- Paperback: 440 pages
- Publisher: Focal Press; 3 edition (September 17, 2016)
- Language: English
- ISBN-10: 1138940925
- ISBN-13: 978-1138940925
- Product Dimensions: 7.5 x 1 x 10.4 inches
- Shipping Weight: 2.6 pounds (View shipping rates and policies)
- Average Customer Review: 12 customer reviews
- Amazon Best Sellers Rank: #13,423 in Books (See Top 100 in Books)
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Cinematography: Theory and Practice: Image Making for Cinematographers and Directors (Volume 3) 3rd Edition
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"It’s been a painful transition from film to digital for many cinematographers. Brown takes the mystery out of it and presents the technical aspects of this change seamlessly. It is, after all, about art!"
- Judy Irola, ASC, Conrad Hall Chair in Cinematography and Color Timing, USC School of Cinematic Arts
"As a practicing cinematographer who also teaches, I consider The Filmmaker’s Guide to Digital Imaging essential reading for my students. Blain Brown demystifies the technical processes of digital cinematography from the most basic to the more complex. Given the recent rapid development in this field, working professionals too will find this is a must-have guide. I’m one of them."
- Anthony Jannelli, Head of Graduate Cinematography, Tisch School of the Arts, New York University
About the Author
Blain Brown was educated at C.W. Post College; M.I.T. and Harvard Graduate School of Design. He began in New York as a commercial still photographer before starting in the film business. After working as a gaffer, be became a cinematographer doing primarily commercials and music videos. After completing his first feature film, he moved to Los Angeles where he has been Director of Photography on 14 feature films as well as national commercials, promotional films, industrials, music videos and documentaries. He has worked in many states in the U.S. as well as Mexico, Canada, India, Italy, France, the Philippines and Jordan. His experience includes 35mm and 16mm projects, as well as 24P High Def, DigiBeta, BetaSP and DV. He has completed projects as a director, editor and screenwriter; with three screenplays produced. He has also taught courses in storytelling and visual communication. As a Director of Photography specializing in features and commercials, he is now based in Los Angeles. His books include A Sense of Place; Motion Picture and Video Lighting and The Filmmaker's Pocket Reference. His work can be seen at www.BlainBrown.com.
Top customer reviews
In a well written, if occasionally repetitious exploration, Brown begins by telling how what appears on the screen can be shaped to effectively tell a story. He then turns to explore the tools used to create what goes on screen, including cameras, lighting, camera movement and set operations. His descriptions can be quite detailed, as in the eight pages of the book's smallish type explaining how to work the slate used at the beginning of a take.
I was pleased by the discussion called "Linear, Gamma, Log" which explained compression systems designed to extend the range of light in capturing video. On the other hand, I wish the author had had more concrete suggestions on the various settings that one can change in a modern digital camera to create the compression schemes. It's also would have helped if there had been a little exploration of the post-processing that goes into decompressing these schemes.
One can gather from the book that the set is organized into a very rigid hierarchy, where a grip would never speak directly to a director, and where each person has strictly defined roles. For a person entering into this hierarchy, Brown explains all the do's and don'ts that a person needs to keep out of trouble.
For the "lone wolf" or even small film crew, this book may be overkill. Reading about how a big crew handles things, like the marking of media that has been used and not yet downloaded, can be useful in the translation to smaller operations. On the other hand, exploring the variety of lights that are available on a big production may not be of much use to a filmmaker with a couple of LED panels at his disposal.
The book has a companion web site. Readers should not look for an access code on the back cover but just go to the web site and follow the instructions for access. I found the videos there to just repeat what was said in the book, and to be of low quality for book on cinematography.
If you want a textbook that tells you about how large production crews work, this book is ideal. For smaller scale operations, you will have to infer a lot.
I'm truly satisfied with "Cinematography: Theory and Practice"( Blair Brown).