Index

Note to the Reader: Throughout this index boldfaced page numbers indicate primary discussions of a topic. Italicized page numbers indicate illustrations.

A Aspect Ratio Calculator app, 236 hard drives, 268 ATSC standard, 8 methods, 273–274 AC adapters, 57, 101, 101 audio, 195 ball-head tripods, 137 AC-3 audio, 332 accessories, 209 balloon lights, 193, 193 action movie look, 346 ADR, 291–295, 291–294 banding actors buy vs. rent decisions, 56 description, 251–252, 252, 313, 313 checking, 265 checking, 265 removing, 360–361 eye lines, 109–110 clipping, 198, 214–215 barn doors, 185, 185 looking directly into camera, 110 dialogue, 210 barrel distortion, 70, 114 adapters equipment, 197 barrel size of lenses, 120, 120 AC, 57, 101, 101 headphones, 203 Bartech follow focus, 49, 50, 120 audio, 202–203, 203 lack of, 255 bass roll-off, 210 lenses, 28, 30–31, 31, 56, 245 levels, 213–215, 213–214 batteries additive color system, 299, 299 microphones, 43–45, 43–44, charging, 238 Adobe Encore program, 333 204–209, 205–209 emergency kits, 234 Adobe Flash format, 334 mixers, 42, 42 grips, 100 Adobe Premiere Pro, 276, 280 out-of-sync, 289–291 managing, 100–101, 101 AdobeRGB color space, 39 peaks, 199 microphones, 44 ADR (automated dialogue replacement), professionals, 196 plates, 57 291–295, 291–294 recorders, 42, 42 selecting, 53 Advanced Video Upload feature, recording. See recording sound BeachTek audio adapters, 203, 203 334–336, 336 reference audio, 201–202, 202 bellows, 35 aerial rigs, 152–153, 152 role, 195–196 bins for footage, 282–283, 282 After Effects, 343–345 room tone, 213, 292–293, 293 Birns and Sawyer matte box, 32, 32 aliasing, 245–247, 247 sample setups, 210–212 bit depth alongside-vehicles shots, 386, 386 scripts, 210 color, 311–313 ambient light slates, 45, 45, 212–213 sound, 200 three-point setup, 176 sound effects, 294, 294 bit rates, 276, 312, 329 underwater cinematography, 368–369 testing, 77 black Duvetyne Amelie, 346 timeline setup for, 290–291 emergency item, 234 anamorphic lenses, 15 video syncing, 285–289, 285–289 monitor covering, 242, 258 angle of view, 13, 19 XLR audio adapter, 202–203, 203 black wrap, 235 angles Audio Technica mic systems, 43–44 blacks setting, 320 camera motion, 140, 140 authoring DVD and Blu-ray, 333 blankets car scenes, 378 Auto audio settings, 198–199, 198 monitor covering, 72, 258 chase scenes, 387, 387–388 Auto Lighting Optimizer controls, 253 softening, 190 light, 168–169, 168–169 autofocus sound-deadening, 101, 209 perspective, 106–107 focus without, 118 blockbuster budget gear packages, 55 Anton/Bauer products limitations, 242 blocking batteries, 53, 53, 57, 101 underwater cinematography, 375 camera motion, 134 mounts, 145 automated dialogue replacement (ADR), light, 183–184 aperture COPYRIGHTED291–295, 291–294 MATERIALblooming problems, 241 lenses, 9–10 AVCHD codec, 290 blown out detail, 320 sharpness, 117 Blu-ray underwater cinematography, 370 authoring, 333 zoom lenses, 12–13 B bit rates, 276, 330 aperture rings, 122–123, 122–123 b-roll, 264 creating, 332 Apple Color program, 311, 319 back seat, car shots from, 382, 382 Blue channel for color bars, 75, 75, 261 area of capture for microphones, 207 backgrounds, 264 blue color, 298–299, 298 Arri Mini follow focus, 49, 49 backlight, 169, 169, 175, 175 blue-difference chroma, 311–312 Artemis app, 236 backscatter, 366 blur articulating arms, 153 backups Gaussian, 349 artifacting, 245–247, 246–247 dailies, 265 lenses, 113–115, 113, 115 aspect ratio, 8, 236 footage, 227

392

876602bindex.indd 392 11/9/11 3:02:47 PM Index ■ 393

bokeh, 113–114, 113 frame rates, 23–24 Canon T2i boom microphones, 43, 43, 205–206, 205 gear packages, 54–57 ISO settings, 24 booms, 128 ISO settings, 24 low budget packages, 54 bounce cards, 159, 159, 180, 183, 183, lens accessories, 34–35 recommendations, 25 187–188 lenses, 26–30, 30–31 sensor size, 23 boundary microphones, 204 lights, 40–41, 40–41 Canon T3i, 80 bracketed shots, 308 matte boxes, 31–32, 32 capture formats, 226 breathing lenses, 11 mounts, 49 exposure, 253 bribe money as emergency item, 235 recommendations, 25, 25 file numbering,219–221 , 220–221 bright lights for color, 305 sensor size, 22–23 folders, 222–223, 222–223 brightness specialty items, 48–53, 49–53 H.264 files.See H.264 video files lights, 160 tripods and dollies, 46–48, 46–48 lenses, 16, 29–30, 55 monitors, 71–72, 74, 74, 260, 260 view features, 35–39, 35–39 picture style, 79–80, 79, 92–97, 92–97 broadcast-safe color, 324 cameras presets, 78 broken mirrors in lighting, 161, 161, 178, 179 angles and height in perspective, 104–107 recording time limits, 102 Brother Where Art Thou, 345 blockbuster budget packages, 55 canted angles, 107, 140 Brown, Daniel, 363, 377 housings for underwater cinematography, capture bubble levels, 137 364, 376 formats, 226 budget cameras, 25 independent budget packages, 55 reference audio, 201–202, 202 budgets in gear planning, 54–55 looking directly into, 110 stills, 283 buoyancy in underwater cinematography, low budget packages, 54 capture codecs, 275–276 371–372 mixing makes and models, 99–100 cardioid microphone pickup pattern, 208, 208 butterfly lighting,181 , 181 motion. See camera motion cards. See CF cards butterfly silk, 187 movement testing, 77 carrying cases, 52, 52, 57 buy vs. rent decisions, 56–57 picture-style settings, 309–310 cars bytes, 311 power, 100–101, 101 audio, 211–212 remotes, 233 battery charger adapters, 238 C selecting. See camera selection overview chase scenes, 384–387, 384–388 cables testing, 59–66, 61–63, 65 emergency items, 234 backups, 57 white balance control, 307–308, 307–309 interior dialogue, 378–383, 379–382 headphone jacks, 203 CamTram dolly system, 48, 151 safety, 378 pitfalls, 262–263 candles, 178, 179 carts, 234 testing, 77 Canon ACK-E6 AC adapters, 101, 101 cases, 52, 52, 57 cache on hard drives, 273, 273 Canon APS-C sensors, 2–4, 3, 17 catch lights, 172 cages for camera support, 148, 148 Canon APS-H focal length multiplication Cb color, 311–312 calibrating external monitors, 71–76, 72–75 factor, 17 CCFL monitor backlighting, 39 camera cars, 378 Canon cameras CDL (Color Decision List) standard, 325 camera motion, 125–126 Canon 1D Mark IV, 9, 24 Celtx Script app, 238 angles, 140, 140 Canon 5D Mark II CF cards circling, 131, 131 audio, 41 cases, 57 crane moves, 132–133, 133 blockbuster budget packages, 55 labeling, 219, 219 dollies, 131 cleaning mode, 258 managing, 102–103, 102 jib arms, 133, 133 color, 100 selecting, 53 lateral movement and retracking, 132 ISO settings, 24, 62, 62 transferring files to hard drives, matching cameras, 134 noise, 250, 250 224–226, 225 monopods, 139, 139 recommendations, 25 changes in light, 304 pans, 128–132, 128–130, 132 release, 1–2 Channel Range slider, 346 planning, 134–135 sensor size, 22–23 chase scenes, 384–387, 384–388 pull-backs, 130, 130 sound recording, 197–198, cheating in close-up lighting, 180 push-ins, 129–130, 129–130 197–198 Children of Men, 383 reasons, 126 white balance, 308, 308–309 chroma, 302–303, 314–315, 314 restricting, 127 Canon 7D chroma key lighting, 180–182, 181 rigging for, 133 color, 100 chromatic aberration, 115, 115 through solid objects, 132, 132 filenames,254 chromatics, 300 stabilizing. See stabilizing camera motion independent budget packages, 55 cinema lenses, 10–12, 10–11, 114, tripods, 135–138, 135–138 ISO settings, 9, 24 244–245, 245 type overview, 127–128 recommendations, 25 cinematic look, 389–391, 389–391 zooming, 129, 129 sensor size, 23 Cinemek storyboard app, 237 camera selection overview, 21–22 Canon 40D, 364 Cineroid EVFs, 36 audio, 41–45, 41–45 Canon 60D, 35 CineSlider dollies, 48, 48 filters,32–34 Canon 70–200, 13 CineStyle picture style, 97

876602bindex.indd 393 11/9/11 3:02:47 PM 394 ■ Index

circling, 131, 131 temperature, 300, 303–304 crop sensors, 2–4, 2–4, 16–17, 18 clamps, 235 correction, 342 cropping, 19 clapboards, 45, 45, 285 day-for-night solutions, 254 crushed detail, 320–321, 321 cleaning cycles, 256–257 lighting, 182, 303–304 “crushing the blacks”, 347, 351 cleaning kits for lenses, 35 testing, 66, 66, 70–71 Cube monitors, 39 clear glass filters,33 tone presets, 83 curve levels, checking, 86–87, 87 clipped audio, 198, 214–215 video, 310–311, 311 Curves effect, 352, 352 clipped detail, 320–321, 321 white balance. See white balance Cut Notes app, 237 clips color correction cards, 234, 306, 306 cutaways in troubleshooting, 264 microphone, 206, 206 Color Decision List (CDL) standard, 325 cuts in camera motion, 154–155 naming, 254–255, 254–255 Color Picker, 352, 352 cutters, 186 clocks as timestamp, 224 color wheels, 300–301, 300 close-up diopter lenses, 35 ColorChecker card, 306 D close-up lighting, 180 colorimetry, 300 dailies, 265 CMOS sensors, 141, 239, 241 Colorista Power Mask software, Dalsa Cinema lenses, 55 codecs, 274–275 324–325, 324 Dana dollies, 48 conversion issues, 276, 276 complete backups, 274 data and storage management, 217 delivery vs. capture, 275–276 compound moves, 131 backups, 227 vs. formats, 275 compressed tones, 87 file management.See file management online and offline editing,277–278 , 277 compression, 327 hard drives, 229 testing, 67 color, 313–315, 314 memory cards. See memory cards coffee as emergency item, 235 distance, 110–112, 111 THM files,227–228 , 227–228 Cokin Creative System filters, 34 DVD and Blu-ray, 332–333 data rate in compression, 329 color and color space, 297 one-file-fits-all solution,337–339 , day-for-night solutions, 253–254 action movie look, 346 337–339 de-clicking lenses, 121–123, 121–123 balance, 247–248, 322 overview, 327–330 dead pixels, 257, 257, 265 banding, 251–252, 252, 313, 313 process, 332–333 decompression chambers, 364 bit depth and color depth, 311–313 publishing to web, 333–337, 334–337 delivery codecs, 275–276 broadcast-safe, 324 self-contained master digital files, delivery format, 226 casts, 247–248, 322, 322 330–332, 331 depth, lighting, 163–164, 169 color theory, 297–299, 298–299 video, 275 depth of field (DOF) compression and subsampling, condensation on lenses, 256 background, 264 313–315, 314 condenser microphones, 198, 204 calculating, 108–109, 109 contrast, 322 cones, 298–299, 298 and focus, 107–110, 109 correction, 315 conforming output, 330 lenses, 9 primary, 319, 341–342, 342 connections for monitors, 71 sensor size, 2, 6–7 regional, 343–345, 343–344 Contax primes lenses, 121, 122 design issues in stabilization, 141 secondary, 323–324, 345–348, contrast device-dependent color space, 310 347–348 action movie look, 346 diagrams for camera motion, 135 encoding models, 310–311, 311 color, 261, 261, 303, 322 dialogue evaluating, 315–318, 321–323, 322 correction, 320 ADR, 291–295, 291–294 faux lens effects, 351–353, 351–353 day-for-night solutions, 254 car interiors, 378–383, 379–382 filters,34 , 305 filters,33 planning, 210 footage bins, 283, 283 lights and lighting, 178, 182, 189, 304 diffusers, 189–190, 189, 191 gels, 305 monitors, 71–72, 74, 74 diffusion, 183, 183 grading, 265, 315 presets, 83 diffusion filters,33 , 349–350, 350–351 ISO, 60 shadows, 176, 177 DigiBeta video content, 314 light, 161–163, 162–163, 304 contrast ratio, 191, 318–319 dimension in lighting, 163–164 mapping systems, 311 conversions dimmers, 41, 41, 235 matching, 100 30 fps to 24 fps, 390 DIONIC 90 batteries, 53, 53 monitors, 39, 71–76, 73–75, 259–262, codecs, 276, 276 diopters, 35, 69 259–262 footage, 278–279 direct focus, camera motion for, 126 noise, 323 converter box pitfalls, 262–263 direction of light, 168–169, 168–169 objective properties, 302–303, 302 cool color, 301 Disabled sound recording setting, 198, 198 picture-style settings, 309–310 copying drives, 273 distortion posterization, 313, 313 counterbalance weights, 145 lenses, 68, 113–115, 113, 115 shifting, 68 coverage of lighting, 158 types, 114–115, 115 single camera shoot vs. multiple cameras, covering monitors, 72, 72, 258, 258 viewfinders,70 306–307 Cr color, 311–312 distribution of light, 161, 161 skin tones, 324 cranes, 132–133, 133, 152–153, 152 dithering, 360 subjective properties, 300–302, 300–301 crop factor, 3 DOF. See depth of field (DOF)

876602bindex.indd 394 11/9/11 3:02:47 PM Index ■ 395

DOFMaster application, 109 exposure numbering, 219–222, 220–221 dollies, 131 dynamic range, 64 on set, 229–230 buy vs. rent decisions, 57 filters, 69 size limitations, 67 camera motion, 150–151, 151 histograms, 65–66, 65, 253 THM files,227–228 , 227–228 circling, 131, 131 lighting, 160, 191–192, 192 transferring files,224–226 , 225 types, 46–48, 46–48 night shots, 178 fill lights windshield shots, 380, 380 problems, 252–253 overview, 172–173, 173 dome ports, 372, 373 testing, 63–66, 63, 65 three-point setup, 175, 175 double sound recording systems, 199 underwater cinematography, 377 types, 166, 166 downloading movie files,225 , 225 extenders, 35, 235 underwater cinematography, 367 DreamColor monitors, 52 extension cords, 234 film-grained footage,357–359 , 357–360 driver seat, car shots from, 381 extension tubes, 35, 235 film look, 23 dropped frames, sync problems from, 290 external hard drives, 269–270, 269–270 filters DSLR Slate app, 237 external microphones, 198 buy vs. rent decisions, 56 Dulcos Lenses, 121 external monitors, 37 camera selection, 32–34 dust calibrating, 71–76, 72–75 color, 305 lenses, 256 for focus, 242, 242 emergency items, 234 sensors, 265 external recording devices, 42, 42, faux lens effects, 349–353, 349–353 Dutch shots, 107, 140 199–201, 200–201 lens flare, 115 Duvetyne extreme wide-angle lenses, 13 matte boxes for, 31 emergency item, 234 eye candy, camera motion for, 126 recommendations, 34 monitor covering, 242, 258 eye-level camera height, 105–106 rumble, 210 DVD Studio Pro program, 333 eye lights, 172, 173 testing, 68–69 DVDs eye lines of actors, 109–110 Final Cut Pro editor, 280 authoring, 333 eyes audio, 291 creating, 332 and color, 297–299, 298–299, 306 color bars, 73, 259, 259 dynamic microphones, 204 focus, 108 H.264 files, 276 dynamic range, 61 fire and flames in lighting, 178,179 exposure, 64 F fire coral, 365 settings, 88–90, 89–90 f-stops FireWire 400 drives, 269, 269, 271 contrast ratio, 191 FireWire 800 protocol, 270, 270 E description, 9–10 firmware modifications, cameras for, 25 Easy Setup for audio, 291 hard clicks, 11 fish-eye lenses, 14, 114 editing shutter stops, 391 fixed aperture zoom lenses, 12–13 capturing stills during, 283 underwater cinematography, 368 flags,186 , 190 codecs, 274–279, 276–277 zoom lenses, 12 flare,115 , 115 footage, 279–283, 280–283 Facebook, 336–337, 336 Flash format, 334 motion, 154–155 faithful picture style, 79, 80 flash in underwater cinematography, online vs. offline,277–278 , 277 far-side keys, 170–172, 170–172 367–370, 370 EF-S lenses, 16 fast lenses, 9 Flashlight app, 237 egg carton diffusers, 189, 189 fault tolerance, 272 flat images,88–90 , 89–90, 309–310 8-bit color, 312–313 faux lens effects, 349–353, 349–353 Fleischer, Max, 343 18 mm lenses, 103 feathering masks, 356, 356 flickering images, 249 electret condenser microphones, 198 features overview, 1–2 FLMs (focal length multipliers), 3, 16–17, 108 electromagnetic spectrum, 302, 302 frame rates, 7–8 fluid head tripods, 46,138 , 138 electronic viewfinders (EVFs),36 , 69–70 ISO settings, 8–9 foam core, 186 elliptical masks, 344, 344 lenses, 9–15, 10–15 focal length, 17–18, 17–18 emergency kits, 233–235 sensor size, 2–7, 2–6 focal length multipliers (FLMs), 3, 16–17, 108 emergency lights, 180 sensor size and lenses interaction, focus, 118 emotion 16–18, 17–18 without autofocus, 118, 118 camera motion for, 126 Fenwick, Chris, 337 autofocus limitations, 242 lighting, 166 field of view,17–18 , 17–18 background, 264 emphasis, camera motion for, 126 50 mm lenses, 26, 104 checking, 265 encoding color spaces, 310–311, 311 file management,217 consistent, 242–243 EOS Utility, 92, 92, 95, 95 arranging footage, 230–231, 230–231 and depth of field,107–110 , 109 equipment labeling, 218–219, 218–219 backups, 227 filters, 69 error messages, 263 capture formats, 226 follow. See follow focus eSATA standard, 270–271, 270 folders, 222–224, 222–224 lenses, 9 EVFs (electronic viewfinders),36 , 69–70 format testing, 67 lighting, 166 Export Size Settings dialog, 339, 339 hard drives, 229 out-of-focus areas, 113 labeling equipment, 218–219, 218–219 pulling, 76, 118–121, 120–121

876602bindex.indd 395 11/9/11 3:02:47 PM 396 ■ Index

splitting, 118 glass lenses, 27 headlights, 160 troubleshooting, 241–245, 241–245 Glidetrack dollies, 47, 47 headphones, 203 underwater cinematography, 375 Gorillapods, 234 Heagle, Michael, 341 fog filters, 349 grading color, 265, 315 heat in memory cards, 103 fold-up reflectors, 235 graduated filters, 32, 34 Heden motors for follow focus, 50 folders, 222–224, 222–224 grain Helios Sun Position Calculator, 236, 305 follow focus, 118–119 banding, 360–361 high camera height, 105 buy vs. rent decisions, 57 film-grained footage,357–359 , 357–360 High-Definition Multimedia Interface description, 49–50, 49–50 ISO settings, 8 (HDMI) protocol emergency items, 234 overview, 356–357 cable pitfalls, 262–263 moving shots, 244, 244 and sensor size, 2 output, 37–38, 37–38 remote heads, 154 green color, 298–299, 298 high-key lighting, 167, 167 shoulder-mounted rigs, 146–147, 146 green screen, 180–182, 181 High sensitivity sound recording setting, 199 testing, 76 Griffolyn, 187 Highlight Tone Priority (HTP), 91, 91 footage grip equipment highlights, 321 arranging, 230–231, 230–231 buy vs. rent decisions, 56 histograms editing, 279–283, 280–283 description, 158 checking, 86–87, 87 forced perspective, 103 grips, battery, 100 color, 317, 317, 320, 320 format factor, 16 exposures, 65–66, 65, 253 formats H saturation, 347, 347 vs. codecs, 275 H.264 video files, 90 underwater cinematography, 376–377 delivery vs. capture, 226 compression, 332 Hoodman HoodLoupe viewfinders,36 , 36 testing, 67 editing, 277–278, 280, 281 hot pixels, 257, 257, 265 Foundry Nuke application, 342 MOV containers, 275 hot-shoe mounted shotgun microphones, four-thirds cameras, 17, 25 storage requirements, 269 201–202, 202 fps (frames per second), 7 support, 226, 276, 334 housings for underwater cinematography, frame rates H4 device, 290 364, 376 adjusting, 248–249, 248 H4N Zoom recorders, 42 HP DreamColor monitors, 39, 39 camera selection, 23–24 hair lights, 171, 171 HTP (Highlight Tone Priority), 91, 91 compression, 329 half stops, 10 hue, 86, 300–301, 300 converting, 390 handheld camera supports, 57 Hue picker, 352 matching, 100, 100 handheld rigs, 50–51, 51, 149–150, 149–150 HurlBlog, 52 overview, 7–8 hard clicks for f-stops, 11 Hurlbut, Shane, 52, 97 syncing problems from, 290 hard drives hypercardioid microphone pickup pattern, frame size, 66–67, 329 copying, 273 208, 208 frames per second (fps), 7 external, 269–270, 269–270 hypothermia, 365 French Connection, 357 internal, 269 French flags, 31 maximizing space, 263 I fringing, 115, 115 RAID, 271–272, 272 i (interlaced) frame rates, 7 front lights, 168, 168–169 recommendations, 271 iDVD program, 333 front windshield, shooting through, requirements, 268–269, 268 IDX batteries, 101 378–380, 379–380 speed and cache, 273, 273 image control presets, 80–81 full-frame sensors, 2–3, 2–3, 16 transferring CF card files to, creating, 84–88, 85–87 full stops, 10 224–226, 225 customizing, 81–84, 81–84 hard light, 188–190, 188 post-production, 88–90, 89–90 G hard stops for focus, 12 without posts, 90–91 gaffer’s tape, 218 hardware problems image stabilization (IS) technology, gamma and gamma curves error messages, 263 117–118, 199 adjusting, 87, 87, 93, 93 hard drive space, 263 images saturation, 348 HDMI cable and converter boxes, flickering, 249 tonal range, 321 262–263 RAW, 84–85 gamuts, 39, 310–311 monitor accuracy, 258–262, 259–262 sharpness, 116 Gaussian Blur filter, 349 overheating, 256–257 in-camera exposure metering systems, gauzy filter look, 349 pixels, 257, 257–258 63–64, 63 gear packages, 54–57 spots on lenses, 255–256, 256 in-camera presets, 78 gearing lenses, 120–121, 120 hardware store lighting, 41, 41 Canon picture-style settings, 79–80, 79 gelatin filters,34 HDMI (High-Definition Multimedia image control. See image control presets gels, 305 Interface) protocol incremental backups, 273–274 generators, 101 cable pitfalls, 262–263 independent budget gear packages, 55 glare, 180 output, 37–38, 37–38 interior car dialogue, 378–383, 379–382 glass filters,33 head plates for tripods, 139, 139 interlaced (i) frame rates, 7

876602bindex.indd 396 11/9/11 3:02:48 PM Index ■ 397

intermediate codecs, 275 aperture, f-stops, and t-stops, 9–10 flickering, 249 internal focus, 10 blockbuster budget packages, 55 glare, 180 internal hard drives, 269 blur and distortion, 113–115, 113, 115 green screen and chroma key, internal microphones, 198 brands, 29 180–182, 181 inverted S-curves, 87, 87 on budget, 28 high-key, 167, 167 inverting selections, 355, 355 camera selection, 26–30, 30–31 ISO settings. See ISO settings iPhone/iPad applications cine-style vs. photo, 10–12, 10–11 key, 170, 170 depth of field, 108–109,109 and crop sensors, 3 lightboxes, 184, 184 for troubleshooting, 236–238 de-clicking, 121–123, 121–123 linear, 323 IPS monitors, 39 depth of field and focus,9 , 107–110, 109 low-key, 167, 167 IRE units, 319 faux lens effects, 349–353, 349–353 mirrors, 161, 161, 178, 179 IS (image stabilization) technology, focal length multiplier, 108 mood and emotion, 166 117–118, 199 gearing, 120–121, 120 natural look, 165, 165 ISO settings image stabilization, 117–118 nets, 188 camera selection, 24 independent budget packages, 55 night, 177–178, 177 noise, 250, 250 low budget packages, 54 patterned, 188 overview, 8–9 mounts, 30, 30–31 planning, 158 pixel problems, 257 perceived distance and compression, quality, 188–190, 188–190 testing, 60–63, 61–63 110–112, 111 reflectors and bounce cards,187–188 underwater cinematography, perspective, 103–107, 104 Rembrandt, 176 368–369, 369 rentals, 29 scrims, 185, 185 and sensor size, 16–18, 17–18 selecting, 40–41, 40–41 J sharpness, 116 sensor size, 6 Jell-O effect, 118, 128, 141, 239–240 specialty, 13–14 shadows, 176 jellyfish, 365 spots on, 255–256, 256 silks, 186–187, 186 jib arms, 133, 133, 152–153, 152 testing, 67–68 testing, 70–71 JPEG images, 84–85 trade-offs, 27–28 three-point setup, 173–176, 174–175 JuicedLINK audio adapters, 203, 203 types, 12–15, 12–15 timing, 158–159, 159 underwater cinematography, underwater cinematography, 368 K 372–374, 372–373 visible, 302, 302 zooming, 123, 123 visual priority and focus, 166 Kelvin degrees, 304 LensProtoGo.com site, 29 light-balancing filters, 34 Kessler Crane dollies, 48, 48 LensRentals.com site, 29 light cones, 16 key lights, 170, 170, 174, 174 level camera height, 105–106 lightboxes, 184, 184 keyframes, 345 Lexar CF cards, 53 line noise, 251–252, 252 kickers, 172, 172, 175 Lift, Gamma, Gain model, 325 line skipping, 245 Kino Flo lights, 40, 189 lifts, 152–153, 152 linear light, 323 kits for lenses, 27 light and lighting, 157 Litepanels LED lights, 40, 40 Kramer, Andrew, 345 background, 264 LiveView button, 100, 100 backlight, 170–172, 171–172 logic in lighting, 165, 165 L balloon, 193, 193 long lenses labeling equipment, 218–219, 218–219, 226 barn doors, 185, 185 focus, 108 LaCie Rugged drives, 268, 271 blocking, 183–184 perceived distance and compression, lamps, 160 bouncing, 183, 183 111–112 landscape picture style, 79, 80 butterfly,181 , 181 long shots in troubleshooting, 264 lateral movement, 132 buy vs. rent decisions, 56 looking directly into camera, 110 lavaliere microphones, 43, 45, 204 car shots, 383 loreo lenses, 15 LCD screens, 35–36, 35, 252–253 choosing, 159–163, 160–163 lossless compression, 327 lead cars in car shots, 380, 384–385, 385 close-up, 180 lossy compression, 327 Lectrosonics SM microphones, 45 color, 161–163, 162–163, 299, 299, 304 loupes with handheld rig, 150, 150 LED lighting depth and dimension, 163–164 low budget gear packages, 54 adjustable light panels, 234 diffusion, 183, 183 low camera height, 105 description, 40, 40 direction and angle, 168–169, 168–169 low-key lighting, 167, 167 monitor backlighting, 39 distribution and shape, 161, 161 low light camera recommendations, 25 Leica lenses, 29, 55, 121, 122 emergency items, 234 Low sensitivity sound recording setting, 199 lens flare,115 , 115 entire scenes, 164, 164 low-wattage bulbs, 235 lensbaby lenses, 15 exposure, 191–192, 192 Lowel lights, 40, 40 lenses, 9, 103 fill,166 , 166, 172–173, 173 LP-E6 batteries, 100 accessories, 34–35 fire and flames, 178,179 luma, 303, 319–320, 319 adapters, 28, 30–31, 31, 56, 245 flags,186 luminance, 303, 311 angle of view, 13

876602bindex.indd 397 11/9/11 3:02:48 PM 398 ■ Index

M reference audio, 202 N shotgun, 201–202, 202, 205 M-Audio Microtrack device, 290 naming clips, 254–255, 254–255 tips, 209 M-One motors for follow focus, 50 National Television System Committee types, 204–205, 205 macro lenses, 14 (NTSC) standard, 8, 23 midtones in tonal range, 321 macrocontrast, 117 native ISOs, 62–63 Minority Report, 357 Magic Bullet Look Suite, 346 naturalistic light scenario, 165, 165 MIRED values, 305 Magic Lantern firmware,215 near-side keys, 170, 170 mirror images, focusing on, 118 magnification Necessary, Darin, 52 mirror RAIDs, 272 multiple levels, 243, 243 nets, lighting, 188 mirrorless cameras, 25–26 sensors, 3, 19 neutral-density (ND) filters,32 mirrors in lighting, 161, 161, 178, 179 viewfinders,70 color, 305 mismatched color balance, 247–248 Manfrotto tripods, 46, 54 emergency items, 234 mist, 349 manual controls testing, 68–69 mixers, 42, 42 camera selection factor, 26 neutral picture style, 79, 80 moiré patterns, 245–247, 246, 264 follow focus, 49 new lenses vs. old, 27 moisture and viewfinders,69 sound recording, 198, 198 night lighting, 177–178, 177 Mole-Richardson lights, 40 Marshall monitors, 38, 38, 260 Nikkor lenses, 23 monitors, 37 masks Nikon APS-C sensors, 3, 3 accuracy, 258–262, 259–262 color correction, 323 Nikon cameras cables, 57 creating, 354–355, 355 capture formats, 226 calibrating, 71–76, 72–75 elliptical, 344, 344 file numbering,222 checking, 265 feathering, 356, 356 folders, 223–224, 223–224 color, 317 vignettes, 324–325, 324 mounts, 31 covering, 72, 72, 258, 258 master digital files, self-contained, Nikon D3S gear packages, 56 330–332, 331 ISO settings, 24 onboard, 37–38, 38 master shots in troubleshooting, 264 recommendations, 25 studio, 39, 39 Match Lens MatchLens app, 236 sound recording, 199 monochrome picture style, 79, 80 matching Nikon D90, 1–2 monopods, 139, 139 cameras, 134, 248 Nikon DX, 17 mood, lighting for, 166 close-up lighting, 180 presets, 78, 80 moon in night lighting, 178 color and frame rates, 100, 100 recording time limits, 102 Mophorentals.com site, 29 Matrix, 345 Nikon lenses, 29–30, 121, 122 motion matte boxes NLEs. See nonlinear editors (NLEs) camera. See camera motion buy vs. rent decisions, 56 nodal points, 17 car shots, 383 camera selection factor, 31–32, 32 noise and compression, 328 testing, 69 color, 323 perceived distance and compression, 112 MB-105 matte boxes, 32 grain, 357 motion-picture film sizes, 6,6 Media Composer editor, 280 image sharpness, 116 motors for follow focus, 50 Medium sensitivity sound recording image stabilization, 199 mounts setting, 199 ISO settings. See ISO settings camera, 49 memory cards off-axis noise rejection, 208 lenses, 30, 30–31 cases, 57 from overheating, 257 rigs, 145 labeling, 219, 219 overview, 250–251, 250–251 sled, 387, 387 managing, 102–103, 102 sensor size, 6 MOV containers, 275 selecting, 53 wind, 202 Movie Exporter dialog, 279, 279 transferring files to hard drives, non-full-frame sensors, 2 movie files, downloading and viewing,225 , 224–226, 225 nonconforming mounts, 30 225 menu settings, 265 nonfluid head tripods,138 movie lens kits, 28 metering nonlinear editors (NLEs) Movie Settings dialog, 337–339, 337–339 exposure, 63–64, 63, 253 audio, 291 Movie Slate app, 237 lighting, 161 choosing, 280, 280–281 MPEG Streamclip, 278–279 microcontrast, 116–117 color bars, 259–262, 259–262 multipass compression, 328 microphones organizing footage, 281–283, multiple batteries, 100 boom, 43, 43, 205–206, 205 281–283 multiple cameras buy vs. rent decisions, 56 normal lenses, 13 color, 306–307 car scenes, 211 normal perspective, 103–104 matching, 248 clips, 206, 206 NTSC (National Television System multiple light sources in color, 303–304 overview, 197–200 Committee) standard, 8, 23 multipliers, 35 placing, 206–209, 207–209 numbering files,219–222 , 220–221 music tracks, 294, 294 recommendations, 43–45, 43–44 MVA monitors, 39

876602bindex.indd 398 11/9/11 3:02:48 PM Index ■ 399

O perspective power line frequency, 249 camera motion for, 126 Power Load Calculator app, 237 O-rings, 376 changing, 264 Power Mask software, 324–325, 324 objective camera angles, 106 lenses, 103–107, 104 power windows method, 343 objective properties of color, 302–303, 302 perspective distortion, 114 practicals, 160 O’Connor tripods, 55 phantom light, 305 Premiere Pro, 276, 280, 281 off-axis noise rejection, 208 phantom power, 204 presets offline editing,277–278 , 277 Phase Alternating Line (PAL) system, 23 creating, 81 old lenses vs. new, 27 photo lenses vs. cine-style, 10–12, 10–11 in-camera, 78 Olympus camera presets, 78 PhotoBuddy calculator app, 237 Canon picture-style settings, Olympus Four-Thirds chips, 17 PhotoCalc app, 237 79–80, 79 omnidirectional microphone pickup physical film sizes, 5–6,5 , 6 image control. See image control pattern, 207, 207 Pi, 357 presets on-screen action, camera motion for, 127 pickup patterns, microphone, 207–209, white balance, 308 on-set light changes, 304 207–209 Preston follow focus, 49 onboard microphones, 43 picture cars, 378, 384 previsualization of camera motion, 134 onboard monitors, 37–38, 38 picture style primary color correction, 315, 319, 180 ° rule, 390–391 adjusting, 85–86, 85–86 341–342, 342 one lens selection, 28 Canon, 79–80, 79, 92–97, 92–97 primary colors, 299 online editing, 277–278, 277 color, 309–310 prime lenses, 12, 12, 26–27 operator-based stabilizers, 142–143 pincushion distortion, 114 printouts, 235 out-of-focus areas, 113 pixel binning, 245 priority of lighting, 166 out-of-sync sound, 289–291 pixel problems, 257, 257–258 Pro-Mist filters, 31 output pixelization in viewfinders,70 Producer app, 238 authoring, 333 PL (positive lock) mounts, 23, 30, 30 professionals for sound, 196 compressions, 332–333 planning progressive (p) frame rates, 7 creating, 332 camera motion, 134–135 ProMist filter, 349 self-contained master digital files, lighting, 158 ProPhoto RGB color space, 39 330–332, 331 power, 238 ProPromter app, 237 web publishing, 333–337, 334–337 plastic bags, 235 ProRes files, 278 overheads, 187 plastic zip ties, 234 Proximity Effect, 208 overheating, 256–257 pluge, 74, 260 proximity in underwater cinematography, 366 PluralEyes plug-in, 45, 286–288, 286–287 publishing to web, 333–337, 334–337 P Pocket LD lighting program, 236 pull-backs, 130, 130 p (progressive) frame rates, 7 pocket levels, 234 pull-outs, 130, 130 P-taps, 101, 101 PocketDolly dollies, 48 pulling focus, 76, 118–121, 120–121 PAL (Phase Alternating Line) system, 23 point-of-view shots, 106–107 purity of color, 302 Panasonic cameras polarizing filters, 31,33 push-ins, 129–130, 129–130 capture formats, 226 poor man’s focus rings, 119, 119 PVA monitors, 39 four-thirds chip, 17 portable dollies, 47–48 PZM microphones, 204 Panasonic GH1, 25 portrait picture style, 79, 79 Panasonic GH2 position, camera motion for, 127 Q independent budget packages, 55 positive lock (PL) mounts, 23, 30, 30 quality of lighting, 188–190, 188–190 ISO settings, 24 post-production, 341 QuickTime format, 331, 331, 334 recommendations, 25 color correction, 315 presets, 78 primary, 319, 341–342, 342 R recording time limits, 102 regional, 343–345, 343–344 Panavision lenses, 29 secondary, 323–324, 345–348, RAID (redundant array of independent pans, 128–132, 128–130, 132 347–348 disks), 271–272, 272 passenger seat, car shots from, 381 faux lens effects, 349–353, 349–353 rasterization, 317 patterned light, 188 foundation for, 267–268 RAW still images, 84–85 patterns, microphone pickup, 207–209, grain, 356–359, 357–360 rear projection systems, 383 207–209 settings, 88–90, 89–90 rearview mirror, chase scenes in, 386, 386 pCAM app, 236 vignettes, 353–356, 354–356 recording sound, 197–199, 197–198 pCAM Film and Digital Calculator app, 237 poster board, 235 external devices, 199–201, 200–201 peaks, audio, 199 posterization, 251–252, 252, 313, 313 headphones, 203 Pelican cases, 52, 52, 57 power length limitations, 67 pendulum pans, 132, 132 cameras, 100–101, 101 reference audio, 201–202, 202 perceived distance, 110–112, 111 microphones, 204 syncing problems, 290 perception of color, 300 planning for, 238 time limitations, 102 permanent lens gearing, 121, 121 testing, 78 tips, 212 XLR audio adapters, 202–203, 203

876602bindex.indd 399 11/9/11 3:02:48 PM 400 ■ Index

recursive backups, 274 rolling shutters, 141, 239–241, 239 size, 2–7, 2–6 red, green, blue (RGB) color system, 299, 299 room tone audio, 213, 292–293, 293 camera selection, 22–23 red color, 298–299, 298 rotoscoping, 343 and lenses, 16–18, 17–18 red-difference chroma, 311–312 rough audio, 255 stabilizing, 141 Red Head wind screens, 202 Rounded Rectangle mask tool, 354, sets of primes, 12, 12, 26–27 Redrock Micro products 354–355 744T digital recording device, 290 follow focus, 49, 49 Roxio Creator 2011 program, 333 shade for windshield shots, 378 handheld rigs, 150 Roxio Toast 10 Titanium program, 333 shadows loupe, 36 rubber arms, 390 adjusting, 321 microFollowFocus gears, 120 rumble filters, 210 lighting, 176 mount, 51, 51 run-throughs for camera motion, 135 shape of light, 161, 161 V2 rig, 144, 144 Rycote wind screens, 202 Sharpie pens, 234 redundant array of independent disks ( sharpness, 115–116 RAID), 271–272, 272 S aperture, 117 reference audio, 201–202, 202 S/N ratio (signal-to-noise ratio), 8 excessive, 249 reflected surfaces,110 S-shaped curves, 87, 87 filters, 68 reflections Sachtler tripods, 46, 46–47, 55 focus. See focus focusing on, 118 safety in rigging cars, 378 image, 116 glare, 180 sampling sound, 200 lenses, 116 windshield shots, 378 sandbags, 136, 234 presets, 82–83 reflectors SanDisk CF cards, 53 shift lenses, 15, 15 as emergency item, 235 saturation shimmer, 246 lighting, 187–188 adjusting, 346–348, 347–348 shooting flat,88–90 , 89–90, 309–310 regional color corrections, 343–345, 343–344 color, 300–301, 300 shooting-related problems, 238 Register Picture Style File window, 96, 96–97 controls, 86 artifacting, 245–247, 246–247 Register User Defined style, 96 presets, 83 audio and timecodes, 255 registering camera settings, 82 saving color cast and mismatched color balance, rehearsals for camera motion, 135 picture style, 94 247–248 relative color value, 300–302, 301 shots, 264 day-for-night solutions, 253–254 Rembrandt lighting, 176 Saving Private Ryan, 346 exposure, 252–253 remote cameras, 76–77, 233 scanned film grain, 357,357 focus, 241–245, 241–245 remote heads for follow focus, 154 scene consistency, light in, 304 naming clips, 254–255, 254–255 rent vs. buy decisions, 56–57 schedules, 265 noise, 250–252, 250–252 renting lenses, 29 scopes, color rolling shutters and sensors, 239–241, 239 resolution of monitors, 71–72 contrast and tonal range, 319–320, shutter speeds and frame rates, restricting movement, 127 319–320 248–249, 248 resumable uploading, 335 hue and saturation, 321–322, 322 shooting up in underwater cinematography, retracking, 131–132 reading, 316–318, 316–318 371, 371 Retrospect backups, 274 Screenplay app, 238 shotgun microphones reversing rings, 35 screw-on filters, 32 boom microphones, 43 RGB (red, green, blue) color system, 299, 299 scrims, 185, 185 description, 205 RGB 8-bit color, 312 scripts, sound in, 210 pickup pattern, 208–209, 209 RGB LED monitor backlighting, 39 Scripts Free screenwriting application, 238 reference audio, 201–202, 202 RGB parade, 318 Scripts Pro screenwriting application, 238 shoulder-mounted rigs, 143–149, 143–148 rigging scriptwriting apps, 238 Shure SM 57 microphones, 204 cars, 378 scuba diving, 363 Shurtape gaffer’s tape, 218 chase scenes, 384–387, 384–388 Sea & Sea housing, 364 shutters, camera interior dialogue, 378–383, secondary color correction, 315, 323–324, problems, 239–241, 239 379–382 345–348, 347–348 speed safety, 378 secondary colors, 299 adjusting, 248–249, 248 for motion, 133 self-contained master digital files, cinematic look, 389 in unique spots, 76–77 330–332, 331 testing, 66–67 rigs, handheld semi-fish-eye lenses, 114 shutters, light, 185 camera motion, 149–150, 149–150 Sennheiser microphones, 43–44, 44 side car windows, shooting through, 380, overview, 50–51, 511 sensitivity of audio, 199 381, 383 rim lights, 171, 175 sensors side lights, 169, 169, 171 Rocket Air Blower, 256, 256 cleaning, 256 sidewalk shots in chase scenes, 386, 386 RØDE Video Microphone, 43, 44 color, 312 signal-to-noise ratio (S/N ratio), 8 rods, eye, 298–299 dust, 265 silks in lighting, 186–187, 186 rods, support problems, 239–241, 239 single camera shoots, color in, 306–307 matte boxes, 32 shift lenses, 15, 15 16-bit color, 313 rigs, 150 skateboards, 234

876602bindex.indd 400 11/9/11 3:02:48 PM Index ■ 401

skew, 239–240, 239 handheld rigs, 149–150, 149–150 telephoto lenses, 13 skin tones, 83, 324 operator-based stabilizers, 142–143 focus, 108 sky, 353 reasons, 141–142 perspective, 103 skylight filters,33 shoulder-mounted rigs, 143–149, temperature, color, 300 skylines in car shots, 383 143–148 correction, 342 slates, 45, 45, 57, 212–213 sliders, 151, 152 day-for-night solutions, 254 sled mounts, 387, 387 stabilizing rigs, 142 green screen, 182 sliders unique movement and support, 153, 153 lighting, 163 buy vs. rent decisions, 57 standard picture style, 79, 79 multiple light sources, 303–304 stabilizing camera motion, 151, 152 Standard Video Compression Settings testing, 66, 66, 70–71 slow lenses, 9 dialog, 338, 338 temporal compression, 328 slow motion, 7, 23, 389–390 Star Trek TV series, 349 Teradeks Cube monitors, 39 smear problems, 241 Star Wars, 196 testing SmugMug video-sharing site, 337, 337 static electricity, 229 cables, 77 snoots, 185 Steadicams, 50–51, 51, 143, 143, 154–155 camera movement, 77 snorkeling, 363 stills camera-specific,59–66 , 61–63, 65 soft light, 188–189, 188–189 camera recommendations, 25 color temperature, 66, 66 night shots, 178 capturing, 283 exposure, 63–66, 63, 65 three-point setup, 175 RAW images, 84–85 file formats and codecs,67 working with, 190 stop motion, camera recommendations for, 25 filters,68–69 softening blankets, 190 store lights, 234 focus pulling and follow focus, 76 solid objects, moving and tracking storyboarding, 135 frame rate and shutter speed, 66–67 through, 132, 132 Streamclip tool, 278–279 ISO, 60–63, 61–63 sound. See audio strobes, 367–370, 370 lenses, 67–68 sound-deadening blankets, 101, 209 stuck pixels, 257 lighting, 70–71 Sound Device audio recorders, 200–201, 201 studio dollies, 46 matte boxes, 69 Sound Settings dialog, 339, 339 studio lighting, 40, 40 off-camera audio, 77 sources in three-point light setup, 176 studio monitors, 39, 39 power, 78 spatial compression, 328 subjective camera angles, 106 recording length limitations and file size specialty lenses, 13–14 subjective lenses, 15 limitation, 67 speed subjective properties of color, 300–302, viewfinders,69–70 audio clips, 290 300–301 white balance, 66, 66, 80 hard drives, 273, 273 subsampling, 313–315, 314 texture, artificial, 188 shutter Subtract mode for masks, 355, 355 third-party picture style, 97 adjusting, 248–249, 248 subtractive color system, 299, 299 third stops, 10 cinematic look, 389 suction cups 30 fps rate, 7–8, 24 testing, 66–67 chase scenes, 387 THM files,227–228 , 227–228 underwater cinematography, 369 windshield shots, 379 three-point light setup, 173–176, 174–175 Speed Racer, 357 Sun Seeker program, 236 throwaway shots, 264 spinning wheels in chase scenes, 387, sunlight tilt lenses, 14, 14 387–388 consistency, 304 tilted camera angles, 106, 128 split density filters, 34 reflecting, 187 time lapse, camera recommendations for, 25 split-field diopter lenses, 35 tracking, 236 Time Machine, 274, 274 splits, 374 Sunny 16 rule, 368 timecodes splitting super telephoto lenses, 13 app for, 237 focus, 118 supports lack of, 255 headphone jacks, 203 gear packages, 56 timeline setup for audio, 290–291 spot color corrections, 323 stand-ins, 234 timestamps, clocks as, 224 spot meters, 64 surfaces, reflected,110 timing of lights, 158–159, 159 spotlights in car shots, 383 suspension-style clips, 206 tints, 351–353, 351–353 spots on lenses, 255–256, 256 syncing TN monitors, 39 sRGB color space, 39 sound and video, 45, 285–289, tonal range stability, viewfinders for,69 285–289 color, 318–319 stabilizers troubleshooting, 289–291 description, 61 buy vs. rent decisions, 57 increasing, 321 operator-based, 142–143 T traces, waveform, 317 overview, 50–51, 51 t-stops, 9–10 track dollies, 47 stabilizing camera motion, 140–141 tape, 234 tracking, 131–132 aerial rigs, 152–153, 152 teasers, 186 transferring CF card files to hard drive, dollies, 150–151, 151 tele-extenders, 19 224–226, 225 editing and cutting, 154–155 teleconverters, 35 traveling mattes, 343

876602bindex.indd 401 11/9/11 3:02:48 PM 402 ■ Index

trichromats, 298, 298 vampire clips, 206, 206 wide-angle lenses, 13 trigger fish, 365 variable aperture zoom lenses, 12 distortion, 114 tripod dollies, 46–47 variable-focal-length lenses, 123 focus, 108 tripods, 46–48, 46–48 variable ND filters, 32 perceived distance and compression, 112 angles, 140, 140 emergency items, 234 perspective, 103 blockbuster budget packages, 55 testing, 68–69 widen-outs, 130, 130 camera motion, 135–138, 135–138 vectorscopes, 318, 318, 321–322 Wiggler Window, 359, 359–360 chase scenes, 384, 384, 386, 387 versatile lens kits, 28 windows for car shots, 380, 381, 383 emergency items, 234 vibration reduction, 117–118 Windows Media Video (WMV) format, fluid head and a nonfluid head, 46, video 277, 344 138, 138 audio syncing, 285–289, 285–289 windscreens, 202, 209 head plates, 139, 139 color spaces, 310–311, 311 windshield, shooting through, 378–380, independent budget packages, 55 compression. See compression 379–380 low budget packages, 54 Video Copilot, 345 wireless follow focus, 49, 50 windshield shots, 380, 380, 382, 382 video-sharing sites, 337, 337 wireless microphones, 44–45, 44 troubleshooting, 233 Video Space Calculator app, 237 wireless monitors, 39 emergency items, 233–235 videolike sharpness, 249 Wizard of Oz, 346 hardware problems. See hardware view features, 35 WMV (Windows Media Video) format, problems LCD screens, 35–36, 35 277, 334 iPhone/iPad applications for, 236–238 monitors, 37–39, 37–39 workshops shooting-related problems. See shooting- viewfinders,36 , 36 cinematic look, 389–391, 389–391 related problems for focus, 241, 241 rigging cars, 378 syncing, 289–291 gear packages, 56 chase scenes, 384–387, 384–388 trucking, 131 testing, 69–70 interior dialogue, 378–383, true ISOs, 62–63 viewing movie files,225 , 225 379–382 turning wheels in chase scenes, 387, vignettes, 69, 323, 353–356, 354–356 safety, 378 387–388 Vimeo video-sharing site, 337, 337 underwater cinematography. See 24 fps rate, 7, 23–24 visible light, 302, 302 underwater cinematography 25 fps rate, 7, 24 VistaVision size, 4, 4 Wratten, Frederick, 33 29.97 fps rate, 7–8, 24 visual priority in lighting, 166 Wratten numbers, 33 Twixtor program, 291, 389–390, 389 visualization benefits of camera two-pass compression, 328 stabilization, 142 X XDCAM files U W editing, 278 U channel, 311 War of the Worlds, 357 storage requirements, 269 ultraviolet filters,33 warm color, 301 XLR audio adapters, 202–203, 203 umbrellas, 235 water. See underwater cinematography underwater cinematography, 363–364, 364 watertight housings, 364, 364 Y autofocus, 375 waveform scope, 317, 321–322 Y-cable splitters, 203 buoyancy, 371–372 wavelength of color, 302 Y channel, 311 distance, 366, 367 weather, 235–236 Y waveform, color, 319, 319 example, 365–366 Weather Bug Elite app, 236 YCbCr parade, 318 flash,367–370 , 370 Weather Channel app, 236 yellow color, 299 histograms, 376–377 web, publishing to, 333–337, 334–337 YouTube, 334–336, 334–336 lenses, 372–374, 372–373 weight for stabilization, 141 YUV color space, 311–312, 311 manual methods, 375 wetsuits, 364–365 YYMMDD naming convention, 226 pre-dive prep, 376 wheels in chase scenes, 387, 387–388 preparation, 375–376 whip pans, 129–131, 129–130 Z risks, 364–365 white-and-black poster board, 235 shoot up, 371, 371 white balance Zacuto Z-Finder, 36, 36, 150 subjects, 374–375, 374 color, 306, 322, 322 Zeiss lenses, 11, 29, 55, 121, 121 Underworld series, 346 day-for-night solutions, 254 zeppelins, 209 unique movement and support, 153, 153 light, 163 zone system lighting, 191–192 unsynced files,288–289 , 288–289 setting, 307–308, 307–309 Zoom H4n audio recorders, 200, 200, USB 2.0 standard, 270–271, 270 testing, 66, 66, 80 202, 290 white balance cards, 234 zoom lenses, 12–13, 12–13 V white gaffer’s tape, 218 emergency items, 233 white light in underwater low budget packages, 54 V channel, 311 zooming, 123, 123, 129, 129 VA monitors, 39 cinematography, 367 value of color, 300, 300 whites setting, 320

876602bindex.indd 402 11/9/11 3:02:48 PM