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Table Of Contents

High Definition: A Quick Overview
1.1 What Do We Mean by High Definition (HD)?
1.1.1 The Knowledge Base
1.1.2 What Does It Mean to the Producer – Saving Money!
1.1.3 What Does It Mean to the Director?
1.1.4 What Does It Mean for the Director of Photography?
1.1.5 What Does It Mean to the Other Crafts?
1.1.6 Editing and Post-Production
1.2 Context
2.1 Progressive or Interlace?
2.2 How Many Pixels Do You Need?
2.3 Recording Formats
2.4 HDV – Can You Get Away With It?
3.1 What Does HD Look Like?
3.2 HD Images Compared with 35 mm
3.3 Anamorphic 35 mm
3.4 Comparisons with Super 16 mm
3.5 Comparison with Digi Beta
4.1 HD Shown on Television
4.2 HD Written to Film and Projected Mechanically
4.3 HD Shown on a State-of-the-art Digital Projector
4.4 Digital Projectors
5.1 Introduction
5.2 Examples of Venues
5.2.1 The British Academy of Film and Television Arts (BAFTA)
5.2.1.1 The venue
5.2.1.2 The digital projectors
5.2.1.3 Digital handling
5.2.1.4 What does it all get used for?
5.2.2 The National Film and Television School (NFTS)
5.2.2.1 The venues
5.2.2.2 The projectors
5.2.2.3 Digital handling
5.2.2.4 What do they get used for?
5.2.3 The Odeon Leicester Square, London
5.2.3.1 The venue
5.2.3.2 The digital projector
5.2.3.3 Digital handling
5.2.3.4 What does it all get used for?
5.3 How HD Cinema Projectors Work
5.4 Adding Color
5.4.1 Single-chip Projectors
5.4.2 Three-chip Projectors
6.1 For Delivery on Film
6.2 Higher Resolution in Post-Production
6.3 Multiformat Delivery Requirements
6.4 HD Projection
6.5 Encryption
6.6 Broadcast Delivery
6.7 Convertibility
6.7.1 Picture
6.7.2 Sound
6.7.3 Time Code
7.1 Multiple Standard Sales
7.2 Multiple Venue Sales
7.3 Additional Sales to HD Users
7.4 Future Proofing
8.1 Savings
8.1.1 Origination Costs – Different Formats
8.1.1.1 Stock savings – film to HDCAM
8.1.1.2 Insurance savings
8.1.2 Savings in Print Costs
8.1.3 Shooting for Anamorphic Release
8.2 Added Costs
8.2.1 Camera Kit Rental
8.2.2 Editing Costs
8.2.3 Writing Out to Film
8.3 A Cost Comparison Example –Oklahoma!
8.3.1 Stock and Processing Savings
8.3.2 Camera Rental
8.3.3 Additional Costs
8.3.3.1 Overall savings
8.3.4 Competitive Pricing
9.1 Should the DP Operate?
9.2 Do You Need a Focus Puller?
9.3 Do You Need a Loader?
9.4 Naming the Camera Assistants
9.5 Do You Need a Clapperboard?
9.6 Do You Need a Dolly Grip?
9.7 Sound
9.8 Electricians
9.9 A New Member of the Crew– the Data Wrangler or Downloader
10.1 The History of Digits
10.2 Digital Tonal Range
10.5 Required Resolution for HD
10.6 Data Quantity
11.1 A Little of the History of Television
11.2 Interlace Scanning
11.3 Progressive Scanning
11.4 Traditional Cinema Flicker
11.5 How are Images Captured by the Two Scanning Formats?
11.6 Printing Out to Film
12.1 Line Summation
12.2 Apparent Picture Quality
12.3 1080 Versus 720 in Television
12.4 Conclusions
12.5 Is HD Worth the Trouble?
13.1 Additive Color Imagery
13.2 The Three-chip Camera’s Beam Splitter
13.3 The Image Sensors
13.4 The Sensor Chip
14.1 What is Available?
14.2 CCD Sensors
14.3 CMOS Sensors
14.4 CCDs versus CMOS Chips
14.5 Color Filtering in Single Sensors
14.6 Bayer Pattern Filtering
14.7 Sequential Filtering
14.8 Comparative Resolution
14.9 Using Sequential Pattern Filtering
15.1 RAW Data Files, etc
15.2 4:4:4, 4:2:2 and All That
15.3 Look-up Tables (LUTs)
15.4 De-Bayering an Image
16.1 The HDCAM Format
16.2 Helical Scan Recording
16.3 Mechanical Considerations
16.4 The Drum Lacing Mechanism
16.5 Operational Considerations
16.6 A Jammed Mechanism
High Definition Cinematography
17.6.4 Exposing Using a Waveform Monitor
18.1 White Balance
18.2 What is White Balance?
18.3 Neutral Density (ND) Filters
18.4 A Warning!
18.5 Setting the White Balance Using a White Card
18.6 Setting the White Balance Using a Colored Card
18.7 Setting the White Balance Under Fluorescent Lighting
18.8 The Outer Filter Wheel on a Sony HDW Camera
18.9 Black Balance
19.1 The Camera Body
19.1.1 Menus
19.2 Lenses
19.3 Electronic Checks
19.3.1 Dead Pixels
19.3.2 Ringing – Or Whatever the Manufacturer Calls It
19.4 Temperature
19.5 Matching Cameras
19.6 Matching Lenses
19.7 Lens Vignetting
19.8 What Does It All Mean?
20.1 How to Choose a Lens
20.1.1 Resolution
20.1.2 Contrast
20.1.3 Perceived Sharpness with Regard to Contrast
20.1.4 Color Rendition
20.1.4.1 Overall color bias
20.1.4.2 Color fringing
20.1.4.3 What is fringing?
20.1.5 Breathing
20.2 Setting the Back Focus
20.2.1 Zoom Lenses
20.2.2 Prime Lenses
20.3 Focusing the Lens Using Back Focus Charts – Beware!
20.4 Back Focusing Using the Oval Rings Chart
20.5 Comparative Focal Lengths
20.6 Depth of Field
20.7 Calculating Depth of Field
20.8 Neutral Density (ND) Filters
20.9 Limiting Apertures
20.10 Filtration
20.10.1 Color Correction
20.10.2 Diffusion
21.4 Best Practice
22.1 It’s Not ENG!
22.2 Shipping Lenses
22.3 Transit Cases
22.4 Camera Set-up When Shipping
22.5 Size and Weight
22.6 Batteries
23.1 Synchronization
23.2 Time Code on Location
23.2.1 Lock-it Boxes
23.2.2 Script Boy
23.3 Time Code in a Studio
23.3.1 Genlock
23.4 Menu Set-ups
23.4.1 The Sony RMB 150
23.4.2 Using Memory Sticks
23.5 Matching Lenses
24.1 Resetting the Trips
24.2 Water
24.3 Heat
24.4 Cold
24.5 Dust
24.6 Gamma Rays
25.1 Fluid Heads
25.2 Geared Heads
25.3 Remote Heads
25.4 Under Water
25.5 In the Air
25.6 Motion Control Rigs
26.1 Art and Design
26.2 Costume
26.3 Make-up and Hair
26.4 Sound
26.5 Script Supervision and Continuity
26.6 The Second Assistant Cameraperson or Ex-Clapper Boy
27.1 Stating the Obvious
27.2 Problems and Solutions
28.1 The Studio Shoot
28.2 The Location Shoot
28.3 Exterior Tracking Shots
28.4 Interior Lighting
28.5 Adding Gain
28.6 Hand Holding
28.7 Editing Birthdays
28.8 Viewings
29.1 The Project
29.2 The Schedule
29.3 Preparation
29.4 Rigging and Equipment
29.5 Camera Equipment
29.6 The Shoot
29.7 Practical Matters
29.8 Monitoring, etc
30.1 How It Came About
30.2 The Shoot
30.3 How Did It Come Out?
30.4 Conclusions
31.1 The Choice of Cameras
31.2 In This Edition
31.3 My Disclaimer!
32.1 The Camera
32.2 Significant Improvements Over the D-20
32.3 The Camera Sensor
32.4 Interface
32.5 Lenses
32.6 Recorders
33.1 The Dalsa Origin
33.1.1 The Look-through
33.1.2 The Sensor
33.1.3 Interfaces
33.1.4 Conclusions on the Dalsa Origin
33.2 Currently Available Recorders
33.3 The Codex Digital Media Recorder
33.3.1 The Touch Screen
33.3.2 Monitoring via the Codex
33.3.3 Conclusions on the Codex
33.4 The Dalsa Evolution
34.1 The Camera
34.2 Frame Rates
34.3 Exposure Times
34.4 The Chips and the Processor
34.5 The VTR
34.6 Time Code
34.7 An Overview
35.1 The Camera
35.2 Menus
35.3 White Balance
35.4 The Camera Sensor
35.5 Formats, Outputs and Interface
35.6 Solid-state Recording
35.7 Viewing Logarithmic Images
36.1 A Little Background
36.2 First Impressions
36.3 The Camera
36.4 The Mysterium ™ Sensor
36.5 Shooting Costs
36.6 RED Marketing
36.7 Design Philosophy
36.8 Recording Media
36.9 Which Drive to Choose?
36.10 Basic Camera Specification
36.10.1 The Mysterium ™ Sensor
36.10.2 Image Processing
36.11 Conclusions
37.4.7 Black Stretch
37.4.8 Adaptive Highlight Control (Auto Knee Mode)
37.4.9 Knee Saturation Function
37.4.10 The Triple Skin Tone Detail Control
37.4.11 Level Depend Detail
37.5 Metadata Handling
37.6 The Sony Tele-File System
37.7 The Optional HDSDI Adapter
37.8 An Overview
38.1 The Camera
38.2 The Chips
38.3 The Processor
38.4 Additional Facilities
38.5 Menus
38.6 Overall Impressions
39.1 Some Background
39.2 Basic Specifications
39.3 Why Introduce These Cameras?
40.1 The Camera Body
40.2 Outputs from the Camera
40.3 The Hard Drive Recorder
40.4 The Beam Splitter
40.5 The Viper’s CCD Array
40.6 The Mechanical Shutter
40.7 Frame Rates
40.8 Resolution
40.9 The Camera’s Processor Configuration
40.10 The Camera Back
40.11 The Arguments for a Logarithmic Recording Format
40.12 Lenses for the Viper
40.13 Monitors for the Viper
40.14 Camera Accessories
40.15 Shipping the Viper
40.16 Conclusions
41.1 HD Cameras
41.1.1 Broadcast Cameras
41.1.2 Cameras That Really Emulate 35 mm Film
41.2 Recording Formats
41.3 Entertaining our Audience
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High Definition Cinematography Summits)

High Definition Cinematography Summits)

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Published by: difepape on Nov 12, 2011
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