Book Description
Ready to learn the visual effects techniques used at such leading-edge studios as Industrial Light + Magic and The Orphanage? Adobe After Effects 7.0 Studio Techniques inspires you to take your work to the next level with real-world examples and insider techniques. With this under-the-hood, in-depth guide to Adobe's updated motion graphics and effects powerhouse, you'll get complete coverage of all the big features in After Effects 7.0: High dynamic range (HDR) 32 bit per channel color compositing, cinema preview and color management, a redesigned user interface, a new Graph Editor to animate using explicit translation curves, retiming effects using Timewarp, and dozens of other enhancements. Get blockbuster results without the big budget as you delve deep into the essence of visual effects. This book goes beyond conventional step-by-step instruction, teaching you bread-and-butter effects that you can adapt and combine for countless projects.
- Real solutions from real professionals: learn the techniques and approach used to create shots for big-budget special effects films.
- Compositing essentials: No matter how sophisticated the effect, they all begin with the same building blocks. Find out what you've been missing about color and light matching, keying, motion tracking, rotoscoping, working with film, and more.
- Advanced techniques: Your goal should be effects so good that no one notices them. From sky replacement to explosions, from smoke to fire, learn to bring your shots to life and enhance scenes without anyone ever knowing what they're seeing isn't 100% real.
- Companion CD-ROM: Professional tools produce professional results. The book’s companion disc includes plenty of sample projects including HD footage from Pixel Corps and the Artbeats Digital Film Library, as well as more than a dozen plug-ins and programs that you can use to build up and customize your own effects.
Customer Reviews:
Great Book, one to keep by your side while in AE.......2007-08-24
This book is everything I had expected it to be. Not a tutorial book, but more a reference tool. Get in a jam, look it up and you will get ideas on how to get out, or workarounds.
Good for intermediate and advanced users.......2007-05-15
This book is good for people that know how to use After Effects already. It's a good book though full of illustrations and tips but lacks tutorials which would enrich the book a little more...If you are looking for a book to start using After Effects the best book is Adobe After Effects 7 Hands-On Training from Chad Fahs with Lynda Weinman. You read that book and you learn everything needed to work with After Effets 7, Full of tutorials, hi quality paper, color print, and tips all over the book. Simply amazing!
ESSENTIAL FOR VIZ F/X AND COMPOSITING.......2007-04-02
This updated edition improves on the 6.5 book in a number of ways. First, you have tutorials to practice the concepts. AE7 added new features that Mark makes sense of, namely 32 bit float. And he expands on topics and details. I literally compared 6.5 to 7, page by page. Though I owned 6.5, it's worth it to get this update, if for the tutorials alone.
This said, no one else has made easier sense of visual effects compositing. No one. All the other books are really directed at Shake. Which is great if you own or understand Shake. But if you own AE7, or the AECS3, you owe it to yourself to get this. You can live without the Classroom in the Book, not Studio Techniques.
As a final digression, this really is like the source for DV Rebel's Guide. They do not overlap material, but DV Rebel's Guide touches on issues that a crucial, but the author rightfully defers to this book for the indepth analysis and practices. So if you want to go further, look to DV Rebel's Guide. And if you got Rebel's guide and are confused by some issues, look here first.
Superb, Practical Advice.......2006-12-31
Practical is without doubt the best way to describe 'Studio Techniques.' Christiansen has written a book filled with very practical and powerful advice that is sure to delight. Learning to create effects is fundamentally all about two things:
1) Learning to think like a visual effects artist
and
2) Learning to think like After Effects
Christiansen does a superb job of melding these two together. His examples, while very useful for their specific results alone, are perhaps more useful in learning how to approach problems and solve them in the After Effects paradigm.
As an added bonus, 'Studio Techniques' is also riddled with very useful tips and notes that provide additional creative insight and warnings on oddities that occur, their cause, and how to solve them.
Turbo Chage Your Compositing.......2006-11-15
This is NOT a book to help you create your first AE project. You must already be comfortable with the program before you open the cover of this book. But, once you can walk, this book will help you run. You will learn the dark secrets of the hollywood masters of the mystic art of compositing.
Book Description
This book describes the major aesthetic image elementslight and color, space, time-motion, and soundand how they are used in television and film. Zettls comprehensive coverage of aesthetic theory and his inclusion of effective visuals and examples place this text in a class by itself.
Customer Reviews:
5 stars.......2005-10-10
The book is totally new and under very good condition, and the dilievery time is much earlier than i expected.
Best in field.......2004-12-28
This text thoroughly explains the intricacies of applied media asthetics in a concise and completely accessible way. It is a well organizied text that ehances its presentation through the use of many illustrations. I believe that this is the best text on the subject and that it has been since its first edtion.
motion graphics professor.......2002-06-04
"Sight, Sound, Motion: Applied Media Aesthetics explains the WHY of film and video production. If you're looking for HOW then turn to another book."
I would disagree with the above review. Only by learning WHY first, can we learn HOW later. This book is more than a cookie cutter approach to film and video. If you want to "click and drag" your way through an editing program, then true, this book is not for you. Add this to your collection if you want a book that teaches how to see and create film. Sight, Sound, Motion: Applied Media Aesthetics has staying power.
Fundamental book on the theory of the moving image.......2001-05-20
This was the assigned textbook for my digital video 2 class, and it is simply wonderful. Zettl is a very knowledgable man on the subject of creating images for film, video, and even new media. (Zettl's text Video Basics 3 was used in my digital video 1 class as well) This book lays a solid foundation for the theory behind how and why the viewer perceives the moving image, and how the filmmaker and video producer can create more pleasing and coherent productions.
While the biggest complaint I've heard about this book is it's over-reliance on theory, it still does a good job of contextualizing theory into practical application. Thus the title of the book: APPLIED Media Aesthetics. Although I haven't read any of Eisentien's theories behind filmmaking, I suspect that Zettl's treatment would compete rather well, and is probably more accessible for a modern reader.
This book covers all the bases from color and light, time and space and structuring audio to image. Zettl succintcly deconstructs the intelligent mind behind the images and sound of our cultures film and television productions.
Sight, Sound, Motion: Applied Media Aesthetics explains the WHY of film and video production. If you're looking for HOW then turn to another book.
The Filmmaker's Bible of Aesthetics or What Works and Why.......2000-11-04
This is probably the most important textbook a film production student can have on his/her shelf. NOT for how to work with actors or how to light a scene, but for understanding the underlying reasons of why things work due to our learned aesthetics and Western sensibilities.
Professor Herbert Zettl has written the most concise manual on why we has film viewers percieve things the way we do. He explains in detail (and layman's terms) how our aesthetics have been formed to interpret the dynamic medium of film and television.
How editing of action from shot to shot creates the illusion of continuous motion. How stagelines work so not to give the effect that your actor is jumping around from one side of the scene to the other. How to crop your shot BETWEEN the bodies natural cut-off points (i.e. neck, elbow, waist) to prevent the actor from looking like a disembodied head or torso.
This book is cover-to-cover insights into what we as viewers take for granted when we watch a good filmmaker's work, but may not consider when faced with the daunting task of mounting a film production and the on-set "reality" problems that dominate the filmmaker's mind when shooting a film.
I first read this book when I was in film school twenty years ago. Since then I have directed many professional film productions and I still review it before starting a new one to refresh myself.
Just as Syd Field's book "Screenplay" is the bible for screenwriting, "Sight Sound Motion" is the bible on understanding what works in film/video and why.
Book Description
Offers user-friendly knowledge and stimulating exercises to help compose story, develop characters and create emotion through skillful creation of the sound track.
Customer Reviews:
One of my all time favorite books........2007-06-19
"Sound Design" by David Sonnenschein is a very rewarding and fascinating read. Full of knowledge and practical examples as well as exercises to develop the reader's own awareness for sound. It's became one of my all time favorite books.
I highly recommend it to anyone interested in sound... be it for film or radio.... or music...
Great Service.......2007-03-10
It was shipped the same day and delivered a few days later. For those college students that get ripped off at their school bookstore this is a must.
A most excellent read and perfect for classes in sound design.......2007-02-12
David Sonnenschein's book is my "go-to" book for not only the quality of information that he presents but the interesting way that it is told. This book is an excellent read besides being extremely informative. I find that these are the best to assign to my students as many texts are just that: texts - dry and dull. David Sonnenschein presents the information herein in a delightful way and has many excellent tips on the overall shape of sound.
A great book, full of examples and creativity.......2007-01-30
I have to thanks deeply Mr D. Sonnenschein for this incredible book. I enjoyed it so much. This book helped me so much understanding the 'how' of sound effects and ambiences in movies. For sure a good choice and a good book.
I just can give an advice: buy it!!! I am a sound designer in Spainn and I consider this book a must.
Thanks David!
Great book to teach with!.......2006-01-26
I use this book in my Sound Design class at the University of Saint Francis. It is a great foundation upon which you can build confidence in your inexperienced students just by having them read the book! Also it helps make sense out of the confusion of directors dealing with sound and audio crew. This book has made my teaching job a lot easier and the students of my class a lot more saavy in sound design.
This book also would be excellent for anyone interested in the sound of movies and TV. AND it is essential reading for any Director (any GOOD Director, that is) Thanks David Sonnenschein for writing it!
Average customer rating:
- Making complex issues clear
|
Making Media: Foundations of Sound and Image Production
Jan Roberts-Breslin
Manufacturer: Focal Press
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ASIN: 024080502X |
Book Description
Making Media takes the media production process and deconstructs it into its most basic components. Students will learn the basic concepts of media production: frame, sound, light, time, motion, sequencing, etc., and be able to apply them to any medium they choose. They will also become well grounded in the digital work environment and the tools required to produce media in the digital age. A CD-ROM, compatible with both Macs and PCs, will provide interactive exercises for each chapter, allowing students to explore the process of media production. The text is heavily illustrated and complete with sidebar discussions of pertinent issues.
Focusing on the building blocks that transcend the boundaries between film, television, multimedia, and the Internet, this highly illustrated and interactive text stresses the commonalities of various types of media and prepares the student to succeed within a wide range of disciplines.
*Prepares students to move with ease into any number of media disciplines - film, video, photography, audio, multimedia
*Includes companion CD-ROM with interactive exercises
*Highly illustrated throughout
Customer Reviews:
Making complex issues clear.......2004-12-24
This book has been a real life saver for me on my first semester at graduate school. The other media books I had to read were overwhelming with never ending details and jargon language. Roberts- Breslin's book explains everything plainly from start to finish. She has an uncanny ability to simplify extremely complex matters. Even with no prior knowledge of the technical aspects of media making I now have a solid foundation.
The main terms are bolded, and also listed in the end so you can read the book beginning to end or just look up specific topics. The attached CD is a great addition as it visually illustrates concepts that are difficult to explain verbally, such as the different camera movement (What is the difference between the pan and truck movement?) or the phi phenomenon.
Another great thing about the book is the practical tips it gives to a beginner. Logging all my footage, for example, would have never accrued to me, but it made editing so much more manageable and must have saved me hours upon hours.
Book Description
Film is a powerful medium. Successful filmmakers possess the passion to visually tell a story that will affect people's emotions, make them see things differently, help them discover new ideas, or just create an escape for them.
Whether you love the experience of being enthralled by movies or the excitement, challenge, and magic of making the movie yourself, Filmmaking For Dummies is your primer to creating a respectable product. For the seasoned professional, this friendly reference can inspire you with fresh ideas – before you embark on your next big flick. Get ready to roll with expert information on
- Defining the difference between independent and studio films
- Knowing what genre fits your fancy
- Finding perfect locations
- Storyboarding your film
- Directing the action
- Giving credit and titles
Written from the author's 30 years of hands-on work as a writer, producer, and film director, Filmmaking For Dummies carries you through from screenplay to distribution, with lots of experience-packed insight into
- Writing or finding a screenplay
- Raising financing for your film
- Budgeting and scheduling your film
- Hiring the right actors and crew
- Planning, shooting, and directing your film
- Putting your film together in the editing room
- Finding a distributor to get your film in from of an audience
- Entering (and maybe even winning) film festivals
Taking into account the advent of digital technology, author Bryan Michael Stoller focuses on creative elements that apply to both film and video production. He also points our technical differences and notes the many similarities between traditional and newer age making of motion pictures – all in a fun and engaging way that'll have you shooting for the stars!
Customer Reviews:
Good overall reference........2007-07-19
Good overall reference for filmmaking, for the beginner. For the experienced, good reminder of the basics that one might have forgotten.
Filmmaking for Dummies.......2005-07-19
The book is very helpful. It brings a lot of good information for new filmmakers. You can find tricks, terminologies, tips, techniques, and more to start your career as a new filmaker. There are many good material to learn. The author uses recent movies as examples. It covers many aspects of the filmmaking industry and how to make a low budget film. Beside, the book brings a lot of links to interesting web pages related with the filmaking industry.
Well written, but content is misguided.......2004-04-16
I read this book, as well as others, because I'm taking a stab at filming a screenplay with some other people. I have enjoyed some of the other dummies books, but I thought this one was off target. It is very high level. For example, in the first or second chapter, he goes over what the job roles are for the production assistant, and ten other job titles you might see at the end of a Hollywood movie, and I'm thinking to myself, am I really going to have a full-time grip on my movie? I was hoping this book would focus on the nuts and bolts of making a small-budget / zero-budget film, but it talked about numbers that apply to people who aren't going to be reading a dummies book. On the whole, I thought it was a real surface look at independent filmmaking, and would be appropriate for someone who wanted to learn about it, but not do it. You would be better off buying IFILM Filmmakers Handbook and some individual books on lighting and sound if you really want information about how to make your own film. A lot of the information in this book can be found on the web, also.
Perty Good Book.......2004-03-09
Hey. Well, I got lade off at the plant, so I got this book. Its a reall good book. Now Im going make a movie about how I used to work at the plant, get me one of them oscars. Next thing, Im moving to hollywood. Or maybe even california!
Do like me ant get this book.
The Best Filmmaking Course on a Budget!.......2003-09-06
I always love to learn about subjects that interest me, and even though I may have read through dozens of books on a subject to gain the maximum know-how about it, it's always a thrill to pick up a read that is truly superb. Bryan M. Stoller, the author of Filmmaking for Dummies, has accomplished one of the best jobs on this subject matter that I've found so far over the years. He's categorical and precise and I'd call it the best Filmmaking Course on a budget. The reader can learn in this inexpensive book just as much as in many 8-week filmmaking courses that often cost thousands of dollars and the good part is that with this book you already have the notes printed in front of you. The author offers a volume of resources discussing the differences of using actual film vs. video and new 24fps digital camcorders like the Panasonic AG-DVX100 Cinema Camera. He has excellent chapters on lighting, sound and camera filters, as well as on the commercial aspect of idependent film distribution and film festivals, etc. This is a very practical, right-to-the point book and it's an enormous resource from a qualified guy who's been interested in filmmaking for a long time and who has at least 20 years of on-hand in-the-field experience. Stoller also offers very helpful Website addresses for further information, even where to buy or rent equipment, etc., etc. Every aspiring and even professional filmmaker will definitely benefit from this book. Amazingly, this book is so updated as if it was just written a few weeks ago including the newest technological developments regarding digital film formats.
Book Description
Color Management for Photographers: Hands on Techniques for Photoshop Users, by Andrew Rodney, addresses the difficult subject of color management in a way that can help you get real work accomplished. This is the first book that moves beyond esoteric color management theory and detailed explanations of how things work to explain how to achieve a desired effect with step-by-step instructions so you can get on with creating and printing successful images. Complete with what-button-to-push-when explanations, this guide will help you navigate color management and further solidify comprehension of techniques with self-paced tutorials that enable you to practice what Rodney preaches. This practical, learn by doing approach is enhanced by the accompanying CD-Rom which includes sample files for practice as well as tutorials and software.
Written with the photographer in mind, this book is also a great hands-on guide for graphic designers, those in prepress/print and, more generally, the majority of people who feel color management is too difficult. This book will help to explain this difficult concept in terms you can understand so that you may control and enhance your photographic vision.
* Covers CS2!
* Distills theory and concentrates on the tools at hand to get the job done
* CD ROM with tutorials and software help you better understand the concepts and teach you how to use Photoshop and its CMS features correctly
* Provides the working professional with a resource in the critically important area of printing and prepress
Customer Reviews:
Good resource for color management........2006-12-27
This is a great book on color management. Color management is a oft-misunderstood subject and it is fair to say that there are good reasons for this - mainly that it is complicated.
Andrew Rodney does not simplify the subject, thus the reason I did not give this four stars. However, if you are serious about the subject, this book is a vital tool in trying to understand color management.
Some of the book is tedious and some of it is hard to understand, but there are large parts of the book which offer valuable and understandable information on color management and your quest to achieve this "holy grail."
My suggestion is that if you are casually trying to understand how to calibrate your monitor, this book may not be for you. If you are seriously trying to understand color management and are building a library of useful references and gleaning useful nuggets of information from several different books in your quest to achieve color management nirvana - then this book should be in your library.
Meh... Next........2006-05-23
Nobody can deny that Mr. Rodney knows how color management works in Photoshop better than most people, but unfortunately, knowledge of a subject doesn't make you a good writer. I find the bulk of Mr. Rodney's ramblings (both those published on his website-that-time-forgot and posted to various discussion groups and mailing lists) to teeter on the verge of complete unreadability most of the time, and while my hopes were high that a good editor might tame his curious linguistic proclivities here, they were quickly dashed upon skimming through the text. What's worse, the illustrations and photos in every single copy of this book I've ever seen have suffered from severe magenta color casts, leading one to wonder why the author and his publishing company failed to practice what they preached in bringing this title to the public. If you didn't know who Andrew Rodney was to begin with, you'd likely think him full of beans based on the appearance of the plates in this volume. After all, why should readers believe consistent, predictable color in print to be a realistically attainable goal when even the guy who wrote the book on the subject can't seem to achieve it?
There's certainly some good information in between these covers, but none of it is groundbreaking in any way. You might learn something interesting about WWII by asking your grandfather to tell you some old war stories, but you'll have to suffer through a lot of pointless rambling to get to it, and that's pretty much what reading this book feels like. About the only thing this book really has going for it that its competitors lack is the nostalgia longtime Photoshop users will likely feel at the sight of the dog image gracing the cover. Since you can see that image right here for free, there's not a lot of point in paying for yet another rehashing of this subject matter, even at amazon's substantially discounted price. I have no doubt that Mr. Rodney is a very technically proficient color management consultant who can deliver $10,000 worth of results to all who can afford his services, but his efforts in the creative fields of writing, illustration and design just ain't worth a plugged nickel.
It may also be worth noting that more than one of the glowing 5-star reviews that have been posted here were planted by friends and associates of Mr. Rodney. How's that for class?
The best tutorial introduction to CMS........2005-11-27
Get Andrew Rodney's book, and a copy of Real World Color Management, and you'll have the best existing CMS tutorial and the the best reference text.
Edmund Ronald, Ph.D, (...).
Real world techniques to tackle color management.......2005-09-25
Thanks Andrew Rodney, I just received your new book and I just couldn't wait to thank you for having made all this knowledge available to us. This book will be a milestone on the subject of color management as it dares to go into the nitty-gritty details of "how to make it work in real life".
Andre Dumas "Colorman 042000"
Charming, lightweight banter.......2005-09-16
There are entirely too many books like this. 100 pages of information hidden in clouds of personal chatter, name dropping and cliches. Too bad because this is an important area that is almost completely misunderstood. This material should be presented to experienced photographers at an engineering level. It isn't an "all you have to do is..." subject.
If you don't know anything about color, the first 30 pages of this book might help. If you know a lot about photography this book will irritate you, especially when the author runs aground on the subject of Gamma, as so many others have. There is excellent information on the Web that covers this subject so well, nobody needs to misunderstand it.
If you already us Photoshop CS2 and Camera RAW you don't need this book. If you don't use them, you should. Then go to the Adobe website and pick up the white papers by Bruce Fraser and Jeff Schewe. They are free, very well written and focussed on how Photoshop works and what you need to know.
I would recommend anything written by Blatner & Fraser, or Schewe. Add your own experience and just do it. You'll be better off.
Book Description
Over 100 storyboards with simple descriptions.
Customer Reviews:
Handy overview.......2007-09-22
I bought this book to review my shots--and to give my fellow producer/director a quick education in terms and shot design.
The book is very good, giving 2 page briefs on various types of shots, including a list of films to look for them in, and a storyboard to show how the shot proceeds. the list of places where the particular shot has been used is especially nice, as it lets you go to the library of films and see how a shot works.
It is in a fairly large and somewhat awkward format being wider than it is high--it's better to keep this one in the office or at home to scan when thinking than to take out in the field--a field book would be nice, as it could be used to explain shots to the actors/subjects (I'm shooting a documentary and jargon is Greek to most people.)
Not what I expected.......2007-08-24
But then if I'd really paid attention to the title of the book I'm sure I'd have figured it out.
While I applaud Jeremys' interests in movies and his desire to make them and share his 'experience' with us this book does not actually teach you anything about how to set up these shots. All it does is point out shots that you will probably already know. One thing that really does grate is that instead of consulting an experienced DP to find out the names of these shots he has come up with his own, which he feels are more descriptive.
I'd say that if you have a very short history of watching films then perhaps there is something you can learn from this book. However, if you have any experience whatsoever with a camera this book will prove to be a waste of time and (sadly) money.
The illustrations are good. Of a storyboard level and at least give you an idea of how to represent an idea but sadly the book was let down by the fact it didn't really deliver anything useful.
The definitive shot guide..........2007-06-18
This book explains the language of film in a simple, visual style. In clearly grouped sections, it shows a large, clear visualization of the movement with a description of how it is achieved, and the name the industry recognizes for that move.
It covers all the basics, plus many unusual, technical or simply rarely used angles and moves, making it the definitive work for the indie filmmaker and above.
An awesome reference book.......2007-05-14
I've seen this book by Jeremy Vineyard tagged as simplistic and cursory. If you're a super-hip film school graduate who's been involved in the industry, this book may not be worth your time.
However, if you're an amateur, like myself, this book makes a great reference. I recently shot a short film and used this book extensively while storyboarding.
Easy enough for children and a good reference for the amateur filmmaker. I've definitely gotten my money's worth on this one.
Brilliant, a must have for film-makers.......2007-01-16
Just buy it! Explains every standard shot, with examples.
Book Description
Digital Compositing for Film and Video is a hands-on, how-to guide that addresses the problems and difficult choices faced by the professional compositor in real-life situations. This book presents you with tips, tricks and techniques for dealing with the badly shot elements, color artifacts, and mismatched lighting that bedevil compositors. Included in this book is: in-depth, practical methods for bluescreen matte extraction, despill operations, compositing operations, and color correction - the "meat and potatoes" of all digital effects. Written in a completely software independent style, it is totally applicable to any brand of compositing software.
The second edition contains many important additions:
* printed in full color with over 400 color photos and illustrations
* companion DVD with 3.7 gigabytes of test images, including hard to get HiDef video and feature film scans
* new section on working with HiDef video
* new section on digital intermediate, the feature film finishing process of today
* more Adobe Photoshop blending modes and procedures
* new material that reveals the add-mix composite, light wrap, slot gags, and how to defeat banding problems
Customer Reviews:
An Essential Guide and not just for compositors.......2007-07-08
If you've ever been on set and heard the catchphrase "fix it in post" this book is for you.
Not only is the information detailed and thorough, but also extremely readable. Some ironic asides demonstrate Wright has the experience to back up his text. He covers all levels of compositing, from basic luminance keying to green-screen/blue-screen, to color corection and matching foreground and background elements, motion tracking, alpha-channels (to premultiply or not premultiply) and the differences between film and video.
The book is not software specific, and the enclosed exercises and demonstrations can be done on most software with compositing features -- including Photoshop!
Why four stars and not five? The extra money demanded for addional exercises seems to be an unfair gouge. But the book is definitely worth the cover price! Even if you have no immediate aspirations at all to composite something, you'll at least see just how tough it can be.
Producers, Directors and Camera departments (aspiring or experienced) can all learn something here -- and with any luck they'll learn it before they light their next green/blue screen.
Too bad the cover is so damn ugly.
Must have.......2007-06-08
I bought it based on the first Edition and I wasn't wrong.
Its even better.
Nice book.......2007-05-13
This is a very complete and engaging book.
It's generic enough so that you can learn a lot regardless of your software/manual tools;
But it focuses enough on certain programs, that it is still useful for those specific users as well.
It was a gift for a relative, but I spent a few hours reading before giving it away...
A must have for your VFX library.......2007-01-05
If you're new to the effect industry or a seasoned pro this is still the bible for understanding what is happening under the hood of a compositing software. This is not software specific, but be it 'Shake' or 'an other' this will help you truly understand the what, when and why.
This book together with - Ron Brinkman's 'The Art and Science of Digital Compositing' - also available at Amazon, will hold you in good stead throughout your career.
It truly gives you the 'wow' factor.
Excellent book.......2006-12-15
Even advanced compositors will glean juicy bits from Steve Wrights' effort. I've read all the standard texts and this one stands with the best. Clear, friendly prose makes this book a comfortable read; read it two or three times and you'll find that you get a little something out of it on each pass. Whether your work end up in print, video or film, this is a must-have book.
Average customer rating:
- Great print quality!!
- The jury is out... this filmmaker likes it
- Great Student Book
- Best of the bunch
- A comprehensive, professional view of cinematography
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Cinematography: Image Making for Cinematographers, Directors, and Videographers
Blain Brown
Manufacturer: Focal Press
ProductGroup: Book
Binding: Paperback
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The Five C's of Cinematography: Motion Picture Filming Techniques
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Painting With Light
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Cinematography: Third Edition
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Motion Picture and Video Lighting, Second Edition
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Matters of Light & Depth
ASIN: 0240805003 |
Book Description
Lavishly produced and illustrated, Cinematography covers the entire range of the profession. The book is not just a comprehensive guide to current professional practice; it goes beyond to explain the theory behind the practice, so you understand how the rules came about and when it's appropriate to break them. In addition, directors will benefit from the book's focus on the body of knowledge they should share with their Director of Photography.
Cinematography presents the basics and beyond, employing clear explanations of standard practice together with substantial illustrations and diagrams to reveal the real world of film production.
Recognizing that professionals know when to break the rules and when to abide by them, this book discusses many examples of fresh ideas and experiments in cinematography. Covering the most up-to-date information on the film/digital interface, new formats, the latest cranes and camera support and other equipment, it also illustrates the older tried and true methods.
*The definitive guide to cinematography
*Up-to-date coverage of technical topics, including High Definition and digital imaging
*Full color throughout brings issues of color and light to life
Customer Reviews:
Great print quality!!.......2007-01-10
A very informative read for the beginner as it does not delve too deep into the theory of cinematography but just enough to make you want to research more if needed. It has lots of great information and some good movie suggestions. The book's print is on seemingly expensive glossy stock which is a nice touch. I'd have to say that this is one of my favourite cinematography books.
A major distraction however is that there are numerous spelling & gramatical errors throughout the book which make comprehension difficult in some places.
I would also recommend the classic '5 C's of Cinematography' by Joseph V. Mascelli
The jury is out... this filmmaker likes it.......2006-03-16
Obviously people have mixed opinions of this book. I liked the in-depth info, the readability and the color plates. I'm a director who is interested in learning more about cinematography from that angle. The Filmmaker's Handbook on Plume, or Bordwell and Thompson's Film Art will cover a lot of the same info for a cheaper price, but I like this book's illustrations and more advanced technical info, especially on video. Ultimately you gotta go out and do it, a book will only go so far. But as books go I find this one pretty great.
Great Student Book.......2006-02-24
As a film student myself, I've found this book incredible helpful. Not only is it a great window into understanding how lighting and shot composition work, but it explains clearly and in detail many technical aspects of cinematography. Of course it's not perfect, but it's a great beginners guide.
Best of the bunch.......2005-12-22
I have read most of the books Amazon sells about cinematography and there is not question in my mind that this is the best of all of them. It's really comprehensive and covers all sides of camerawork, both technical things like lens and color and exposure etc, but also composition (which he calls visual language) and maintaining continuity, coverage and what he calls "the language of the lens."
Bottom line: there is a wide range of things you have to learn about if you want to become a professional cinematographer and this book covers all of them. I also read his book on lightingm, which is also very thorough.
The chapter on storytelling with lighting is a really interesting look at how you tell stories with visual images, which is really the job we are doing as filmmakers.
Finally he has really in-depth chapters on techinical things like various formats and HD and doing special effects and operations on the set.
No doubt in my mind I would recommend this book to anyone who wants to learn about cinematography.
A comprehensive, professional view of cinematography.......2005-12-11
I was working on a camera crew with a recent AFI grad and she told me this book is "the bible" at AFI, then a fellow I know at USC grad school had it as a required book in his cinematography class so I checked it out.
I see why these schools use it. It's comprehensive, thorough and most important, it takes a really professional view of how cinematography is done. I must have a dozen books on cinematography. Some of them are sort of student/amateur and some of them are just reminiscences of old studio DPs. Interesting reading, but doesn't tell me what I need to know to shoot a scene.
This book covers technical issues like exposure, optics, color, special EFX, etc but it also covers aesthetics. The chapter on "Lighting As Storytelling" is the best article on the aesthetics of image making and visual storytelling I've ever read anywhere (and I have a degree in cinematography). I have found this chapter on the web. You can download it at several websites that feature this book.
For best results, you need to buy this book in conjunction with the author's book on lighting, which really goes into standard techniques and equipment in much greater depth, as you would expect -- he can cover it better in a whole book than he can in a single chapter (which is how some cinematography books try to do it.) Although this book does have a couple of chapters on lighting that serve as a pretty good introduction.
Worth the price alone is the chapter on Set Operations, which goes into great detail on the job assignments on a set, how things are done and procedures like proper slating technique, etc. The chapter Visual Language is like a mini-course on composition, visual techniques and creating powerful images.
Throughout the book, the illustrations are from great films and the excellent printing makes it a beautiful book also, something that seems to always get mentioned in the magazine reviews I've read.
Since buying it (and reading it three times) I've run into lots of people (both students and working pros) who swear that this is THE book on cinematography. I agree totally. It covers camera stuff, but also set practices and also all the things the director needs to know about cinematography: coverage, screen direction, continuity, etc.
I highly recommend this book for anyone interested in cinematography, including not only camera people but also directors.
Book Description
Portable Video focuses on technique and technology for single camera electronic news gathering and electronic field production. Covering everything from basic creative and technical editing techniques to budgets and copyright issues, it is accessible to the home videomaker or amateur and to the professional seeking information on the newest advances in technique and equipment.
Portable Video: ENG and EFP, Fourth Edition has been revised and updated to cover all of the latest equipment and techniques. Additionally, it discusses the history of video production and electronic news gathering, and the importance of the verbal content in any production is explored in a chapter on scriptwriting.
A comprehensive guide to all aspects of field production
Theory is enhanced with real-life examples
Updated emphasis on digital video
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