The Filmmaker’s Guide to Digital Imaging for Cinematographers Digital Imaging Technicians and Camera Assistants 1st Edition by Blain Brown 9780415854115 0415854113
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Product details:
ISBN 10: 0415854113
ISBN 13: 9780415854115
Author: Blain Brown
It’s a whole new world for cinematographers, camera assistants, and postproduction artists. New equipment, new methods, and new technologies have to be learned and mastered. New roles such as that of the DIT (Digital Imaging Technician), Digital Loader, and Data Manager are integral to today’s motion picture production process. Take your mastery of these new tools, techniques, and roles to the next level with this cutting-edge roadmap from esteemed author and filmmaker Blain Brown. The Filmmaker’s Guide to Digital Imaging covers both the theory and the practice, featuring full-color, in-depth coverage of essential terminology, technology, and industry-standard best-practices. Brown covers new industry-wide production standards such as ASC-CDL and the ACES workflow. Interviews with professional cinematographers and DITs working on Hollywood productions equip you with knowledge that is essential if you want to work in today’s motion picture industry, whether as a cinematographer, DIT, Digital Loader, Data Manager, camera assistant, editor, or VFX artist. Topics include: Digital sensors and cameras The structure of digital images Waveform monitors, vectorscopes, and test charts Using linear, gamma, and log encoded video files Exposure techniques for HD and UltraHD Understanding digital color Codecs and file formats The DIT cart Downloading, ingesting, and managing video files Workflow from camera to DIT cart to post Using metadata and timecode The companion website (www.focalpress.com/cw/brown) features additional material, including demonstrations and interviews with experienced DITs and cinematographers.
Table of contents:
- Introduction
- Sensors & Cameras
- The Digital Signal Path
- HD and UHD
- Viewing Stream
- OLPF
- Digital Sensors
- Photosites
- Demosaicing/DeBayering
- How Many Pixels Is Enough?
- What Color Is Your Sensor?
- Sensor Size and Depth-of-Field
- Shutters
- Noise
- ISO In Digital Cameras
- IR and Hot Mirror Filters
- The Digital Image
- Cookie Dough and The History of HD
- Digital Negative
- Chroma Subsampling
- Types of Video
- Frame Rates
- A Little Math Review
- Measurement
- Measuring the Image
- The Waveform Monitor
- Test Methodology
- Hue/Phase
- The Vectorscope
- Color Bars In Detail
- Types of Waveform Monitors
- Using the Waveform On Set
- Using the Vectorscope On the Set
- Video Test Cards
- Calibration Test Charts
- Measuring Image Resolution
- Linear, Gamma, Log
- Dynamic Range
- Linear Response
- Film Gamma and Video Gamma
- Rec.709
- The Code 100 Problem
- Gamma Control In Traditional HD
- Another Approach
- The Inefficiency of Linear
- Log Encoding
- Proprietary Log Curves
- 18% Gray In Log
- Picture Rendering
- Exposure
- Exposure Theory
- The Response Curve
- Video Exposure
- The Tools
- A Different World of Exposure
- Setting Exposure With the Waveform Monitor
- Camera Exposure Indicators
- Philosophy and Strategy of Exposure
- Black Magic Camera Exposure Advice
- HDR
- Digital Color
- The Visual Interface
- Color Models
- The CIE Diagram
- Gamut
- Video Color Spaces
- AMPAS ACES Color Space
- Color Transforms
- The Matrix
- Metamerism
- Codecs & Formats
- Video File Formats
- Wrappers, Stacks, Containers and Codecs
- Digital Compression Codecs
- Types of Compression
- Codecs
- Compression Technologies
- Floating Point
- Compression Artifacts
- Image Control & Grading
- At the DIT Cart
- Color Correction and Color Grading
- Controllers and Control Surfaces
- Control Parameters
- Color Space
- Color Control
- Vectors
- Exporting and Reusing Grades
- LUTs And Looks
- Viewing LUTs
- LUTs and Looks: What’s the Difference?
- Poynton’s Fourth Law
- The DIT Cart
- Things To Think About In Planning a Cart
- Mobility
- Power
- Video and Data Cables
- Moving Around On The Set
- Failover
- Rack Mount
- Data Management
- Data Management
- Basic Principles
- Procedure – Best Practices
- Logs
- File Management
- File Naming
- Download/Ingest Software
- Proprietary Data Management Software
- External Recorders
- Hard Drives & RAIDS
- How Much Storage Do You Need?
- Long Term Storage
- Moving The Data
- Workflow
- The Digital Camera Crew
- The Job of the DIT
- Working With the DP
- The Meeting
- DIT Workflow
- Interfacing With Other Departments
- Monitor Outputs
- Deliverables
- Files For Post and VFX
- Camera Specific Workflows
- Industry Standard Workflows
- Ten Numbers: ASC-CDL
- ACES: What It Is, What It Does
- The History of ACES
- The Transforms
- Metadata & Timecode
- What is Timecode?
- Other Types of Metadata
- XML
- Metadata From Rigs
- Metadata at the DIT Cart
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Tags: Blain Brown, Filmmaker’s, Digital, Imaging, Cinematographers