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.
Customer Reviews:
Digital Cinema.......2007-08-06
I found myself thinking, "The stuff that is in this book is outdated." The cameras that he says are new were true for the time but not now.
This book did a great job of explaining to me, the history in cinematography. And again for me, if I was interested in history it would have been a decent book, hence the moose 3. However, I am new and getting into this field of digital cinema and I didn't find it as useful as I would have liked. I think this kind of stuff really is better learned on line and from websites and web blogs.
I read up on Mr. McKernan and apparently he is looked at in high regard for his quality and wealth of information. So that in it-self must make the book at least half good. I did enjoy learning some of the lingo. It was an easy to read and understand book. It was laid out in a fashion I could follow. It taught me things like interlacing and frame rate, camera choice (for its time), film is digital, small info about final cut, and a host of other things that will be helpful I am sure.
I believe the greatest piece of info in the book for me was chapter 10 on the indie films. This is more along the lines of what I was hoping to get in this book, but then again, it was only dedicated seven pages. So I got somewhat of an overview of independent film making. The book itself read as an overview, as each of the chapters were only allotted a mere 8-10 pages each. Not a lot of information can be conveyed to help someone learn if the first few pages of the eight are given to the history.
This is a history book for the class room of those pursuing digital cinema, not a book for someone interested in learning the hear and now of digital cinema, for that you need the internet.
Its appears to be the case in both book reviews that they are dated and the technology is far behind now. I will look more closely in my future obligation of book reviews, or perhaps I would lean to internet site reviews.
A comprehensive must-read for anyone in the movie biz today.......2005-10-15
In clear understandable style, with supporting interviews from industry pros, Brian has brought together the essential technological chops to understand the digital transformation that will soon impact almost every aspect of movie production and distribution. This is not a how-to guide, nor a product critique. It is a book that will jump start anyones move into a digital strategy. It also ties together historical context with the rapid evolution of HD and digital cinema while introducing readers to the companies and people making things happen. It is an excellent background to more arcane topics such as compression, color space and display technologies. It is a great prerequisite for more practical guides such as Scott Billups "Digital Moviemaking.
Thank you Mr. McKernan!
An excellent and informative book on digital cinema!.......2005-05-04
This book is excellent in describing the new revolution in digital cinema. I found it to be extremely helpful, descriptive, and informative. It is wonderfully worded and written with knowledge. I believe this book to be one of the best out there when it comes to this topic. A must-read for directors, producers, etc.
A Must Read for Digital MovieMakers!.......2005-04-27
This is a good introduction to all the big changes happening in moviemaking and movie projection.
Those changes all involve the move from film to digital that's allowing people who don't have millions of
dollars to make movies anyway with "prosumer" cameras-provided they know what they're doing and have
a good script.
I especially like Chapter Five, which explains all the latest digital cinema cameras-both the expensive ones and the ones indy filmmakers are using to break into the industry.
The book also has interviews with different filmmakers that gives a varied picture of how digital is enabling indys to make inexpensive movies while also enabling big studio filmmakers to make even more amazing big, expensive movies.
If you ever wanted to make a movie, now is the time. Anyone who's into filmmaking and digital media should read this book.
Book Description
This widely praised text covers planning, shooting, editing, and distributing movies. The authors ensure that students understand why the planning process is essential. Gross and Ward over cameras, lights, and sound equipment with some chapters detailing operational skills and others dealing with aesthetics. The text features a chapter devoted to directing, and it covers the mechanics and aesthetics of editing and incorporating visual effects. Students are not only introduced to the concepts and mechanics of filmmaking but are also given ideas of what to do with their movies once they are completed.
Amazon.com
The title of The Digital Filmmaking Handbook is something of an oxymoron, because this thorough book covers everything you need to know about filmmaking production, from concept to screening. The only missing element is film itself.
Film and video production are in transition. Film and analog videotape rapidly are approaching the end of their technological lives, being replaced by digital videotape and digital cameras. You can buy computers that connect to DV cameras and edit DV tape almost anywhere, and they cost only slightly more than an entry-level computer. The Digital Filmmaking Handbook, then, is for anyone buying into the DV revolution who wants to do more than shoot home movies of the kids. It's for filmmakers young and old, professional and hobbyist, who want to learn to shoot, edit, and make great movies.
Unlike traditional filmmaking books, in which only the camera and some audio and editing equipment are addressed, part of this book approaches the medium from a computer hardware and software perspective. Numerous hardware issues like choosing the components for an editing workstation (chapter 5), the kind of digital video camera to use (chapter 6), selecting editing and audio software (chapter 7), and various output formats (chapter 18) are discussed. Also, there are chapters on effects, making video look like film (chapter 17), and digital titling (chapter 16).
The book never strays from speaking to moviemakers instead of moviemaking-gear buyers. Everything from preproduction tasks (such as scripting, storyboarding, and budgeting) to production tasks (like set preparation, lighting, filming (sans film), and sound recording) through final editing, color correction, titles, and output is explained. Filmmaking is heavily dependent on technology, and each of these subjects is well covered. Chapters on audio, for example, include selection of microphone types; differences between mic types; how to connect mics to a DV camera or synchronize audio in postproduction; how to control sound levels; and so on.
The chapter on editing reflects the experience of the authors. Films are understood through their own language, and how scenes are edited determines the dialect of that language. Such techniques as matching screen position, matching emotion and tone, matching action, when to use pauses and overlapping edits, and the effect of pauses and pull-ups (shortening a scene) are defined and justified.
If you can't get into NYU's film school--or even if you can--The Digital Filmmaking Handbook is a worthy reference to keep at your fingertips. --Mike Caputo
Book Description
Since the advent of digital video and desktop editing software, scores of independent producers have become equipped to make their own movies. But because filmmaking involves much more than just buying a camera and a computer, there's The Digital Filmmaking Handbook. This one-stop digital filmmaking resource will guide you from your initial idea to getting your finished project "in the can." It will show you how to create shots and effects that are rarely associated with low-budget productions. And it covers everything from writing and pre-production planning to shooting and post-production editing and effects. Now in its third edition, this best-selling book has been completely updated and revised to include detailed information on a number of important new digital video technologies, including both high-end HD video and the new HDV format, and affordable new digital video standard that lets even low-budget producers work in high-definition video. All of the chapters have been revised to cover the latest hardware, software, and production workflows,, and new exercises offer help with everything from writing to special effects. Whether your goal is an industrial project, a short subject for your Web site, or a feature-length movie for a film festival, this book will help you understand the questions you need to ask, so that you will be prepared to solve the myriad problems that will arise.
Customer Reviews:
This is the book you'll need..........2007-04-19
If you're like me, just getting started as a hobbyist filmmaker, this is the book. I only received it yesterday and glancing through the contents, it covers most, if not all of the questions I've had about certain aspects of filmmaking. It is well written in everyday english, easy to understand.
Since yesterday when I first opened the cover, I haven't been able to set it down for very long. It's that good. I highly recommend this book to any and all levels of individuals who want to learn about filmmaking from the ground up. It covers it all.
From writing to production: everything you'll need..........2006-03-16
Ben Long and Sonja Schenk's DIGITAL FILMMAKING HANDBOOK THIRD EDITION pairs a fine DVD packed with project files, film clips and tutorials with an updated, revised edition of a best-selling guide to new digital video technologies. Chapters have all been revised to cover the latest hardware and software configurations and new exercises provide help with everything from writing to production. Black and white screen shots and examples throughout make DIGITAL FILMMAKING HANDBOOK a one-step resource.
Good Description of How to Get Started.......2006-03-13
An excellent one stop guide to getting started in digital filmmaking, realizing of course, that there is no film involved.
This book starts with selecting the things like the type of camera you need to make digital video. And for good work, a good camera is necessary, and expensive. IThe book is intended for the person who is just getting started. It explains the terms, the basic equipment you will need, and so on.
The concept of making a film, no, a video starts with a story. From here you need a script. Then you do a story board to plan your shoot. If this sounds a bit professional, it is. This book presumes that you are serious about making a video. This is a rough cut at what the pros do to make a film. ==From this book alone you probably won't get to the Academy Awards show, but reading and putting into practice what the book says might get you into a commercial or a local indistrial film production.
All in all a good summary of getting started in the digital AV business.
Great for begginners--NOT for advanced or anyone who has any brains.......2005-10-31
This book was written for people that have no clue what a computer, a video camera, or a movie is. It is written for the very inexperienced or novice--the people that should not be making movies to begin with.
But it is packed with information a 7 year old or 88 year old can understand, and it is 95% close to being accurate. I guess if one needs to start somewhere, here it is, but after reading it, please do not make your first movie to send to festivals, make as many as you can, practice, practice, practice, then get a real book. Digital Filmmaking 101, Digital Moviemaking, Independent Filmmakers Manual, and so forth before getting into the movie making world--please.
Great starting guide and more!!.......2003-05-20
This book covers all aspects of digital film making and as such doesn't really have the space needed to go into in depth detail on every subject. Regardless, it is a great place to start. It's a very easy read, unlike a lot of film making books that assume you've already got a Masters degree in film. I wont talk much about content descriptions as other reviewers have done a good job of that already - infact, it was on the strength of such user reviews that I bought the book in the first place. I will say this though, if you haven't already bought a camera, buy this book before you do. Lack of funds may make your choices limited anyway, but you wont regret having read this book first.
I have given the book 4 stars instead of five simply because I found the tutorial sections to be a little out of place. The tutorials seem to make the assumption that you have equipment at your desposal - such as expensive lighting kits - and as I imagine that many readers wont, the significance of these tutorials will be slightly lost by the time you do actually have these items in front of you. Unfortunately I couldn't rate the book at 4.5 stars, but that is what I'd like to give it.
In closing, this shouldn't be, and if you're anything like me it wont be, the only book on digital film making that you buy, but it is definately the perfect place to start.
Book Description
An easy to follow, quick reference introductory guide for beginning professionals and students in filmmaking and postproduction. It explains all film laboratory procedures in the context of the wide range of technology that is used by filmmakers, explaining what happens and why at every stage. A technical understanding of film processing and printing, telecine and laboratory and digital processes will help you get the best results for your film. The book is particularly useful for those who have come to film making from other media - video or digital.
The book is based on the author's own experience as a lab technician and technical film consultant and provides answers to many frequently asked questions. The different pathways for film production and postproduction are demonstrated as well as the function of the lab at each stage of the process. The complete range of services is offered, with particular emphasis on the often confusing requirements for super 16 and the blow up to 35mm, the intricacies of negative cutting to match a non-linear edit and the process of grading and regrading for the answer print.
This new edition includes:
* An update on all digital formats of image and sound
* Revision sections on Super 16, Super 35
* Additional information on syncing rushes at telecine and to digital images
* The latest telecine machines
* A new, clear and simple glossary
·Gain a complete understanding of film laboratory procedures
·Describes how to use a laboratory's services to gain the best results for film
·Broaden your knowledge through answers to the most frequently asked questions concerning film technology
Customer Reviews:
All you wanted to know, but were too afraid to ask!.......2001-07-09
The film lab has always been the friend of the cinematographer, even if the methods and technology it represents remain a black-science to many.
Author Dominic Case is Technology Manager at Atlab, Australasia's largest filmlab. He puts it best: "Traditional film technology and post production methods are far from simple ... but those used for the lowest budget short-film are essentially the same as those that have evolved for major feature films ... This book describes the arcane properties and procedures of post production for both traditional film-makers and those experienced in video or digital imaging ..."
Film-stock, colour, B&W, sprockets and numbering, emulsion layers and processing, lab costs, density, gamma, grain, printing ... these and many more are each simply described on their own pages, together with a chart, diagram or accompanying image on the facing page. Editing (flat-bed and digital non-linear), Telecine and Video, Neg matching and cutting, Dupes, Blow-ups, Opticals, Sound and Grading are all given extensive coverage.
This is such a good, detailed and yet easily understood primer on the laboratory and post process, that most film-makers won't need to go any further. Well worth putting on the bookshelf.
Book Description
With the advent of digital video cameras, anyone can shoot and produce a video for very little money -- in fact, hundreds of thousands of people are doing so. When video photographers look for guidance, they don't want to read a big book cover to cover -- they want help on their particular problem immediately.
This compendium of solutions is designed to allow anyone to dig into each problem category and quickly find the necessary guidance. Each solution is 2-5 pages in length, most with at least one photo or diagram illustrating the situation. With the help of this book, even a complete neophyte can take advantage of Chuck Gloman’s 22 years in the video trenches and use hard-earned trade secrets to make their videos look professional.
Customer Reviews:
Disappointing.......2007-07-23
This book gets one star because it does have some useful practical tips. T. Leitner's review has already said much of what I wanted to say in regards to this bloated work. As mentioned, its full of anecdotes that serve as filler rather than helpful information. What's worse is that its not even entertaining prose but nonsense like this, on working with models, "This woman was God's gift to earth. She had the kind of beauty that few have been blessed with, and when you looked up beautiful in the dictionary, her picture was there. And to make matters even more uncomfortable, she was wearing some exotic perfume that would turn a mortal's brains into dust."
This book does not live up to its promises. Patrick Sherman's review was also right on.
Good practical tips.......2006-12-01
I initially saw this book on Amazon and saw that people recommended the book "DV Filmmaking From Start to Finish" by Ian David Aronson. Well, I purchased that book and still haven't read it through. I have, however, just finished reading 303 Filmmaking Solutions which I found much more interesting.
It's true that not all of the "solutions" are actually solutions, but that aside, it's very interesting to read the various obstacles that the author comes across and his method for overcoming them. That alone is worthwhile knowledge to have, regardless of whether your situations are similar or completely different. At least you come away from the book with some ideas for solutions.
I found the book did bog down a bit in the lighting section. While it was all worthwhile knowledge, I think the lighting section could've been more dispersed throughout the book, rather than in one long section (if you intend to read the book from cover to cover).
The only other issue is the author's sense of humour made me cringe the whole way through. There were about 4 remarks I found funny, the rest were painful. An excerpt:
"Therefore a video frame is made up of odd and even fields (no relation to Sally Fields)"
Aside from that, I'd certainly recommend the book to upcoming filmmakers.
Not much.......2005-09-08
303 ways to shoot anything basically. Such as how to shoot a birthday, how to shoot a girls birthday, how to shoot a birthday on saturday.. you get the idea..
self-important.......2005-03-15
I don't understand why this book has the ratings of the other reviews here. It is a big disappointment. While this book has some interesting tips between the lines (that's why I give it 2 stars instead of one), it is merely a rambling of a self-important producer. The 303 "solutions" are at best 303 anecdotal stories. Take solution #96 "How to Shoot in a Boat" for example, it reads, in its entirety "I always seem to get the jobs of shooting from some kind of moving vehicle. You've read my exploits in the air and on the ground, but what about in the water? Shooting footage from a boat is a skill that someday I will master. Not wanting to delve into jet skis, Ski-Dos, or speedboats, I will be discussing motorboats and sailboats." Great solution Chuck! That really makes my filming much better. Perhaps it would be possible to cut down this book into 99 tips and solutions, but in the style its been written it would still be painful to read and extract useful information. Furthermore, the cover says, "solve any video or edit problem in 10 minutes or less". Not only is that untrue but also shows how silly this book is. The picture of a consumer DV camera also has nothing to do with the content, because Chuck uses big professional equipment throughout this book, stuff that takes more than 10 minutes to just unpack by the way. I haven't found a good book to suggest as an alternative yet, but don't waste your money on this one. Try any other.
303 experiences.......2005-02-25
This book is a good book for references and is not a book on making a movie per se, but it still has some valuable information that I would have never learned from my teacher at my local college. He show you a lot of different solutions for certain situations which is really good, but a lot of the solutions have to do with lighting which is good but at the same time it leaves you wanting more of the non-lighting solutions. But what really caused me to give this book a four-star is that all his solutions are examples of his past jobs, which is the principle reason to make this book and is a good thing(to learn from his experiences) but, he digresses from the teaching of the solution to further educate you on irrelevant info. He also has a humorous approach to the solutions which was really a plus. Overall this book is good as a reference if you can get past the irrelevant stuff, but other than that, like I said, it is a good book.
Book Description
Color and Mastering for Digital Cinema explores the implications for motion picture post production processes and changes required to the supporting equipment and software. While a new concept to the motion picture community, the selection of the wide gamut, output-referred XYZ color space for digital cinema distribution is based on decades of color science and experience in other industries. The rationale for choosing XYZ and the other color encoding parameters is explained and the book also provides a full case study of the development of DLP Cinema® projectors by Texas Instruments. Finally, this book explores how the XYZ color encoding concept can be extended to support enhanced display technologies in the future.
This book contains:
* Brilliant 4-color illustrations that compliment the color science explanations
* Never before published industry information from author Glenn Kennel, a world leader in digital cinema color technology
* Descriptions of key issues and background on decisions that were made in the standardization process
By Glenn Kennel, Glenn Kennel is VP/GM of Feature Film Services at Laser Pacific Media Corporation, a leading provider of a full range of post production services for television and feature film. Recently, he worked for the DLP Cinema group of Texas Instruments in a role that included technology and business development. Previously, in a twenty year career with Kodak, he led the development of the Cineon digital film scanners and laser recorders and the prototype HDTV telecine that became the Spirit Datacine. As a consultant, he helped DCI draft the technical specifications for digital cinema. Kennel also chairs the SMPTE DC28 Color ad hoc group and the DC28.20 Distribution working group. He is a SMPTE Fellow and has received the SMPTE Journal Award. He is also a member of the Academy of Motion Picture Arts and Sciences.
* Brilliant 4-color illustrations compliment the color science explanations
* Never before published industry information from author Glenn Kennel, a world leader in digital cinema color technology
* This book describes the key issues and provides background on decisions that were made in the standardization process
Customer Reviews:
Good read in the most part.......2007-05-11
This book is an interesting mix of quite technically (and mathematically) detailed chapters and lighter, more readable text. Certainly not a good choice for anyone totally new to color theory or digital cinema but a very concise account of the current state of the industry with some very interesting historical perspective.
Concise is a very good word to describe this text. By textbook standards it is short - I was able to read it cover to cover on a five hour flight. In places it is too concise - I found the color theory difficult to follow in places and a slightly more long winded, descriptive style might not have gone wrong in those sections. I'm planning to go back and re-read those chapters and they will hopefully beging to be a little more clear second time around!
Overall this is a good choice for anyone with a professional interest in digital cinema and digital intermediate workflow. Those outside the industry or who are looking for a more introductory text should probably look elsewhere.
Book Description
Digital Filmmaking 101 reveals the secrets of making professional-quality ditial moviemaking on ultra-low budgets.
Customer Reviews:
Digital Filmmaking 101.......2007-06-01
Has lots of information and tips on "how-to-" do many things. But I wouldn't try to make a movie of it. It just didn't hit me.
Where is the digital?.......2007-04-05
I bought this book thinking it would help in a film project utilizing a good camera and a few volunteers. Unfortunately it does not even have much to say about the possibilities of digital filmmaking, but rather gives a disorganized (how about some editing?) depiction of their experience in making two films. I am not sure they even used the digital format.... The true focus is how to produce a film with little budget, and little experience. Not a bad topic, but not what I was expecting from the title. Three stars for the appendix, the chapter on working with the crew, and budget.
Excellent book.......2007-03-09
A well written, humorous book, includes lots of helpful hints, and several templates that help with the production process.
Informed, clear, cogent information and advice.......2007-01-12
This is the most informative, clearly written, cogent source of information on this subject I have read. Although you need rudimentary knowledge to practice what the authors preach, they provide intermediary and advanced tips and strategies that more than make this book worth the price of admission. Don't miss it!
Jeffrey M. Freedman
Screenwriter
'Vivaldi'
[....]
Great read. Recommended 4 anyone starting out........2006-12-14
Easy to follow, and worth every cent paid for it.
Book Description
Now there is no reason to prevent anybody from making a film. The technology exists, the equipment is much cheaper than it was, the post-production facilities are on a laptop computer, the entire equipment to make a film can go in a couple of cases and be carried as hand luggage on a plane. —Mike Figgis
In this indispensable guide, Academy Award nominee Mike Figgis offers the reader a step-by-step tutorial in how to use digital filmmaking technology so as to get the very best from it. He outlines the equipment and its uses, and provides an authoritative guide to the shooting process—from working with actors to lighting, framing, and camera movement. He dispenses further wisdom on the editing process and the use of sound and music, all while establishing a sound aesthetic basis for the digital format.
Offering everything that you could wish to know on the subject, this is a handbook that will become an essential backpocket eference for the digital film enthusiast—whether your goal is to make no-budget movies or simply to put your video camera to more use than just holidays and weddings.
Customer Reviews:
A D.P. DISAVOWS LIGHT.......2007-08-04
In regards to an early criticism of Figgis's advice on lighting, one has to understand that Figgis is NOT unique in his suggestion of using "practical," available lighting. Figgis has served as D.P. on his movies, pre-digital. He shot Leaving Los Vegas, which had a national release. Many D.P.s adhere to starting from no kit lights first, which is possible thanks to Kodak coming out with faster and lower grain celluloid stock. So you can hate the ideas of Figgis, but the guy has made studio and independent films, and prefers independent. You can't marginalize him- he directed Internal Affairs, Richard Gere and Andy Garcia's better film.
If you want a job in the industry, this is NOT a book for you. People fail to understand that the film industry is a business of self employment. You want to write and direct? Well, write and direct- make your movie. Someone else won't make the movie for you. If you DO want to make your own movie, Figgis does well to give you the lay of the land, as well as the pitfalls due to the politics of "real" 35mm movies. This is a fast read that'll get you going enough to make your movie. Some pointers may not make much sense until you've had the experience (specifically the scripting flexibility pointers. Simplify and distill the IDEA of the movie, and scenes, and at the very least your movie will carry through. It's easy to spend 10 takes on a dolly move and forget the scene is about one line.) Alright. Gotta get going on my movie. A good read to get you going. Not the end all be all, but a building block to start from. And don't dismiss him. He's worked his way up the filmmaking ladder, and made this CHOICE to remain digital. Why? Freedom.
Implies a lack of knowledge about filmmaking.......2007-07-07
I was very excited to get this book, it appeared like it would be a great piece on filmmaking and covering all the aspects. But instead what I got was a book so ignorant of legitimate filmmaking techniques that I can't believe this man's in the industry. His views on lighting seem to imply that he thinks digital filmmaking magically removes the need for worrying about lighting and while he does offer some money saving tips, he asks people to sacrifice making a quality film in favor of being lazy when it comes to lighting. I just could not believe the sort of contempt he has for the role of DP and really crafting. He also offers advice based on experiences making films that, according to all reviews I've read, nobody really liked, especially anybody that knows anything about film. In short, avoid this book, it's about lazy, poor filmmaking.
A powerful manifesto for a new breed of filmmaker.......2007-05-23
Mike Figgis's little guide is both inspirational and handy, full of insights into and practical information regarding the nature of the new digital cinema. It can be compared to Sidney Lumet's "Making Movies" for its simple and authoritative reflections, with the difference that Sidney Lumet is a fine spokesperson for the directorial task of injecting personal vision into the old studio system of making movies, while Figgis shows how the realities of the new digital technologies make it possible to bypass some of the well worn traditions and develop new and liberating approaches to making films. What is nice, though, is that Figgis is not interested in novelty for its own sake. Rather than get the latest gear, he advocates finding a camera and tools that work for you and then getting to know them well and customizing them for your own needs. He has excellent advice about lighting, and encourages an approach that explores and takes advantage of the visual potential of digital video rather than attempting to imitate the look of film. He discusses all of the aspects of filmmaking: lighting, sound, directing actors, developing stories, postproduction and editing, distribution, and shows how each of these has changed or ought to change under the influence of digital filmmaking technology. While you can find much of the same advice elsewhere, what makes Figgis's book worth having is the way he ties such insights to his own personal experience and story. It would be hard to come away from the book without capturing his enthusiasm for the potentials of digital cinema. In fact, I find it hard to believe that anyone could read this book without wanting immediately to pick up their own cameras and make something. I know that I will read this book several times, not only to remind myself of his excellent information, but also to recapture his enthusiasm and excitement. This is not one for the bookshelf, but one to be carried around in the backpack or camera bag. A very fine manual and manifesto for a new breed of filmmaker.
Book Description
A cinematographer's skill can make or break a film's overall look, and yet cinematographers are legendarily reticent to discuss their craft.New Cinematographers meets this challenge, featuring the the work of six major, young, contemporary cinematographers whose vision defines the way films look today. Extended studies of each cinemotagrapher's work -- fully illustrated with stills, lighting charts and storyboards -- help show the how each translates their aesthetic vision into the actual filmed work. The book includes a detailed resource section, an annotated bibliography and detailed technical glossary.
Customer Reviews:
An invaluable guide to the art of the moving camera.......2007-09-17
"New Cinematographers" is a beautifully produced and packaged book, full of insights into what goes on in the mind of some of the most creative and interesting cinematographers working today. There are sections devoted to each of several new cinematographers, and chapters on several of the films they worked on. Readers of the book basically get to look at refined notes by some of the contemporary masters of cinema (Lance Acord - Buffalo '66, Being John Malkovich, Lost in Translation; Jean-Yves Escoffer - Lovers on the Bridge, Gummo, Good Will Hunting; Darius Khondji - Delicatessen, Se7en; John Mathieson - Gladiator, Matchstick Men; Seamus McGarvey - High Fidelity, The Hours; and Harris Savides - The Game, Elephant), whose names are not as well known as the directors of the films they worked on, but who ought to be -- as this book makes abundantly clear, the body of work to which each of these cinematographers contributed bears the mark of their creative talents just as much as it bears the stamp of their directors or writers. The list of films covered reads like a catalog of all of the most visually compelling works by the most creative directors of the past decade (Being John Malkovich, Seven, Elephant, The City of Lost Children, etc.). There are pictures, diagrams, scripts, notes, all included to flesh out the process they went through in each film, and accompanied by an incredible wealth of detail about the filmmaking process, their experience with the director, their methods for planning for each shoot, their reflections on their craft, specific explanations on how they achieved some of the most interesting shots, and details about difficulties faced during each shot. Some of the most illuminating bits include some of the various reflections on how to capture the distinctiveness of particular faces, or how and why they decided to manipulate the look of a particular actor. Reading through this book is not only exciting and intriguing for me as a lover of film, but was also extremely rewarding in the wealth of insights it gave me into the decision-making process of a wide range of experts. This is an exceptional and extremely valuable book, well worth owning.
pure gold.......2007-02-01
This book is an excellent resource for cinematographers, both professional and aspiring.
Lance Acord, Jean-Yves Escoffer, Darius Khondji, John Mathieson, Seamus McGarvey, and Harris Savides all go through a step by step process of what they did to execute certain scenes. Lighting charts, set design blueprints, call sheets, storyboards, on set photography, film stills... it's all in this book. Very detailed and descriptive. In depth writing about film stocks, developing processes, filters, lights, colors... everything you could possibly imagine!
Hands down a GREAT resource, as they dissect scenes in movies they actually shot. So you can follow along while watching films such as Buffalo '66, Being John Malcovich, Lost in Translation, Gummo, City of Lost Children, Seven, The Beach, Gladiator, The Hours, and plenty more.
Definite recommendation.
a voyage through the gaffers glass.......2005-06-08
New Cinematographers is a quick, thorough, and interesting read. The information is presented in a simple way that is neither too flowery nor too sparse. Divided into 6 sections, one for each cinematographer, then sub-divided for each film that is discussed. The language is not excessively technical, so a beginner should be able to understand. It is not bland for the seasoned professional though, since a lot of the techniques presented are very non-conventional. Some of the films covered are quite different than what you will find in your typical issue of American Cinematographer, whose films seem to have a limitless budget. Especially in the early part of their careers, these cinematographers, found innovation, imagination, and hard work would go a lot further toward the overrall success of the film than just a budget can allow. Highly recommended for beginner, professional, or enthusiast.
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