Table of contents : Half Title Title Page Copyright Page Dedication Table of Contents 1 Introduction Film on Video Format of the Book Video is Everywhere This Book is For You The Look of Film The Gold Standard A Brief History of the Filmmaking Process Enter Video Cinema-Quality Digital Cameras The Digital Revolution Digital Revolution in Big-Budget Movies The Cinematographer Activities Notes 2 Frame Rate What is Frame Rate? Minimum Perceptible Frame Rate Maximum Perceptible Frame Rate Early Frame Rates Varied Cinema Standard Frame Rate – 24 Fps Interlaced and Progressive Frames Video Standard Frame Rates High Frame Rate in Cinema HFR for Slow Motion Time-Lapse for Fast Motion Non-Standard Frame Rates 24 or 23.976? Frame Rate in Animation Artificial HFR Televisions Summary Activities Frame Rate Rules Recap Notes 3 Exposure Exposure An F/Stop Fast and Slow There is no Single ‘Exposure’ Control Exposure Triangle Which Part of the Exposure Triangle Should I Use to Control Exposure? Manual Mode Activities Exposure Rule Recap Notes 4 Grain Gain and Grain Grain Film Stocks Film Grain Digital Noise Native ISO Low-Light Performance Is Grain/Noise Good or Bad? Adding Organic Film Grain in Post Intentional and Unintentional Grain Noise Reduction Activities Grain Rule Recap Notes 5 Motion Blur Motion Blur Motion Blur in Animation Shutter Speed 180° Shutter Angle 45° Shutter Angle Activities Motion Blur Rules Recap 6 Depth of Field Depth of Field Sensor Size Aperture Your Hands are Tied ND Filter Deep Focus Activities Depth of Field Rule Recap Notes 7 Colour Colour in Two Parts colour Part One Colour Part Two YUV Colour Space Activities Colour Rule Recap Note 8 Camera Tools Camera Tools Cinematographer Craft External Light Meter Internal Light Meter IRE Histogram Waveform RGB Parade Zebra False Colour Focus Peaking Vectorscope Activities Camera Tools Rules Recap Notes 9 Dynamic Range Dynamic Range Intentional Under- Or Overexposure Contrast Ratio Luminosity Linear and Logarithmic Dynamic Range of Human Vision Dynamic Range of Celluloid Film Dynamic Range of Video Dynamic Range of Raw Video HDR – High Dynamic Range In Practice Overexposure Activities Dynamic Range Rule Recap Note on the Next Three Chapters 10 Image Plane The Film Gate Image Plane Celluloid Film Plane 8mm Super 8 16mm Super 16 35mm – Silent Movies 35mm – Academy 35mm – Widescreen Anamorphic 35mm Super 35 Techniscope VistaVision 65mm IMAX 70mm Digital Imaging Sensor Digital Sensor Sizes DSLR Sensor Size vs DSLR Video Imaging Global and Rolling Shutter Activities Image Plane Rule Recap 11 Aspect Ratio Aspect Ratios Early Film Aspect Ratios Widescreen Aspect Ratios TV Aspect Ratios Pillarbox and Letterbox What Aspect Ratio to Shoot? Activities Aspect Ratio Rule Recap Notes 12 Resolution Resolution Pixels Pixel Aspect Ratio Standard Definition – SD High Definition – HD Ultra High Definition – UHD Cinema 2K, 4K, 5K, 6K Over Scan Which Resolution? Resolution of Celluloid Archiving on Celluloid Activities Resolution Rules Recap Notes 13 Lenses Lenses Light Field of View Optical Compression Focus Three Main Categories of Lenses Lens Mount Prime Lenses Zoom Lenses Fixed Lenses Contrazoom Famous Focal Lengths Specialty Lenses Crop Factor Activities Lenses Rule Recap Note 14 Codecs The Versatility of the Celluloid Negative Cinema Raw Codec Containers Recording Formats Digital Cinema Packages Compression Methods Codecs for Different Purposes Example Workflow Pipeline Activities Codecs Rules Recap Notes 15 Cinematic Post-Production Cinematic Post-Production Native Image Quality Proxies Colour Correction LOG Footage LUT – Colour Correction Colour Grading Secondary Colour Grading LUT – Colour Grading Film-Stock Emulation LUTs Add Film Elements Third-Party Film-Stock Emulators Activities Cinematic Post-Production Rule Recap Notes 16 Camera Case Studies Structure of this Chapter Camcorders DSLRs Smartphone Cameras Action Cameras Digital Cinema Cameras Notes The Rules Glossary Index