Practical Cinematography, Second Edition by Paul Wheeler

By Paul Wheeler

I've got acquired and skim virtually each cinematography publication in the market, i discovered sensible Cinematography to be very informative. i admire the updates that have been extra for the second variation, as Paul Wheeler (the writer) explains a few evaluations have replaced over the process time. i think it truly is necessary to learn this e-book while you're a cinematographer and awaiting a while to get available in the market within the actual world!

The so much enjoyable bankruptcy I learn used to be concerning the movie lab, it explains visually the grain constitution and the layers at the movie facet for the bottom and emulsion. (Recommended).

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Extra info for Practical Cinematography, Second Edition

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To overcome the discrepancy between the theatrical cinema frame rate of 24 fps and the television rate of 30 fps they, effectively, show every fourth frame twice. For high-quality commercials for television in the USA, it is not uncommon to increase the taking rate to 30 fps. In the UK and other parts of the world, where the mains frequency is 50 cps, this results in a completed frame rate of 25 fps. It is normal to shoot at 25 fps if the film is intended only for television release. Feature films are still shot at 24 fps and, when shown on television, run 4 per cent faster than in the cinema and therefore the overall duration is also reduced by 4 per cent.

Having obtained what you believe to be a perfectly sharp image, immediately behind the cross in the centre of the viewfinder rock your eye very slightly from side to side. If you are in perfect focus the cross and the image will appear to move together. If you can see any apparent movement between the cross and the image you are not in perfect focus. This is known as parallax focusing, because if you see movement there is a parallax error between the plane of focus of the image and the plane of the cross on the focusing screen.

By carefully siting the hubs that will hold the plastic cores the film will come on, the magazine can be laid out so that even if the feed and take-up rolls do get close to each other they will never actually touch. This has two advantages: firstly, the magazine will be smaller than a design not taking advantage of the displacement effect; secondly, the whole device will be lighter, this being particularly valuable when the camera is to be hand-held or fitted to a steadycam rig. 8 can be seen a light trap.

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