Table Of Content

American Cinematographer Manual Tenth Edition Copyright© 2013 by The ASC Press Hollywood, California, USA All Rights Reserved ISBN 978-1-4675-6830-2 Cover design by Martha Winterhalter Book design by Deeann j. Hoff Production by Mark McDougal Foreword Y ou hold in your hands the result of five years of thought, debate, and inspiration. When Stephen Burum, ASC, asked me to be the editor of this 10th edition of the venerable American Cinematographer Manual, the industry was in the birth throes of transition; digital intermediates were the exception and not the rule, we still used the term video rather than digital, and 4K as a viable production and post format was far beyond our reach. All these changes and many more came in rapid succession as we labored to bring this book to press. No sooner had we completed an article when it had to be updated due to sweeping advances in technology. I am at heart a low-tech person. I like things simple. I questioned whether I was even the right person to be taking this book on. But in a strange way, it made sense. If I could design the manual in a manner that made sense to me, then the information it contained would be accesible to a wide spectrum of professional and prosumer image makers. Cinematographers today need to be closet scientists in order to decipher the tools they have at their disposal, but all those technologies need not be daunting; they can be fun to explore and exciting to utilize. Now more than ever, the dreams of a whole new generation can be made into real moving images. This edition contains some of the most comprehensive information on digital that you will find anywhere, but it doesn’t leave behind the essential building blocks of film technology, which is at its highest level of development. Where we are now is really having the best of both worlds. When you embark on a journey to a new world, it’s best to take along a crew who know the territory. The contributors to this edition have proven to be the most helpful and dedicated group of scientists, artists and craftspeople one could possibly hope to assemble. Thanks go to Jim Branch, Curtis Clark, ASC; Richard Crudo, ASC; Dan Curry; Linwood G. Dunn, ASC; Richard Edlund, ASC; Jonathan Erland; Jon Fauer, ASC; Ray Feeney; Tom Fraser; Taz Goldstein; Colin Green and the Previsualization Society; Frieder Hochheim; Michael Hofstein; Bill Hogan; John Hora, ASC; Rob Hummel; Steve Irwin; Kent H. Jorgensen; Frank Kay; Glenn Kennel; Jon Kranhouse; Lou Levinson; Andy Maltz and the AMPAS Science and Technology Council; Vincent Matta; Tak Miyagishima; David Morin; M. David Mullen, ASC; Dennis Muren, ASC; Iain A. Neil; Marty Ollstein; Josh Pines; Steven Poster, ASC; Sarah Priestnall; David Reisner; Pete Romano, ASC; Andy Romanoff; Dr. Rod Ryan; Nic Sadler and Chemical Wedding; Bill Taylor, ASC; Ira Tiffen and Evans Wetmore. Special thanks go to Iain Stasukevich for his assistance in research, Lowell Peterson, ASC, Jamie Anderson, ASC and King Greenspon for their proofreading skills, and Deeann Hoff and Mark McDougal for handling the layout of the book. Extra special thanks go to Brett Grauman, general manager of the ASC, Patty Armacost, events coordinator, Delphine Figueras, my assistant when I was handling being ASC president while trying to finish this book, Saul Molina and Alex Lopez for their expertise in marketing and events management, Owen Roizman, ASC, who is the heart, soul and inspiration for the organization, George Spiro Dibie, ASC, my mentor and friend, Martha Winterhalter, whose knowledge of what we do and how to convey it to the world knows no bounds, and Gina Goi, my wife, for her love and support during my many twilight editing sessions. Enjoy the Manual. Go make movies. Michael Goi, ASC Editor Table of Contents Foreword Origins of the American Society of Cinematographers Responsibilities of the Cinematographer Summary of Formats Tak Miyagishima Basic Digtal Concepts Marty Ollstein A Primer for Evaluating Digital Motion Picture Cameras Rob Hummel Digtal Cinematography on a Budget M. David Mullen, ASC Putting the Image on Film Rob Hummel Comparisons of 35mm 1.85, Anamorphic and Super 35 Film Formats Rob Hummel Anamorphic Cinematography John Hora, ASC Exposure Meters Jim Branch Lenses Iain A. Neil Camera Filters Ira Tiffen Camera-Stabilizing Systems Previsualization Colin Green 3-D Stereoscopic Cinematography Rob Hummel Day-for-Night, Infrared and Ultraviolet Cinematography Dr. Rod Ryan Aerial Cinematography Jon Kranhouse Underwater Cinematography Pete Romano, ASC Arctic and Tropical Cinematography Filming Television and Computer Displays Bill Hogan and Steve Irwin Digital Postproduction for Feature Films Glenn Kennel and Sarah Priestnall ASC Color Decision List David Reisner and Josh Pines The Academy of Motion Picture Arts and Sciences Academy Color Encoding System Curtis Clark, ASC and Andy Maltz The Cinematographer and the Laboratory Rob Hummel Emulsion Testing Steven Poster, ASC Finding Your Own Printer Light Richard Crudo, ASC Adjusting Printer Lights to Match Sample Clips Bill Taylor, ASC Cinemagic of the Optical Printer Linwood G. Dunn, ASC Motion-Control Cinematography Richard Edlund, ASC Greenscreen and Bluescreen Photography Bill Taylor, ASC and Petro Vlahos Photographing Miniatures Dennis Muren, ASC In-Camera Compositing of Miniatures with Full-Scale Live-Action Actors Dan Curry Light Sources, Luminaires and Lighting Filters LED Lighting For Motion Picture Production Frieder Hochheim An Introduction to Digital Terminology Marty Ollstein and Levie Isaacks, ASC Safety On The Set Kent H. Jorgensen and Vincent Matta Preparation of Motion Picture Film Camera Equipment Marty Ollstein, Michael Hofstein & Tom Fraser Preparation of Digital Camera Equipment Marty Ollstein Camera-Support Systems Andy Romanoff, Frank Kay and Kent H. Jorgensen Camera Section Jon Fauer, ASC and M. David Mullen, ASC 35mm 16mm Super 8mm 65mm VistaVision 35mm Imax Digital Cameras Onboard recorders Table Reference Cine Lens List Formulas Evans Wetmore Lenses Extreme Close-Up Filters Mired Shift Values Light Source Color Balancing Handheld Apps for Production Taz Goldstein SunPATH Film Stocks Incident Light EI Reduction T-Stop Compensation Shutter Compensation Shutter Speeds Footage Tables 16mm/35mm–Frame Totalizers Panning Speeds Time/Speed Effects Projection/Process Quick Picture Monitor Set-Up Lou Levinson Lighting Fixture Intensity Further Reference Index http://www.clairmont.com

Description:

The Highly-Anticipated 10th Edition of the American Cinematographer Manual is Now Available from the American Society of Cinematographers Known as the Filmmaker s bible, for several generations, one of the world s most widely used cinema reference books is more comprehensive than ever moving into th