Acknowledgements
Preface
Section A
CHAPTER 1
The Cinematography Triangle: Technology, Technique and Taste
Developing Your Visual Language
How and Where to Learn Cinematography
Techniques for Developing Creativity and Imagination
The Creative Workflow
Assessing Your Work
Section B
CHAPTER 2
The Role of The Camera Assistant in Pre-Production
The Role of The Cinematographer in Pre-Production
The Camera Crew
Shoot Procedure Step-By-Step
How to Survive the Shoot
Working Safely with Equipment
Protecting The Camera Equipment
CHAPTER 3
Focus and Focus Pulling
Best Practice for Putting on the Clapper Board
Record Keeping: Notes and Camera Sheets
Managing Batteries and Power Supply
Setting Up and Calibrating the Monitor
Data Management and Rushes Delivery
CHAPTER 4
Understanding Exposure
The Camera and The Camera Sensor
Clipping and Avoiding Clipping
Recording Color and Bit Depth
Recording Formats
Moiré / Strobing
Exposure
Exposure Problems and Solutions
Controling The Look of The Image with Aperture and Shutter Speed
White Balance
Black Balance/Shading
Flare
Polarization
Summary
CHAPTER 5
Selecting An Appropriate Camera for Your Production Needs and Budget
Choosing Lenses
Assembling The Camera
https://www.youtube.com/watch?v=JxvOp6J2vgo Camera and Lens Mounting in 9 Minutes! By Cinema Studies
https://www.youtube.com/watch?v=OSg4XzSGLOM& RED One Camera Build By School of Design FTV
Camera Supports
Securely Connecting the Camera
Assembling Camera Accessories
Balancing the Camera
Camera Menu Set-Ups
Cleaning The Camera and Equipment
The Cinematographer’s Toolbag
The Camera Assistant’s Kit
CHAPTER 6
Checking And Prepping the Equipment
Tests Usually carried out by Camera Assistants
Lens Performance Tests
Filter Tests
Tests Usually carried out by the Cinematographer
Color Tests
Dynamic Range Test
Low Light Test
CHAPTER 7
File and Color Management
Part 1: Workflow Step-By-Step
Choosing The Camera
The Effect of RAW Log or LUT Recording Choices on Resolution, Dynamic Range and Bit Depth
LUT and LUT Options
Containers Codecs and Bit Rate: Their Effect on File Size and Flexibility
Part 2 the Post-Production Workflow
The Grade
Exporting For Delivery
ACES
Supporting Concepts and Theories
Section C
CHAPTER 8
Virtual Production
How Virtual Production Works
Advantages of VP
Disadvantages of VP
Technical Difficulties and Restrictions with VP
Alternatives to Virtual Production
Effective Virtual Production Cinematography
Elements of Virtual Production
VP Developments
Virtual Production on a Budget
The Difference Between Virtual Production and Extended Reality
Section D
CHAPTER 9
Focal Length and Composition
The Z-Axis
How Sensor Sizes Affect the Angle of View
How Sensor Size Affects Depth of Field
Composition and Storytelling
Choosing Shot Sizes
Using Depth of Field and Focus Pulling for Storytelling
Screen Direction: Right to Left and Left to Right
Headroom
Leadroom
Aspect Ratio, Genre and Composition
Frame Height Power and Perspective
Photographic Composition Guidelines
Arrangement of Objects Within the Frame
CHAPTER 10
Genre and Stereotype
The Gap Between Intentions and Reality
Working With the Director
Blocking and Shooting the Scene
Continuity Coverage
Recurring or Developing Elements in Scenes Throughout the Film
Developing and Changing the Positioning of People
Positioning and Movement of Background Elements and Action
Viewer’s Perspective and Eyeline
Fast and Slow-Paced Scenes
Developing Shots and Oners
Camera Movement
Production Constraints
The Magic Bullet
CHAPTER 11
Part 1: Controlling Pace and the Flow of Time
Story Time, Film Time and Screen Time
Controlling the Flow of Time
Speeding Up Time
Fast Motion
Expanding or Slowing Down Time
Part 2: Controlling the Shutter to Create a Look and Avoid Flicker
The Effect of Shutter Speed, Shutter Angle and Frame Rate on the Look of a Film
Flicker Flicker Flicker: Lamp Choices, Shutter Speeds Hz, Flicker and Phasing
Understanding and Avoiding the Rolling Shutter Effect
Section E
CHAPTER 12
The Freedom and Scope of Working Alone
Types and Modes of Documentary
Preparation
Permissions
Ethics
Choosing Equipment
Preparing Kit for a Shoot and Keeping it Safe
Lens Choice and Camera Settings for Documentary Shooting
Workflow and Recording Settings
Lighting and Lighting Equipment
Shoot Procedure
Covering A Scene and Shooting for the Edit
Shooting Observational Documentary
Solo Shooting Techniques
Lighting Interviews
Shooting Interviews
Cinematographer’s Guide to Recording Sound
Documentary Filming Assessment Rubric
Section F
CHAPTER 13
Benefits of Having a Dedicated Camera Operator
The Effect of Camera Movement on the Viewer
Devising Shots
Working with Others
Framing
Eyelines
Crossing the Line
Selecting Equipment
Techniques and Tools for Shooting Hand-Held
Key Points for Self-Assessment
Section G
CHAPTER 14
Key Light
Fill Light and Lighting Ratios
Flat Light
Why Measure light
Monitoring and Measuring Light
Light Metering and Measurement
Exposure
CHAPTER 15
Natural Light
Available Light
Assessing Locations for Natural Light
Assessing Locations for Available Light
Assessing Locations for Lighting by Contrast
Working with the Weather
Shooting Day Exteriors
Magic Hour, Evening and Night Shoots
Day Interiors in Available Light
Lighting Interviews
Available Light Night Interiors
Day for Night
CHAPTER 16
10.4324/9781315305318-15
Part 1: Shaping and Controling Light
Creating Motivated Light and Emulating Light Sources
Controling Shape with Light
Motivated Key Light
Intensity, Distance, Drop-Off and the Inverse-Square Law
Techniques for Creating Fill Light
Back Light
Controling and Modifying Light
Softening or Sharpening Light
Reflection
Refraction
Part 2: Choosing Lamps
Lighting Control: Apps and DMX and IP or remote-controlled motorized lamps
How to Select Appropriate Lamps
CHAPTER 17
Differences Between Lighting Studio Sets and Locations
Timing Priorities and Planning
Production Design and Planning
Lighting
The Order and Process of Lighting
Setting Lamps
Drawing Attention to Different Parts of the Frame
Diffusing With Smoke – Fog
Day Exteriors
Day Interiors
Night Interiors
Night Exteriors
Wet Downs
Light Changes During a Shot
Lighting Green-Screen
Car Interiors
Stairs and Halls or Corridors
Lighting with Very Little Time
Working with the Lighting Department
Section H
CHAPTER 18
Imagination and Visualization
Controlling The Look: From Outside to Inside
What to Create During the Shoot and What to Leave to Post
Color
Sharpening or Softening the Image
Choice of Lenses
Camera Choice
Shooting on Film
Image Control and Grading
Section I
CHAPTER 19
The Personal Picture
The Bigger Picture
Living Where the Industry is Small
Specialist Routes and Specialist Roles
Becoming a Cinematographer
Starting as A DP
Moving up From AC to DP
Developing Your Career as A DP
Index
Biography
Tania Hoser is a bestselling author and cinematographer who has won the Kodak and Metz cinematography prizes and shot six multi-award-winning films. Tania has also had several television commissions as a writer/director. She has taught film, photography and cinematography at universities in several countries, including the University of the West Indies, Barbados, and Abu Dhabi Women’s College, United Arab Emirates.
Tania Freimuth, DP and Cinematography Specialist Tutor at the London Film Academy
Tania Hosers 'Introduction to cinematography, learning through practice' is like film school in a book. It is an inspiring and engaging in-depth resource that, through a series of well thought out exercises, creates the perfect balance between learning the art and the craft of cinematography.
Deland Nuse, Director/Cinematographer; Lecturer, Department of Film, Television and Digital Media, UCLA
One of the most practical and useful books on the art and technique of cinematography for students and working professionals that we have. I highly recommend Tania Hoser’s book for teachers and students of cinematography.
Louise Ready-Syrat, University of Salford
There is a lot of detail in each chapter, demonstrating the writer’s experience of working on set, as well as lots of little nuances that only someone who is working in the industry would know and can pass on. So many that even I forgot many of them…!
