 279, 709, 716
grain reducers, 689
grants, 724–25
granularity, 279
graphic equalizers, 458, 666
graphics, 595–96
gray cards, 200n, 292–93, 306–7
green screen, 211–12, 352
Grierson, John, 346
Griffith, D. W., 333
grips, 362
guide tracks, 610
gutter (title layout), 543
gyroscopic stabilizers, 389
Hi8 (high-band Video8), 32
hairdressing, 362, 374
halation, 272
handheld light meters, 289
handheld lights, 492
handheld shooting, 65, 88, 89, 339, 347, 386–87
handles, 582, 611, 651, 655
hand noise, 425
hand signals, 441
hard cuts, 582
hard disk drives (HDDs), 7, 33–34, 92, 116, 238–42
hard drive interfaces, 239–40
hard drives, 7, 33–34, 92,116, 238–42
hard images, 193, 276
hard light, 472–73, 477, 478, 488, 504, 517
harmonics, 404
haze control filters, 169, 296, 315
HD, see HDTV
HDCAM, 17, 24, 27–28, 234, 550
HDCAM SR, 21, 28, 91, 117, 201, 208, 251, 418, 620, 677, 686, 687
HDDs (hard disk drive recorders), 33–34, 92, 116
HDMI (high definition multimedia interface), 218, 238, 551
HD-SDI connections, 22, 96, 201, 203, 238, 551
HDSLRs (high-definition single-lens reflex cameras), see DSLRS
HDTV (high-definition television), 49, 140, 171, 315, 599, 618, 676, 677, 681, 684, 685, 702–5
broadcast TV distribution, 55, 62–63
feature films shot in, 62
monitors, 221
NLEs and, 560
pixels, 9, 10–11, 232–33
resolution, 9–10
temperature and humidity and, 126–27
HDV, 18, 20, 24, 25, 26, 73, 91, 123, 124, 418, 550, 551, 558, 560, 595, 618, 622
HDRx (high dynamic range), 205
head cleaning, 440
head credits, 541, 542
head drum, 121
head leaders, 616, 621–22, 653, 656, 696
headphone return line, 438
headphones, 437–38, 440, 455, 640
headroom (audio), 449
headroom (framing), 81, 325
headshots, 363
head slates, 370
heads (tape), 440
heater barneys, 267
helical scans, 122
hemispherical diffusers, 290
hertz (Hz), 403–4
HEVC (High Efficiency Video Coding), 251
high-contrast images, 193
high def, see HDTV (high definition television)
high definition format, see HDTV
high-impedance equipment, 434
high-key lighting, 477
highlights, 69, 190, 201, 205, 274, 630, 704
high-magenta sound track, 714
high pass filters, 459
high-speed cameras, 390–91
hiring crew and actors, 3, 363, 731–33
histograms, 188, 190
Hitchcock, Alfred, 322, 331, 338, 339, 340, 353, 360, 396, 523, 531
HMI (hydrargyrum medium-arc iodide) bulbs, 136, 281, 303, 308, 481–83, 515
Hobbit films, 86
home video distribution, 4, 747, 756–57, 758, 760
household bulbs, 480, 507
H.264, 20, 97, 250, 251, 547, 614, 615, 617, 622, 673
H.265, 251
HTML 5, 616, 617
hue, 221, 306, 628, 770
hum bar (shutter bar), 395
hum filters, 668
Huston, John, 373
hypercardioid microphones, 421, 422
hyperfocal distance, 162, 786–87
hypergain, 133
hypo (fixer), 271
idea, germination of, 53–54
IEEE 1394, see FireWire
I-frames (intraframes), 247, 248, 249, 251, 617
iLink, see FireWire
illegal white, 187
image reproduction ratio, 156
imagers, see sensors
image sequences, 615
image stabilization, 140, 387–88, 593
IMAX format, 47, 401
impedance, 434
importing, 37, 549, 553, 566–69
inbetweening, 592
in-camera editing, 140
in-camera timecode (film cameras), 267–68, 284, 469, 677, 689, 691
incident light meters, 287, 290–91, 293, 296
inciting incidents, 525
independent theatres, 749
indirect costs, 728
“in focus,” defined, 155–56
infrared, 134
infrared (IR) contamination, 315
ingesting, 37, 549, 553, 566–68
ink edge code numbers, 284, 693
input/output (I/O) devices, 220, 221, 550–51
insert-edit recording, 620–21
insert edits, 577, 579, 632
insert shots, 522
institutional distribution, 755
insurance, 728, 735–36, 738–40, 743
in-takes (ins), 537
interaxial distance, 397
intercutting, 526, 529–30
interframe compression, 246–48, 561
interlace scanning, 11, 12–14, 18, 23, 85, 140, 213, 214, 215, 600, 618, 704
intermediates (preprint elements), 43, 62, 272, 696, 711
intermittent movement, 39, 40, 255
internal focusing, 166
internegative (IN), 712
Internet, 4, 49, 56, 63–64, 94, 616–19, 660, 752
interocular distance, 397
interpolation, 210, 214, 221, 592, 597, 600
interpositives (interpos), see IPs
intervalometer, 392
interviews, shooting, 347, 348, 351–53, 499, 508–11
in the can, 59
intraframe compression, 27, 246, 247
inverse square law, 479
investment, 721
invisible cutting, 526–27
I/O (input/output) devices, 220, 221, 550, 551
IPs (interpositives), 696, 711
IRE (Institute of Radio Engineers), 189
iris diaphragm, 103, 107–8, 152, 156, 176, 287, 298
iris lock, 109
ISO rating, 68, 104–5, 108, 133–34, 205, 275–76, 277, 278, 280, 288, 312
iTunes, 56n, 753, 760
ITU-R 601 standard, 30n, 195–97, 206, 209, 232, 306, 595, 775
ITU-R 709 standard, 195–97, 201, 204, 206, 209, 219, 221, 306, 595, 631, 704, 768, 774–75
Jackson, Peter, 86
jam-syncing, 226, 467, 469
Jaws (film), 331
J-cuts, 586
jib arms, 381, 383
JKL editing, 573
JPEG 2000, 246, 252, 625
JPEG file format, 25, 246
judder, 83, 136, 393–94, 599, 705
jump cuts, 334, 342, 344, 528–29
Kaminski, Janusz, 136
Keaton, Buster, 333
Kelvin temperature scale, 308, 309, 317
keycode, 283, 691, 697, 698
keyframes, 585, 593, 617
key lights, 476, 477, 499–503, 505, 513
key numbers, 283–84, 691
keywords, 565
kickers, 501
Kickstarter, 54, 725
kinescopes, 7, 703
knee point settings, 69, 186, 196, 197–98
knee shots, 323
knee slope, 197
Kubrick, Stanley, 372
Kuleshov, Lev, 521–22
Kurosawa, Akira, 169
Labeling media, 124, 441
lab report, 300
Lady in the Lake (film), 334
lamps, see bulbs
LANs (local area networks), 241
lanterns, 489
lapel microphones, see lavalier microphones
laser film recorders, 677, 703
laser subtitles, 705
Last Picture Show, The (film), 338, 346
latent edge numbers, 283–84
latent images, 271
latitude, 69, 192, 297
launching a movie, 759–60
lavalier microphones (lavs), 426–27, 436, 443, 445
Lawrence of Arabia (film), 46, 81
layback suites, 678–79, 690
LCD (liquid crystal display) monitors, 7, 103, 105, 114, 129, 194, 197, 217, 327, 394, 552, 600
LCOS (liquid crystal on silicon) display, 194
LCRS format, 670, 714
L-cuts, 531, 586
lead acid batteries, 128
leaders, 621, 653, 706
leading the action, 326
LED film recorders, 703
LEDs (light-emitting diodes), 483, 485–86, 492, 496, 515, 714
legal issues, 355, 736–39
Leigh, Mike, 356
lens aperture, 152
lens barrel, 141, 166, 167
lens doughnut, 318
lensed spotlights, 486–87
lenses, 102, 103, 141–84, 230
aberrations, 172–73, 174
anamorphic, 75–76
care of, 183–84
exposure control and, 298
fast, 168
focal length, 67, 141–43, 146, 148–50
focusing the image, see focus
light-gathering power, 151–53
mounts, 176–79, 230
normal, 151
options for, 88
prime, 142, 163, 165, 168–69, 180
quality, 72, 171–76
sensor size and, 67
sharpness, 173–74
telephoto, 145, 169
wide-angle, 145–47, 156, 157, 162, 163, 167, 180, 393
zoom, 103, 142, 144, 153, 159, 161, 163–68, 174, 294, 330–32, 353
lens shades, 166, 167, 176, 296, 317, 318–19
lenticular screens, 400
letterboxing, 77–78
level, setting recording, 446–55, 585–86, 659–65
LFE (low frequency effects), 670
library footage, 523
library music, 745–46
licenses, 671, 355, 736–37, 741–47
life story rights, 742
lift edits, 578
light-balancing filters, 317
lightbanks, 489, 490, 495
light falloff, 479–80
lighting, 471–520
black-and-white film and, 69–70
color and, see color temperature
color contrast, 516
contrast, 69, 88, 471, 476–78, 505, 512–14
directionality, 474–76, 500
documentaries, 499
equipment, 479–98
exposure and, see exposure
function of, 471–72
interviews, 508–11
location, 364, 518–20
“look” of the movie, 68–70
low-light shooting, 68–69, 88
positioning lights, 499–512
qualities of light, 472–74
special effects, 501–2, 506, 516–18
styles, 498–99
technique, 498–518
lighting accessories, 493–96, 497
lighting cameraman, 362
lighting fixtures, 479–80, 486–92
light leak test, 269, 302
light meters, 189–90, 286–94, 296
limbo, 352
limited liability company (LLC), 722, 733
limited partnership (LP), 722
limited release (platforming), 759
limiters, 450, 453, 454–55, 661, 664
linear PCM audio tracks, 413, 418, 614
linear tape editing, see tape editing
Linear Tape File System (LTFS), 94
linear tracks, 122
line doubling, 213
line level, 431–32
line pads, see attenuators
line producers, 362
line skipping, 599
line-up tone, 452–53
lip sync, 48, 457, 589–90
see also sync sound
liquid gate printing, 302, 689
literary property, 54, 361, 728
lithium-ion (Li-Ion) batteries, 128, 130–32
LKFS, 662–64
location lighting, 364, 518–20
location managers, 362
location releases, 735, 741
location scouting, 3, 364–65
location sound engineer, 363
locked-off shots, 328, 506
logging, 93, 375–78, 442, 569–71, 693
logging bins, 567
loglines, 54, 720
log (logarithmic transfer characteristic) capture, 200–203
log sheets (for sound mix), 657
long focal length lenses, see telephoto lenses
long GOP, see GOP
longitudinal timecode (LTC), 122, 224
long shot (LS), 323, 324
long-term storage, 52, 91–94
long-tube shotgun microphones, see supercardioid microphones
look book, 722
“look” of the movie, 60–61, 65–87
lookup tables (LUTs), 202–3, 307, 625, 631, 681, 688, 704
looping, see ADR (automatic dialogue replacement)
loops, 139, 255
lossless compression, 245
lossy compression, 20, 245
loudness, 403
loudness meters, 662–64
low-contrast images, 193
low-contrast (low-con) filters, 315
lower (even) field, 13, 600
lower thirds, 353, 543
low-frequency attenuation (LFA), 459
low-impedance equipment, 434
low-key lighting, 477
low-light shooting, 68–69
LTC (longitudinal timecode), 122, 224
LTO (Linear Tape—Open) drive, 94
LT/RT format, 670, 673
Lucas, George, 46, 83
LUFS, 662–64
Lumet, Sidney, 372
Lumière brothers, 346
luminance (luma), 17, 18, 209, 292, 591, 626, 629, 630
LUTs (lookup tables), 202–3, 307, 625, 631, 681, 688, 704
lux, 68
macroblocks, 246
macro lenses, 170
magazines (mags), 262–66
magic hour, 517
magnetic film (mag, magstock, stripe), 50
magnetic heads, 121
magnetic tape, 7, 47, 94, 405–6, 452
magneto-optical (MO) discs, 412
makeup, 362, 374
Manhattan (film), 334
marketing, 747, 749, 753, 756–57, 759, 760, 762–63
markets, 759, 761–62, 764–65
married prints, 51, 713
masking, 275
master clips, 553, 576
master files, 610, 615–16, 621
master positives, 696, 711
master shots, 334
master tapes, 608
matchback, 697
match cutting, 526–27
matching transformers, 434
matte boxes, 166, 167, 171, 176, 313, 317–18
matte shot, 212
McLuhan, Marshall, 65
media files, 242–43, 552–53, 563
media management, 117–21, 415, 441–42, 609–14
medium shot (MS), 293–94, 323, 324
megabits per second (Mbps or Mb/s), 20
memory cards, see flash memory cards
metadata, 224, 242, 413, 535, 565, 619
metal halide, 481
metallic silver, 271–73, 278, 279
metal videotape, 124
M&E (music and effects) track, 673–74
mic level, 431–32
mic preamp (preamplifier), 405, 430
microphone booms, 35, 318, 425, 436–37, 443
microphone mixers, see field mixers
microphones, 35
in analog audio recording, 405
bass filtering and, 459
connections, 431–32
directionality, 420–23, 436, 444, 445, 446
lavalier (lapel), 426–27, 436, 443, 445
mounts, 424–25, 427
multiple, 423, 459–61
noisy conditions and, 443, 444–45
on-camera, 98
placement of, 442–46, 456, 458
planning considerations, 436–37
power, 430–31
sound quality, 98, 423–24
stereo, 455, 461–63
types of, 420
video camcorder, 417–18
windscreens, 424–25
wireless (radio), 98, 349, 428–30, 438, 439, 454
middle gray, 292
MiniDisc recorders, 412
MiniDVs, 19, 25, 30, 73, 92, 122, 124, 569, 570
minimum focus distance, 166
minimum object distance (MOD), 161, 166
mired value, 317
mirroring, 240, 415
mirror shutters, 259–60
mise-en-scène, 332
mix cue sheets, 657
mixdown tracks, 461, 622
mixed lighting, 113, 514–15
mixing, 99, 635, 658–74
mixing consoles, 640–42
mix stems, 673
mix studios, 636, 637
M-JPEG (motion JPEG), 25
mobile phones, 102
mobile video, 64
MOD (focus), 161
modulometers, 447
moiré, 89, 106, 213–15, 374
monitoring, 415, 470
monitors, 7, 216–22
adjustment and setup, 105–7, 767–74
color and, 221–22, 628
composition in, 327–28
NLEs and, 551–52
resolution and scanning, 220–21
shooting, 394–95
types of, 7, 217–20
viewfinders, see viewfinders
VTR, 632
waveform, 188–89, 190, 329, 628–30
mono sound, 461, 669, 671, 714
montage, 332, 521–24
Montgomery, Robert, 334
Morris, Errol, 352
MOS cameras, 48, 258, 369
MOS shots, 333–34
motion blur, 82–84, 86, 136, 234, 256, 390–91, 393
motion estimation, 592
mounts, lens, 176–79, 230
MOV, 116, 243, 553
Movie, A (film), 523
movie clips, clearing, 746–47
moving-coil microphones, see dynamic microphones
moving image, 4–5
moving vehicles, shooting from, 385–86
MPEG compression formats, 20, 23, 34, 62, 93, 123, 244, 247–51, 413, 553, 615, 617
MP3, 20
M-S (mid-side) method, 461–63
MTF (modulation transfer function), 173, 234–35, 279
multiple-format cameras, 268
Murch, Walter, 524, 536
music:
copyright issues, 99, 445, 456, 736–38, 743–45
downloading, 4
editing, 636, 646–48
planning considerations, 99
playback, 456–57
recording, 455–56
scoring, 3
music cue sheets, 745
music editors, 636
music licenses, 365, 647
music supervisors, 636
music videos, 334, 456–57, 523–24
MXF (Material Exchange Format), 116, 252, 567, 625
MXO2 (Matrox), 220–21, 249
Myspace, 619
Nanook of the North (film), 40
narration, see voice-over
narrative styles, 332–34
native editing, 558, 568, 569
native 24p, 602
native resolution, 220
naturalistic lighting, 498, 506
natural sound, 645
ND (neutral density) filters, 134–35, 298, 310, 312–13, 497, 507
negative cleaning, 689
negative costs, 728
negative cutting, 682–83, 700, 706–7
negative fill, 510
negative film, 42, 272, 280, 281, 286
negative matching, 51
negative parallax, 398
negative-positive process, 272
negative report, 300
negative storage, 300
neopilot (pilot) tone, 419
nested clips, 583–84
Netflix, 56n, 64, 760
nets, 493–94, 506
networks, 241
neutral test cards, 293–93
Newton’s rings, 319
nickel-cadmium (NiCad) batteries, 128, 130–32
nickel-metal-hydride (NiMH) batteries, 128, 130–32
night scenes, 296, 298, 359, 392, 516–17
nitrate film, 40
NLEs (nonlinear editing systems), 36–39, 48, 121, 140, 220, 322n, 465, 535, 536, 544–607, 584–88, 636–38, 640, 641, 645, 648, 649, 653, 655, 656, 664, 667–69, 673
capturing and organizing material, 562–66
capturing from tape, 569–71
color correction, 626–31
components of, 545–52
compression and, 248–49, 558–62
creating and editing sequences, 571–84
double-system sound and, 589–90, 637
exporting files, 614–19
film-digital transfers, 598, 678–83, 690, 691, 693, 694, 697, 700, 701
film editing with, 49
importing files, 566–69
media files and clips, 552–53
media management, 609–14
mixed formats and, 598–600
offline/online, 554–57, 632–33, 679, 681
output, 619–22
real time and rendering, 553–54
sound editing, 465, 584–88
titles, graphics, and stills, 594–97
24p footage and, 601–7
video effects, 590–94
video formats and, 556, 558–62
workflow and, 554–56
nodal point, 142n
noise floor, 403, 409
noise gates, 668
noise reduction, 667–68
nondrop (ND) timecode, 223, 467, 468, 694–95
nonexclusive rights, 742
nonfocusing lights, 487–88
nonprofit status, 723
nonsynchronous sound (wild sound), 48, 372, 442, 470
nontheatrical distribution, 745, 747, 755–57
nonwidescreen format, 74, 77–79
notch filters, 668
NTSC (National Television System Committee) standard, 7–8, 9, 12, 14–15, 17–19, 30, 81, 85, 86, 209, 223, 224, 232, 233, 395, 465, 468, 482, 595, 601, 603, 622, 684–86, 690
numbered image sequences, 615
NXCAM line of camcorders, 26
Nyquist, Harry, 408
Obie lights, 492
OCN (original camera negative), 49, 696, 711–12
octaves, 403
October (film), 523
off axis, 423
offline editing, 554–57, 632–33, 679, 681
offline/online workflow, 37–38, 556, 557
ohms, 434
oil dissolves, 526
OLED (organic light-emitting diode) displays, 7, 194, 218, 394, 552, 600, 771
Olympia (film), 389
OMFI (Open Media Framework Interchange) files, 244, 613, 614, 655–57
omnidirectional (omni) microphones, 420, 421, 425, 427
OMNIMAX, 47
on axis, 423
180-degree rule, 344–46, 529
on-camera microphones, 98
on-demand services, 64
1-inch Type-C, 32
one-light (one-lite) workprints, 301
one-sheets (posters), 763
one-sheets (proposal), 720
online editing, 38, 554–57, 632–34
online promotion, 54
open-faced spotlights, 487
opening up, 152
“operate” mode, 123
optical discs, 7, 117
optical effects, 51
optical flow, 592, 599
optical image stabilization (OIS) systems, 387–88
optical lists, 700, 701
optical low pass filter (OLPF), 214
optical printers, 7–8, 51, 707
optical sound negative (optical sound master), 714
optical sound tracks, 713–15
optimized media, 568
options, 54, 742
orangewood stick, 268
original camera negative (OCN), 49, 696, 711–12
original scores, 746
“out of focus,” defined, 155–56
Out of Sight (film), 529–30
outreach campaign, 721
outtakes (outs), 537, 649
overcranking, 390
overexposure, 108, 109, 190, 205, 286, 291, 298
overhead sets (butterfly), 513
overlap edits, 586
overrecording, 446, 454
overscan, 327–28
over-the-top TV, 64, 752
overtones, 404
overview/summary of project, 720–21
overwrite (overlay) edits, 577, 579
oxide, 405
PAL (Phase Alternating Line) standard, 7–8, 9, 15, 17–19, 30, 63, 81, 85, 209, 223, 232, 233, 395, 595, 601, 622, 676, 684–87, 691, 700
panorama mode, 79
pans, 78–79, 169, 328–30, 378, 394
paper cuts (paper edits), 536
parabolic microphones, 423n
parallel editing, 526
parfocal lenses, 161n
parity, 240
PAR (parabolic aluminized reflector) lamps, 487
passive autofocus, 113
passive glasses, 400, 401
pay-per-view (PPV), 4, 753, 760
payroll services, 732
PBS guidelines, 55, 629
PCM audio tracks, 243, 413, 418, 614
peak hold function, 448
peaking adjustment, 107, 160
peak level, 446–50, 663
peak-reading meters, 447–48, 450, 452, 662, 664
peak white, 187, 771
pedestal (video level), 205n,
pedestal (camera movement) 329
pellicule, 260
perforations, film stock, 282
persistence of vision, 4–5
perspective, 143–45, 147, 385
perspective control (PC) lens, 172
P-frames (predicted frames), 247, 248
phantom power, 417, 431
phase, 221, 628
phase cancellation, 460
photo bulbs, 480
photofloods, 480, 507
photons, 228
photosites, 6, 11, 16, 67, 203, 208, 228
pickup patterns, 420, 421
pickup shots, 3, 360
picture car (picture vehicle), 386
picture-in-picture (PIP), 592
picture lock (picture freeze), 3, 538
picture profiles, 137, 196, 207
pigtail, 438
pillarbox, 79
pinch wheels, 121
pincushion distortion, 173
pinhole (lensless) cameras, 173
pitch, 54
pitch shifters, 592
pixel aspect ratio, 232–33, 595, 618
pixels, 6, 16, 228–35
bit depth and, 229, 230, 232
sensor size and, 67
shape of, 232–33, 600, 618
video format and, 8–11, 203
pixel shift, 137
pixels per inch (PPI), 235
pixilation, 392
plane of critical (primary) focus, 155
plasma lighting technology, 486
plasma screens, 7, 194, 217–18, 327, 394, 552, 600
platters, 713, 717
PlayStation, 63
PLUGE pattern, 770, 772
plugs, electrical, 520
plus diopters, 170–71
point-and-shoot cameras, 102, 103
point-of-view (POV), 324, 335–40
point-of-view cameras, 70, 112, 178
polar diagrams, 421
polarizing filters, 298, 310, 314–15
polecats, 496
positive film, 42
positive parallax, 398
postage stamp, 80
posterization, 140, 232
postflashing, 278
postproduction period (post), 2, 3, 66, 68, 90, 96–97
pot (potentiometer), 446
Potemkin (film), 523
power supply, 103, 127–32, 549
PPM (peak program meter), 447, 448n
practicals, 491–92, 498, 507
precision, see bit depth
precompute (render) files, 553–54, 610
preflashing, 278
preliminary footage, 54, 57
Premiere Pro, 96, 220–21, 307, 535, 546–48, 564, 567, 572–73, 577, 581, 583, 589, 610–12, 630
premix, 651
preproduction period, 2, 3, 53–57, 353–68, 718
prerecord function, 139, 415
preroll time, 123, 415, 470, 620
preset timecode, 225
press kits, 762
pressure plate, 254
previsualization, 355–57
primary colors, 274, 304–6, 308
primary storylines, 573, 574
prime lenses, 142, 163, 165, 168–69, 180
principal photography, 3, 359–60
printer lights (printer points), 709
printers, 707
printing film, 709–13
printmaster, 673
print stocks, 710
process shot, 212
producers, 361
producer’s representatives, 764
producing the movie, 2, 53–59, 718–47
production assistants (PAs), 362
production audio, 637
production board (production stripboard), 358
production book, 368
production coordinators, 362
production design, 362
production goals, 321–23
production period, 2, 3
production scheduling, 357–59
production sound mixer, see sound recordists
production tasks, 361–62
Professional Disc media, 117
profit, 728–29
program level, 452
program monitors, 571, 632
progressive scanning, 11–14, 18, 23, 140, 213, 215
progressive segmented frame (PsF), 84, 213, 602–3, 686
ProHD cameras, 25
project files, 563, 609
project narrative, 721
projectors:
film, 10, 39–40, 716–17
video, 217, 218
prompters, 352, 375
proposals, 54, 720–22
ProRes format, 21, 92, 251–52, 559, 560–62, 598, 615, 679, 685, 687
proxars, 170
proximity effect, 443
proxy images and editing, 37, 556
Psycho (film), 322, 340, 341
P2 cards, see flash memory cards
public domain, 742
publicists, 763, 764
publicity, 54, 763–64
pulldown (audio speed), 465, 690
pulldown (film camera), 255
pulldown (frame rate),601–6, 683, 690, 694
pulldown type (pulldown phase, pulldown field identifier), 698–700
pull focus, 159
pull-in, 698–99
pulling (underdeveloping), 278
pulling up (speed change), 690
pull lists, 681, 701
pullups (for film prints), 715
pumping (lens), 167
PZM (pressure zone) microphones, 421, 443
Quad HD format, 11, 204
quantizing, 228–29, 406
quantizing error, 409
quick-change magazines, 262
QuickTime, 244, 251, 553, 615, 618–19
radio microphones, see wireless microphones
Raging Bull (film), 69, 344
RAIDs (redundant array of inexpensive disks), 116, 239, 240–41, 558, 559
rain, lighting and, 517
ramp f-stop, 166
range extenders, 165
range of brightness, 69, 186
Rashomon (film), 339, 527
raster, 8
raster graphics, 595
rate cards, 734
RAW formats, 25, 29, 95, 96, 134, 189, 196, 203–4, 558
raw stock, 42, 254, 271–86, 296–98, 302–3, 706
see also black-and-white film; color film
RCA connectors, 416
reaction shots, 340, 342, 371, 522, 528
reality TV, 348
real life, filming, 349–50
real time timecode, 225, 553
Rear Window (film), 339, 340, 523
recanned film, 266
rechargeable batteries, 129–32
record buffer, 415
recording head, 405
record run mode, 225, 226
reduction printing, 708
reel breaks, 652–53, 705–6
reel continuity, 537–38
reel numbers (reel names), 566, 571
reels, 705–6
reenactments, 348
reference black, 205
reference monitors, 220, 222
reference movies, 619, 652–53
reference tone, 452–53, 455
reference tracks, 610
reflectance, 292, 293
reflected light, 292
reflected light meters, 287, 289, 292–93
reflector floods, 480
reflectors, 491, 506, 513, 514
reflex viewfinders, 258–59
refresh rate, 86, 136, 221
regen (regenerate) timecode, 226
register (flange back distance), 176
registration pins, 255
Regular 8mm film, 41
rehearsal, 356, 357, 373
relamping, 479
relative aperture, see f-stops
release prints, 51, 272, 696, 706, 711, 712–13
releases, 3–4, 349, 735, 739–41
rendering, 553–54, 610, 622
Renoir, Jean, 347
renting equipment, 733
replace edits, 584
replication, 623
rerecording mixers, 650, 658
rescaling, 11
research, 54
Reservoir Dogs (film), 58
reshoots, 360
Resnais, Alain, 526
resolution:
digital audio recording, 409
film (resolving power), 279
lenses, 173
video, 9–11, 69, 71–72, 220, 230–35, 617–18
resolving (tape speed), 419
retainer rings, 319
retroloop, 139
reuse fees, 744
reveal, 344
reverb, 668
reversal film stock, 43, 272–73, 280, 281
reversal original, 712
reverse-angle shot, 323
reverse pulldown (reverse telecine), 601, 603–4, 693, 704
RGB color, 16–18, 25, 95, 202, 206, 208–9, 551, 595, 628, 629, 677, 685, 687, 702, 705
RGBG pattern, 137
RGB parade monitors, 628
Riefenstahl, Leni, 389
rights, music, 99, 445, 456, 736–38, 743–45
rights-managed clips, 747
rim light, 70
ring light, 474
ripple edits, 526, 577, 580
ripple trim, 580
roll edits (roll trim), 581
roller stands, 496
rolling shutter, 215–16
rolling spider, 381
roll-off filters, 423, 459
room tone, 445, 642, 645, 649
rostrum camera, 596
rough cuts, 3, 537–39
royalty-free footage, 747
RS-422 serial device control, 621
rubberbanding, 585
rule of thirds, 325
rushes, see dailies; sync sound
Russian Ark (film), 388
Rx mount, 177
safety base, 272
SAG-AFTRA (Screen Actors Guild/American Federation of Television and Radio Artists), 732, 746–47
sales agents, 755, 764
sample rate (audio sampling frequency), 407, 408, 414
sample reel, 57, 722
sampling, 228
sampling (color), 18, 209–11
sandbags, 496
SATA drives, 93, 116, 240
satellite TV, 62, 63
saturation, 139, 221, 306, 628, 630
“save” mode, 123
Saving Private Ryan (film), 136
scaling, 11
scan lines, 8
scanning, 11, 12–13, 81–87, 221
scene files, 137, 207
scenes, 322–23
scene-to-scene corrections, 301
scheduling, 357–59
scissors clips, 496
scoops, 487–88
’Scope, 46, 74, 76, 77
scores, 646–47, 746
Scorsese, Martin, 69, 331, 344
scratch disks, 563
scratches (film), 302
scratch test, 269, 302
scratch track, 456
screen direction, 529
screen door effect, 218
screen tests, 299
scrims (fabric), 493–94, 513
scrims (wire mesh screens), 494–95
script-based editing, 564
script breakdown sheet, 357–58
script clearance report, 741
script notes, 377
script preparation, 354–35
scripts, 3, 722, 728, 737, 741
script supervisors, 342, 361, 376–77
scrolls, credit, 541, 542
scrubbing, 649
SCSI drives, 240
SD, see SDTV
SD cards, see flash memory cards
SDDS (Sony Dynamic Digital Sound), 716
SDI (serial digital interface) connections, 238
SDTV (standard definition television), 140, 315, 599, 618, 676, 677, 684, 685, 705
analog formats, 32
broadcast TV distribution, 55
comparing formats, 23
digital formats, 30–32
monitors, 221
NLEs and, 560
pixel count, 9–11, 232–33
widescreen options for cameras, 76
SECAM (Séquential Couleur à Mémoire), 7n
secondary color correction, 631
secondary storylines, 574
second assistant cameramen (2nd ACs), 362
second assistant directors (2nd ADs), 361
second cameramen, 362
second electric, 362
second-generation prints, 709
second unit, 362
segmented frame (sF), see progressive segmented frame (PsF)
segue, 647
selective focus, 72
self-contained movies, 618
self-distribution, 749, 752, 756–57, 759
sensitivity switch, 133
sensors, 5–6, 8, 12, 73–74, 103, 136–37, 185–87
sensor size, 11, 66–68, 87–88
sepia look, 317
sequences, 322, 571
set construction, 362
set lights, 501–2, 505
sets, 374
setup (black level), 205n
setup (camera position), 323
709 color, see ITU-R 709 standard
shadow detail, 69, 630, 704
sharpening filters, 631
sharpness, 773
film image, 279
lens, 173–74
“look” of the movie and, 70–72, 154–55
video image, 138, 233–35
shooting checklist, 125, 367–68
shooting script, 355
shooting the movie, 65–87, 321–401
shooting video displays, 394–95
shoot out, 358
short ends, 265, 285
short focal length lenses, see wide-angle lenses
shotgun microphones, see supercardioid microphones
shot logs, 535, 681, 693, 698
shot/reverse shot, 323
shots, 322–27
composition of, 324–25
types of, 323–24
shoulder mounts, 89, 129, 130
show cards, 489
shutter-priority mode, 109
shutters (camera), 39, 40, 103, 254, 255–57
shutters (lighting), 495–96
shutter speed, 104, 108, 110, 135–36, 287–89, 298
sidebarred, 79
side light, 475
sides, 363
sight line, 338
signal-to-noise (s/n) ratio, 403
silent cameras, 48
silent films, 45, 47, 333, 392
silent transfer, 689
silks, 494, 495, 513
silver halide crystals, 271–73, 279
single-perforated (single-perf) film, 282
single-roller trim, 580
single-strand printing, 707–8
single system recording, 35
16mm film, 41, 42, 44, 45, 61, 62, 65, 76, 163, 177, 180, 262, 266, 267, 272, 282–84, 289, 315, 394, 669, 682, 683, 685, 703, 707–9, 712, 715
60fps, 390–91, 598, 605, 606
60i format, 84, 85, 601, 604, 607, 686, 693, 694, 697, 698, 704, 705
60 Minutes (television program), 347
60p, 85–86, 605–6
65mm film, 42, 46–47
601 color, see ITU-R 601 standard
skin detail function, 140
skin tones, 191, 317, 630–31
skip bleach process, 278
skipping, see judder
skylight filters, 314–15
slates, 349, 368–71, 465, 466–69, 589, 610, 621
slide edits (slide trim), 581
sliders, 24, 330, 340, 367, 384, 385
slip edits, 581
slow motion, 40, 82, 257, 344, 389–91, 592
slow shutter mode, 136
slug, 578
smart collections, 565
smartphones, 23
smart slates, 467
smoke, lighting and, 72, 517–18
SMPTE 431-2, 197
SMPTE leader, 653–54
SMPTE nondrop timecode, 223, 224, 622, 691
snapping, 582–83
snappy images, 193
soft boxes, 488–89
soft images, 193
soft light, 472–74, 478, 488–91, 504
software, NLE, 546–47
software stabilization, 389
Sokurov, Alexander, 388
solid-state drives (SSDs), 33–34, 92, 116–17, 238
Sonnenfeld, Barry, 540
sound:
for film prints, 713–15
importance of, 97–99
properties of, 402–4
in telecine transfers, 689–91
see also sound editing; sound recording
sound blankets, 444, 446
sound carts, 47, 440
sound dampening, 267
sound designers, 635
sound editing, 3, 635–74
on DAWs, 37, 637–40, 648–50, 655–57, 664, 668, 673, 679
dialogue, 355, 531–33, 586–87, 635
music, 636, 646–49
on NLEs, 465, 584–88, 636–38, 640, 641, 645, 648, 649, 653, 655, 656, 664, 667–69, 673
preparing for mixing, 650–57
process, 637–39
technique, 642–45
tools, 639–42
in traditional film editing, 50–51
sound editors, 635–36, 659
sound effects (SFX), 458–59, 635, 644–45
sound mix, 3, 99, 635–39, 658–73, 681
sound mixers (personnel), 440, 650–51, 658–59, 663–65
sound mixers (equipment), 430, 451, 455, 552, 650–51
sound overlaps, 531, 586
sound perspective distortion, 145, 443–44
sound pressure level (SPL), 403
sound quality, 98, 423–24, 536–37
sound recording:
analog, 405–6, 415–16, 419
digital, 227–28, 406–17
for film, 47–48
microphones, see microphones
music, 455–57
planning considerations, 97–99
preparing for shoot, 435–40
setting level, 446–55
techniques, 435–70
types of recorders, 409–14
for video, 35–36, 98–99
in video camcorders, 35–36, 98–99, 103, 417–19
sound recordists, 35, 98, 99, 362
role of, 440–42, 446
tools and supplies, 439
sound reports, 377–78, 442
sound speed, 257, 676
sound take number, 442
source media files, 553, 609, 616
source monitors, 571, 632
source music, 646, 648
space blankets, 489
spanned clips, 118
spare magazines, 266
spatial compression, 246
spatial resolution, 86
S/P DIF, 416–17
speakers, 552, 640, 660, 670
special lighting effects, 501–2, 506, 516–18
specialty chain, 4
spec scripts, 54
specular light, 472
sped-up motion, 82
speed:
camera, 40, 257
lens, 151–52
speed control, 465, 690
speed effects, 592
speed ring adapters, 489
spherical aberration, 173
spherical lenses, 76
Spielberg, Steven, 331
spill light, 212, 493
splice edits, 577
splicing, see editing
split edits, 531, 586, 587
split-field diopters, 171
split focus, 158
splitting tracks, 637, 650–52
spot light meters, 289, 294, 296
spotlights, 486–87
spotting, 636
spotting sheets (spot lists), 647
spreaders, 379–81
sprocket wheels, 255
squeezed images, 75–76
squeeze mode, 76, 79
stair-step aliasing, 13, 14
standard def, see SDTV (standard definition television)
standard definition format, see SDTV
standard gamma, 195–97
standard light, 301
“standby” mode, 123
stand-ins, 373
stand-ups, 347
Star Wars (film), 83, 592
static shots, 328
Steadicams, 19, 45, 140, 267, 330, 340, 388–89
stems, 673
step-up rings, 319
stereographers, 400
stereo pairs, 396, 568, 585, 649
stereoscopy, 396
stereo sound, 417, 455, 461–63, 669–71, 714
stills, 140, 235, 596–97, 762
stingers, 496, 647
stock footage, 347–48, 523, 725, 747
stock music, 648–49, 745–46
stop framing (stop action), see freeze frames
stopping down, 152
storage area network (SAN), 241
storage environment, 52, 125, 284–85
storing picture settings, 207
story beats, 524
storyboards, 356–57
story rights, 728, 742
straight cuts, 526, 582
string-outs, 3, 537
stripe, 50
striping, 240, 621
strobing, see judder
styles in moviemaking, 65–66, 332–53
subsampling (color), 18, 209–11
subtitles, laser, 705
subtractive primaries, 304, 305
summing audio, 649
sun guns, 492
sunlight, 513–14
sunrise/sunset shots, 296
super black, 205–6
supercardioid microphones, 420–22, 436, 445
Super 8, 41–44, 76, 260, 267, 272, 280, 282, 289, 683, 707, 708
superimposed titles (supers), 541, 543
superimpositions, 541
Super Panavision, 81
Super 16 film, 41, 44, 76, 268, 282, 684, 708, 709
Super 35mm, 29, 45–46, 77, 159, 167, 178–79, 704
Super 35 sensor, 67, 788
super white, 187, 206
suppliers, 733–35
supply reels, 254
surround sound, 417, 464, 670
S-video (separate video), 209
sweetening, 637
swish pans, 329, 394
SxS cards, see flash memory cards
sync breaks, 588
sync drift, 48, 465, 702
sync errors, 467, 590
synchronizing the dailies, 49, 589
synchronous (sync) sound, 48, 587–88
syncing up, 49, 99, 465–69, 589, 679
sync point editing, 584
sync pops, 653, 656, 706
synopsis, 721
table read, 356
table stands (for cameras), 379
tail slates, 349, 370, 470
takes, 323, 370–72
take-up reels, 254
talking heads, 347
tape cassettes, 91
tape decks, 7
tape editing, 38–39, 544, 631–32
tape focus, 159–60
tape numbers (tape names), 571
tape path, 121–22
tape stock, 124–25
target bins, 567
target drive, 563
tax incentives, 726
technical survey, 364
Techniscope, 46
technology, coping with, 99–101
telecine logs, 693, 698
telecines, 601, 676, 683, 685–89
telecine timecode, 284, 692–93
telephoto lenses (tele-lenses), 145, 146, 169, 170
teleprompters, 352, 375
television, digital, see DTV
television distribution, 4, 724, 748, 754–55, 759, 760
temperature and humidity, 126–27, 284–85
temporal compression, 246
temporal resolution, 86
temporal (time) qualities, 84
test screenings, 538–39
theatrical distribution, 3–4, 55, 60–62, 608, 675, 747, 748–52
35mm film, 3, 10, 29, 41, 42, 44–46, 60–62, 65, 67, 71, 72, 77, 151, 177, 180, 262, 267, 282, 284, 315, 394, 654, 675, 677, 682, 685, 712
30fps, 15, 390, 468, 598, 607, 676, 686, 690, 693, 698, 702
30p, 85, 605–6
three-chip cameras, 17
three-color temperature meters, 310, 311
3D productions, 11, 28, 30, 56, 60, 62, 65, 86, 396–401, 551, 749
exhibition and distribution, 400–401
fundamentals of, 397–98
production in digital 3D, 398–400
three-perf 35mm film, 46
three-point editing, 579, 632
three-point lighting, 499–501
three-shot sequences, 523, 531
3:2 pulldown, see 2:3 pulldown
threshold of hearing, 403
threshold of pain, 403
throughput, 236
thumbnails, 564, 573
Thunderbolt connector, 218, 237–38
THX system, 716
tilt and scan, 79
tilt-focus lenses, 172, 326
tilts, 329–30
timbre, 404
timebase, 598, 606, 697
timecode, 103, 222–27, 284, 465
audio, 414, 439, 467–68, 691
burn-in, 222, 653, 695
double-system and multicamera shoots, 225–26
in-camera (film), 267–68, 284, 469, 677, 689, 691
NLEs and, 571–73
problem avoidance, 226–27
slating systems, 368–69, 466–69, 677
telecine, 284, 692–93
types of, 223–24
timecode generators, 467, 468, 469
timed (graded, color-balanced) workprints, 301
time-lapse, 140, 257, 392–93
timeline, 571–73, 582–83
time-of-day (TOD) timecode, 225, 226, 227, 691
time remapping, 592
timing sheets, 647
title cards, 541–42
titles, 3, 140, 541–43, 594–95, 705
title search, 738
TiVo, 34
Toland, Gregg, 74
Tomasini, George, 360
tonal range, 192–93
tone generators (oscillators), 452
tone quality, 404
top light, 476
TOSLINK connectors, 416
Touch of Evil (film), 335, 336, 338
tough spun, 488
track building (audio), 637, 650–57
tracking shots, see dolly shots
track selectors, 584
trailers, 57, 722, 749, 763
transcoding, 558–62
transfer characteristic of sensors, 185
transferring, 37
transfer tape, 320
transformers, 519
transients, 447
transitions, 582, 587
traveling mattes, 591
travel restrictions on batteries, 132
treatment, 2, 54
trickle charge, 131
trilevel sync, 226
trim control, 431
trimming clips, 579–82, 611
tripod dolly, 381
tripods, 378–81
TRS plugs, 432
trucking shots, 330
true peak level, 663
Trumbull, Douglas, 86
T-stops, 153, 162, 165–66, 289
tungsten-balanced film, 280–81, 296, 309–10, 481, 515, 517
tungsten-halogen bulbs, 110, 111, 112, 308, 480–81, 492, 507, 515
turnaround time, 359, 731
TV cutoff, 106, 327–28
TV lines per picture height (TVL/ph), 234, 235
TV safe action frame, 328, 543
TV safe title area, 328, 543
25 fps, 15, 468, 598, 676, 686–87, 691
25p, 29, 85, 686, 704
24 fps, 4, 15, 48, 62, 82–85, 256, 257, 288, 394, 465, 468, 598, 676, 686–87, 690, 691, 693, 694, 698, 701, 702, 705
24p, 29, 224, 598, 601–7, 686, 697, 701, 704
24p Advanced, 604–5
24p timecode, 607
23.976 fps, 467, 469, 470, 686, 690, 701
29.97 fps, 468, 470, 690, 697
twitter (video artifact), 13
2001: A Space Odyssey (film), 46
2-inch Quad, 32
two-color temperature meters, 310
2K format, 16, 29, 62, 71, 230, 551, 560, 599, 625, 676, 677, 680–85, 687, 702–5
two-perf 35mm film, 46
two shot, 323, 324
2:3 pulldown, 84, 601, 603–4, 686
typefaces, 542–43
U-bits (user bits), 225
UHDTV (Ultra High Definition TV), 11
ultrasonic film cleaning, 689
ultraviolet light, 314
U-matic, 3/4 inch, 32
umbrella reflectors, 491
uncompressed video, 245
undercranking, 391–92
underdeveloping, 278
underexposure, 286, 291, 298
underlighting, 476
underrecording, 446
underscan, 328
underscore, 646
union productions, 362, 363, 731–33, 746
unit production managers (UPMs), 362
unity gain, 455
unsqueezing images, 75–76
untimed workprints, 301
upconverting (upscaling or up-resing), 11
upcut dialogue, 532
upper (odd) field, 13, 600
USB (Universal Serial Bus) connectors, 237
UV (1A skylight) filters, 314–15
variable bit rate (VBR) format, 250, 251, 617, 624
variable neutral density (ND) filters, 312
variable shutters, 265–57, 395
variable speed effects, 592
VariCams, 27, 199
varifocal lenses, 161n
VCRs (videocassettes recorders), 7
vector graphics, 595
vectorscopes, 306, 307, 628, 630
vertical angle of light, 476
vertical interval timecode (VITC), 224
Vertigo (film), 331
VHS (Video Home System) format, 32, 64, 550
video assist (video tap), 267
video cameras and camcorders, 4–7, 102–40
AC power supply, 127–28, 131
analog versus digital, 7–8
back focus checking, 182
batteries, 103, 128–32
built-in image stabilization devices, 387–88
camera sensitivity, 133–39
comparing, 21–28
elements of, 103
focus, see focus
format, see video format
initial settings, 104–5
lenses, see lenses
lens mounts, 178–79
“look” of the movie and, 68–87
managing data on shoot, 117–21
microphones, 417–18
as NLE input, 549–50
operation of, 125–27
overview of, 102–4
picture controls, 107–14
recording to digital tape, 121–25
recording to flash memory cards, 32–33, 92–93, 115–17
recording to hard and solid-state drives, 33–34, 115–17
recording to optical discs, 117
shooting CRT video displays with, 395
sound recording in, 35–36, 98–99, 103, 417–19, 469
videotape recorder, 121–25
viewfinder and monitor setup, 105–7
see also video formats; video image
video dailies, 49, 681
video decks, 7
video editing, 38, 544–634
see also NLEs; tape editing
video effects, 590–94
Video8, 32
video-film transfers, 675–83, 675–98, 691–93, 700, 701, 704–6
video formats, 8–34
analog, 7, 8, 32, 193–94
digital, see digital video formats
focal length and, 148–50
video image, 185–252
analog formats, 7, 8, 32, 193–94
color, 207–11
controlling contrast, 69, 191–207
digital formats, see digital video formats
monitors, see monitors
projectors, 217, 218
timecode, see timecode
video camera’s response to light, 185–91
video layers, 590–91
video monitors, 218–20, 767–74
video noise, 216
video-on-demand (VOD), 4, 56n, 747, 753, 760
video sharing sites, 616–17
video village, 373, 374
viewfinders:
composition in, 259, 327–28
film camera, 230, 258–61
focusing by eye through, 160–61
video camcorder, 102, 103, 105–7
viewing screens, 258
vignetting, 150, 167, 173, 176, 318
Vimeo, 616, 617, 619
virgin tape, 125
virtual print fee (VPF), 749
visual effects (VFX), 3, 140, 526, 681
visually lossless, 20–217
Vivre sa vie (My Life to Live) (film), 175
voice-over, 347, 457–58, 533
voltage, 129, 405, 406, 407, 518, 519
volume, 403
VTRs (videotape recorders), 7, 102–3, 121, 123–25, 550, 570, 620, 621, 632
VU meters, 447, 448, 449, 451–52, 455, 662
walk-and-talk dialogue scene, 58
walla, 645
wall plates, 496
wall spreaders, 496
wardrobe, 362, 374
wattage, 479, 518
waveform monitors, 188–89, 190, 329, 628–30
wavelet compression, 246
Web compression, 616–19
WebM, 615
websites, 762
wedges, 313, 382
Welles, Orson, 335
western dolly, 381
wet gate printing, 689, 711
WGA (Writers Guild of America), 737, 747
What’s Up, Tiger Lily? (film), 524
white balance, 109–13, 203, 309, 317
white clip, 186, 274n
wide-angle adapters, 149, 164–65
wide-angle lenses, 145–47, 156, 157, 162, 163, 167, 170, 180, 393
wide release, 759
widescreen formats, 42, 46–47, 60, 74, 328, 705
converting to, 77–81
for digital cameras, 75–76
for film cameras, 76–77
wide shots, 294, 323, 506–8
wild cameras, see MOS cameras
wild sound, 48, 372, 442, 470
Willis, Gordon, 476
windings (film), 282–83
windowbox, 80
windowing (on sensors), 75, 150
window light, 478, 504, 514–16
windscreens, 424–25
wipes, 526, 592
wireless (radio) microphones, 98, 349, 428–30, 438, 439, 454
Wiseman, Frederick, 350, 351
WMV (Windows Media Video), 244
word clock, 417
workers’ compensation insurance, 736
workflow, 1, 90, 554–56
compression and, 94–97
planning, 608–9
workprints, 49, 300, 301
wrappers, 242–45, 614–15
written proposals, 54, 720–22
X axis, 688
Xbox, 63
XDCAM, 17, 34, 93, 247
XDCAM EX, 18, 27, 95, 250, 558
XDCAM HD, 27, 34, 250
XLR connectors, 416, 417, 433, 435
XML Interchange Format, 244, 613, 655
X-ray machines, 285, 286
X-Y stereo, 461–63
Y/C, see S-video
Y axis, 688
Y,B-Y,R-Y, 209
Y’CBCR, 206, 209, 219, 551, 595, 628, 687, 767
YouTube, 616, 619
YPBPR, 209
YUV, see Y’CBCR
zebra indicator, 106, 107, 187, 190
zeppelin, 425
zero-frame reference mark, 283–84
zero setup, 205
zoom creep, 168
zoom lenses, 103, 142, 144, 153, 159, 161, 163–68, 174, 294
shooting with, 330–32, 353
zoom mode (monitor), 79
zoom range, 163–65