Digital Cinematography, 2nd Edition

Digital Cinematography, 2nd Edition

by David Stump ASC
Released November 2021
Publisher(s): Routledge
ISBN: 9780429889011

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Book description

Today’s successful cinematographer must be equal parts artist, technician, and business-person. The cinematographer needs to master the arts of lighting, composition, framing and other aesthetic considerations, as well as the technology of digital cameras, recorders, and workflows, and must know how to choose the right tools (within their budget) to get the job done. David Stump’s Digital Cinematography focuses on the tools and technology of the trade, looking at how digital cameras work, the ramifications of choosing one camera versus another, and how those choices help creative cinematographers to tell a story.

This book empowers the reader to correctly choose the appropriate camera and workflow for their project from today’s incredibly varied options, as well as understand the ins and outs of implementing those options. Veteran ASC cinematographer David Stump has updated this edition with the latest technology for cameras, lenses, and recorders, as well as included a new section on future cinematographic trends.

Ideal for advanced cinematography students as well as working professionals looking for a resource to stay on top of the latest trends, this book is a must read.

Table of contents

  1. Cover
  2. Half Title
  3. Title Page
  4. Copyright Page
  5. Contents (1/6)
  6. Contents (2/6)
  7. Contents (3/6)
  8. Contents (4/6)
  9. Contents (5/6)
  10. Contents (6/6)
  11. Acknowledgements and Dedications
  12. Foreword
    1. What This Book Is About
    2. What This Book Is Not About
    3. Why Should a Cinematographer Read This Book?
    4. Don’t Bluff with Buzzwords, Do Your Homework
    5. As a Cinematographer, You Must Ultimately Serve Three Masters
    6. Look Management
    7. Where We Are Now
  13. Chapter 1 Understanding Digital Theory
    1. How Digital Cinema Cameras Work
    2. Human Visual Response to Light
    3. Sensing Light
    4. Analog to Digital (A to D) Conversion
    5. Encoding Luminance to Numerical Code Values
    6. The Problem with Linear Encoding
    7. The Just Noticeable Difference (JND) and Square Root Integral (SQRI)
    8. Linear vs. Gamma/Logarithmic Encodings
      1. Gamma γ A Video Power Function
    9. ITU-R Recommendation BT.709
    10. Logarithmic Encoding for Film: a History Lesson
    11. 10-Bit Log Cineon/DPX File Format
    12. Cineon/DPX Encoding Ranges
    13. Logarithmic Encoding for Digital Cinema
    14. ARRI Log C
    15. SONY S-Log
    16. Display Referred vs. Scene Referred
    17. Sampling Rate
    18. Nyquist Shannon Sampling Theory
    19. Color
    20. Bayer Pattern CMOS Sensors
    21. Color in the Digital Realm: What Are Pixels?
    22. Color Bit Depth
    23. Photosites Are NOT Pixels!
    24. Color Bit Depth: How Many Crayons in the Box?
    25. The Math of Color Sampling
    26. The More Crayons, the Prettier the Pictures
    27. ACES
  14. Chapter 2 Camera Sensors, DeBayering, Sensitivity, and Noise
    1. The Practical Differences between Film and Digital Sensors
    2. Sensor Size Has an Effect on the Image We See
    3. Bayer Pattern Sensors
    4. RAW File Formats
      1. De Bayering (De Mosaicing) RAW Bayer Pattern Images
      2. De Bayering Algorithms
        1. Nearest Neighbor
        2. Bilinear Interpolation
        3. Cubic Interpolation
        4. High Quality Linear Interpolation
        5. Smooth Hue Transition Interpolation
        6. Pattern Recognition Interpolation
        7. Adaptive Color Plane Interpolation
    5. Resolution in Bayer Pattern Cameras
    6. Converting RAW Images to RGB Images
      1. Dead Pixel Removal
      2. Noise Reduction
      3. Linearization
      4. Black Level Subtraction
      5. Demosaic to RGB
        1. Nearest Neighbor of Same Color
        2. Averaging Same Colors
        3. Using All Photosites
      6. Lens Corrections
      7. Cropping
      8. Scaling
      9. White Balance
      10. Color Conversion
      11. Color Enhancements
      12. Toning Curve
      13. Gamma Curve
      14. Clip to Fewer Bits
      15. Lossy Compression
      16. Cinema DNG Format
    7. On Board Image Processing
    8. Optical Low Pass Filtering (OLPF)
    9. Infrared (IR) Filtering
    10. Rolling Shutter vs. Global Shutter
      1. Skew
      2. Wobble, Jello
      3. Smear
      4. Partial Exposure
    11. Dark Frame Subtraction
    12. Dynamic range and Exposure Latitude
    13. How Much Picture Noise Is Acceptable in Digital Cinema?
    14. Noise and Lower Dynamic Range Issues
    15. Fixed Pattern Noise, Dark Noise, Readout Noise, Circuit Noise, and Photon Noise
    16. Highlight Handling and Headroom
    17. Fill Factor
    18. Microlenses on Photosites
    19. Sensitivity and ISO/ASA Rating
    20. Sensitivity
    21. ISO/ASA Rating/Exposure Index
    22. Dual Native ISO Cameras
  15. Chapter 3 Color
    1. CIE XYZ 1931
    2. The CIE 1931 Chromaticity Diagram
    3. Color Temperature and White Balance
    4. Color Space as It Relates to Cinematography
    5. Color Gamut
      1. Pointer’s Gamut
      2. SWOP CMYK Color Space
      3. Rec 709 HDTV Color Space
      4. DCI P3 Color Space
      5. BT Rec 2020 UHDTV Color Space
      6. AMPAS ACES AP0 Color Space
    6. Camera Color Gamut
    7. Gamuts Compared
    8. Color Space Conversion or Transformation
    9. Color Sampling and Subsampling
    10. YCbCr and Y’CbCr Color
    11. Color Has Traditionally Been Device Dependent
    12. Scene Referred Color: ACES
      1. Academy Color Encoding System (ACES)
      2. ACES Components
      3. ACES Benefits
      4. For Cinematographers
      5. For Visual Effects and Post-Production Facilities
      6. For Content Owners
      7. ACES Color Space Encoding
      8. Viewing ACES
      9. Preparation for Using ACES
    13. Digital Cinema Color Spaces: P3, XYZ, X’Y’Z’, and ACES
  16. Chapter 4 The Color–Space Conundrum
    1. The Beginnings of the Digital Intermediate
    2. What Is Color Space?
    3. Human Color Perception
    4. Quantifying Human Color Perception: CIE 1931
    5. Color Photography
    6. Color in Cinematography
    7. Color in Television
    8. CIE 1976: CIE L*a*b*
    9. The Birth of High Definition Video
    10. Managing the Digital Revolution
    11. The Birth of Digital Imaging
    12. Hybrid Workflows: Film and Digital Coexist
    13. Nyquist Sampling Theory
    14. Modulation Transfer Function and Contrast Sensitivity Function
    15. Preserving Image Quality across File Formats
    16. Look-Up Tables (LUTs)
    17. Compression
    18. Looking into the Digital Future (1/2)
    19. Looking into the Digital Future (2/2)
  17. Chapter 5 MTF, Resolution, Contrast, and Nyquist Theory
    1. Raster and Resolution
    2. Modulation Transfer Function (MTF)
    3. MTF(v) = Mi (image)/Mo (object)
    4. Contrast Is Decreased as a Function of Frequency
    5. Modulation Transfer Function of a Solid State Camera
    6. Optical Low Pass Filters
    7. Cascading Nyquist MTF Percentages: a Loose and General Example
    8. Resolution Does Not Equal Sharpness
    9. Higher Contrast Images Will Be Perceived as Sharper than Lower Contrast Images
    10. Important Trends to Consider Regarding Picture Sharpness
    11. The Case for 4K
    12. There Is 4K and Then There Is 4K
    13. Resizing and Resampling
    14. MTF and the Final Step in the Imaging Chain: Projection
  18. Chapter 6 Frame Rates, Aspect Ratios, High Dynamic Range, and Wide Color Gamut
    1. Temporal Resolution: Frame Rate
    2. The Range of Frame rates for Acquisition
    3. Progressive and Interlace Frame Rates
      1. Progressive Frame Rates
        1. 24p and 23.976p
        2. 25p
        3. 29.97p/30p
        4. 50p and 60p
      2. Interlace Frame Rates
        1. 60i
        2. 50i
    4. Interlace vs. Progressive Frames
    5. Problems Caused by Interlacing
      1. Combing
      2. Interline Twitter
    6. Resizing and Resampling of Interlaced Images
    7. Progressive Scan
      1. Advantages of Progressive Scan
    8. Variable Frame Rates and High Frame Rates
      1. Higher Frame Rates in Exhibition and 3D Exhibition
    9. Historical Perspectives
      1. Todd AO: 65mm at 30 fps
      2. Showscan at 60 Frames per Second in 65mm
    10. Coming Soon to a Theater Near You: Even Higher Frame Rates!
    11. Formats and Aspect Ratios
      1. Aspect Ratios
    12. Cinema Terminology
      1. 1.33:1 or 4 × 3 Academy
      2. 1.5:1, Full Frame, Large Format (LF), VistaVision
      3. 1.66:1 or 3 × 2
      4. 1.85:1
      5. 2:1 or 18 × 9, Univision
      6. 2.39:1 or Cinemascope, Scope, or Panavision
      7. 1.78:1 or 16 × 9
      8. Why 16 × 9?
      9. 1.9:1 or 17 × 9
      10. 1.33:1 Pillar Boxed inside 1.78:1 Frame
      11. 2.39:1 Letter Boxed inside 1.78:1 Frame
      12. 2.39:1 Pan and Scanned to Fit inside a Narrower Screen Format
      13. Turnstyle 16 × 9 to 9 × 16
    13. Film Camera Aperture Sizes and Digital Cinema Sensor Sizes
    14. High Dynamic Range (HDR) and Wide Color Gamut (WCG) Video
    15. Hybrid Log Gamma (HLG)
    16. HDR10 and HDR10+
    17. Dolby Vision Perceptual Quantization (PQ)
    18. Wide Color Gamut: ITU-R Rec 2020
    19. History and High Dynamic Range Imaging
    20. Tips for Shooting for HDR
      1. Day Exterior Shooting
      2. Interiors with Windows
      3. Low Light Scenes
      4. Shooting Backings
      5. Makeup in HDR
      6. Other HDR Shooting Concerns
    21. Important Lens Criteria for Shooting HDR: Modulation Transfer Function (MTF)
    22. Higher Brightness Display Increases the Effect of 24/25p Judder
    23. Finishing in Dolby Vision and HDR
  19. Chapter 7 Lenses
    1. Anamorphic vs. Spherical
    2. Distinctions that Go into Evaluating Lenses
      1. Resolution
      2. f-Stop/T-Stop
      3. Contrast/MTF (1/6)
      4. Contrast/MTF (2/6)
      5. Contrast/MTF (3/6)
      6. Contrast/MTF (4/6)
      7. Contrast/MTF (5/6)
      8. Contrast/MTF (6/6)
      9. Focal Length and Field of View
      10. Lens types
      11. Focal Length, Field of View, Distance, and Perspective
      12. Lens Illumination and Coverage
      13. ARRI Lens Illumination Guide
      14. Abel Cine FOV Tool 2.0
      15. CVP Lens Coverage and Comparison Tool
      16. On Line Lens Test Resources
      17. Telecentricity
      18. Color Matching
      19. Flare Characteristics
      20. Exposure Falloff, Uneven Field Illumination, Flat Field, Shading
      21. Close Focus
      22. Breathing
      23. Geometry and Distortion
    3. Chromatic Aberration, Coma, Astigmatism, and Diffraction
      1. Chromatic Aberration
      2. Coma
      3. Astigmatism
      4. Diffraction
    4. Bokeh
    5. Optics Design and Lens Groups
      1. Anamorphics
      2. Construction, Dimension, Durability, and Design
      3. Focus and Zoom Scaling
      4. Ramping
      5. Depth of Field
      6. Hyperfocal Distance
      7. Circle of Confusion
      8. Depth of Focus
      9. Focal Reducers, Expanders, Doublers, and Diopters
      10. Diopters/Closeup Lenses
      11. Filters
      12. Polarizing Filters
      13. Nodal Point or (More Correctly) the No-Parallax Point
      14. Finding the No-Parallax Point
    6. Lens Metadata
      1. Cooke /𝕚® Technology
      2. Panavision DXL Lens Data
      3. Speeding up VFX Work with ZEISS eXtended Data
        1. VFX, Compositing and CGI Integration Today
        2. Easier, Faster, More Precise Compositing with Lens Data
        3. Benefits of eXtended Data
        4. What Are the Choices to Record and Use ZEISS eXtended Data?
        5. ZEISS eXtended Data Using a RED DSMC2 for VFX
        6. ZEISS eXtended Data on an ARRI camera with Transvideo Starlite HDm Metadator Monitor for VFX
        7. Sensor Dimensions and Sensor Mode Data for VFX
        8. Ambient MasterLockit Plus timecode generator
        9. Using ZEISS Command Line Software ZEISS-XDCP to Ingest Lens Data into EXR files
        10. Example 1
        11. Example 2
    7. Lens Mapping for Visual Effects Work
    8. Evaluating Lenses: Lens Test Criteria and Methods
    9. Projecting Lenses for Evaluation
    10. Physical/Mechanical QC Issues in Lenses
    11. Lens Resources for Repair and Service
    12. Lens Section
    13. Angénieux Optimo Lenses
      1. Angénieux Optimo Prime Lenses
      2. Angénieux Optimo Zoom Lenses
      3. Angénieux Optimo Anamorphic A2S Zoom Lenses
      4. Angénieux Optimo Style Spherical Zoom Lenses
      5. Angénieux Optimo Type EZ Series Spherical Zoom Lenses
      6. Angénieux Optimo DP Rouge Zoom Lenses
    14. ARRI Signature Primes/ARRI 65 Primes/ARRI Ultra Wide Zooms
      1. ARRI Signature Primes
      2. ARRI LPL Lens Mount
      3. ARRI Large Format Lenses
      4. ARRI Vintage 765 Lenses
      5. ARRI Prime 65 Lenses
      6. ARRI Rentals Prime 65 S Lenses
      7. ARRI Prime DNA Lenses
      8. ARRI Rental DNA LF Primes
      9. ARRI 65 LDS XPL Lens Mount
      10. ARRI Ultra Wide Zoom Lenses
      11. ARRI/Fujinon Alura Zoom Lenses
    15. Atlas Anamorphics Orion Series
    16. Caldwell Chameleon Anamorphic Primes
    17. Canon Cine Lenses
      1. Canon Sumire Prime Lenses
      2. Canon EF and PL Mount Cinema Zoom Lenses
      3. Canon EF Mount Cinema Prime Lenses
      4. Canon RF Lens Mount
    18. Cooke Lenses
      1. Cooke S7/𝕚® Full Frame Plus T2.0 Prime Lenses
      2. Cooke 1.8x SF Anamorphic Full Frame Plus Lenses
      3. Cooke 5/𝕚 ̇ Prime Lenses, T 1.4
      4. Cooke Anamorphic/𝕚 Lenses
      5. Cooke Anamorphic 35–140mm Anamorphic/𝕚 Zoom Lens
      6. Cooke S4/𝕚 ̇ Prime Lenses
      7. Cooke MINIS4/𝕚®
      8. Cooke PANCHRO/𝕚® Classic Classic Lenses
      9. Cooke Legacy Zoom Lenses
    19. What Value Does Lens Metadata Hold?
    20. Fujinon Cine Lenses
      1. Fujinon Premista Large Format Zoom Lenses
      2. Fujinon Premier HK PL Mount Cine Lenses
      3. Fujinon Cabrio Zoom Lenses
    21. Gecko-Cam G-35 Lenses
    22. Hawk Anamorphic Prime Lenses and Zoom Lenses
      1. HAWK 65 Large Format Anamorphics
      2. Hawk Class-X Anamorphic Lenses
      3. MINIHAWK – Hybrid Anamorphics
      4. Hawk V-Lite 2x Squeeze Anamorphic Prime Lenses
      5. Hawk V-Lite Vintage ’74 Prime Lenses
      6. Hawk V-Plus Vintage ’74 Front Anamorphic Zoom Lenses
      7. Hawk V-Plus Anamorphic Prime Lenses
      8. Hawk V-Series Anamorphic Primes and Zooms
      9. Hawk C-Series Anamorphic Primes and Zooms
    23. Hawk V-Lite 1.3x Squeeze Anamorphic Primes and Zooms
    24. IB/E RAPTOR
    25. Illumina S35 MKII and MKIII Lenses by LOMO/LUMATECH
    26. Kinefinity Lenses
    27. LEITZ Cine Lenses
      1. LEITZ PRIMES
      2. LEITZ ZOOMS
      3. LEITZ SUMMILUX-C Cine Lenses
      4. LEITZ SUMMICRON-C Lenses
      5. LEITZ THALIA Lenses
      6. LEITZ M 0.8 Lenses
    28. Panavision Lenses
      1. Primo L-Series Prime Lenses
      2. Primo Close Focus Lenses
      3. Primo “Classic Series” Prime Lenses
      4. Primo Zoom Lenses
      5. 4:1 Primo Zoom – SLZ
      6. 11:1 Primo Zoom – SLZ11
      7. 3:1 Primo Zoom – SLZ3
      8. Primo Macro Zoom – PMZ
      9. Panavision Compact Zoom Lens – PCZ
      10. Panavision PZW
      11. Panavision PZM
      12. Panavision PNZT
      13. Panavision Primo 70 Lenses
      14. Primo Artiste Lenses
      15. Panaspeed Lenses
      16. Panavision Sphero 65 Lenses
      17. Super Panavision 70 Lenses
      18. Panavision System 65 Lenses
      19. Ultra Panavision 70 Lenses
      20. 65 Vintage Lenses
      21. Panavision PVintage Lenses
      22. Standard Primes – SP
      23. Super Speed “Z” Series SZ Ultra Speed “Z” Series USZ
      24. H-SERIES
    29. Panavision Macro and Specialty Lenses
      1. PRIMO-X Lenses
      2. Panavision Macro SM Series Lenses
      3. Panavision Frazier Lens System – FLS
      4. 6mm T2.8 Fisheye Lens – SF6
      5. 6mm T3.5 Nikon Fisheye Lens – SPN6
      6. 8mm T/2.8 Nikon Fisheye Lens – SPN8
      7. Portrait Lenses
      8. Flare Lenses
      9. Slant Focus Lenses
      10. Panavision/Century Swing Shift System – PVB
    30. Panavision Anamorphics
      1. G Series Anamorphic Prime Lenses
      2. E series Anamorphic Prime Lenses
      3. C Series Anamorphic Prime Lenses
      4. B Series Anamorphic Prime Lenses
      5. Panavision AL Primo Anamorphic Lenses
      6. Panavision T Series Anamorphic Lenses
      7. Panavision T Series Anamorphic Zooms
        1. T Series Anamorphic Wide-Angle Zoom AWZ2.3 37–85MM T2.8
        2. T Series Anamorphic Zoom ALZ10 42–425MM T4.5
      8. Front Anamorphic Zooms – AWZ2 and ATZ
        1. Anamorphic Wide-Angle Zoom – AWZ2
        2. Anamorphic Telephoto Zoom – ATZ
        3. Anamorphic Telephoto Zoom – ATZ2
      9. 3:1 Primo Anamorphic Zoom – ALZ3
      10. 11:1 Primo Anamorphic Zoom – ALZ11
    31. Panavision Ultra Vista Lenses
    32. Specialty Anamorphic Lenses
      1. P+S Technik Anamorphic Lenses
      2. Technovision 1.5X Anamorphic Lenses
      3. Evolution 2X Anamorphic Lenses
      4. P+S Technik – Skater Scope
      5. P+S Technik – Lens Rehousing
    33. Schneider Cine Xenar Lenses
      1. Schneider Full Frame Prime Lenses
      2. Schneider Xenon FF Prime Cine Tilt Lenses
    34. Service Vision Scorpio Anamorphic 2x Lenses
    35. Sigma Cine Lenses
      1. Sigma Cine Full Frame High Speed Prime Lenses
      2. Sigma “Classic Art Prime” Full Frame Classic Prime Lenses
      3. Sigma Cine Full Frame High Speed Zoom Lenses
    36. SONY CineAlta 4K Prime Lenses
    37. Spirit Lab Al Full Frame Prime Lenses (Al and Ti)
    38. Tokina Cinema Vista Full Frame Lenses
      1. Tokina Vista Beyond Full Frame Lenses
      2. Tokina Cinema Vista One Lenses
      3. Tokina Cinema Zoom Lenses
    39. Vantage ONE Lenses
    40. Vantage One4 Prime Lenses
    41. The Vintage Lens Co.: Neo Super Baltar Classics
    42. Whitepoint Optics Lenses
      1. Whitepoint Optics TS Series Lenses
    43. XEEN Lenses
      1. XEEN CF Prime Lenses
      2. XEEN Prime Lenses
    44. ZEISS Lenses
      1. ZEISS Supreme Primes
      2. ARRI/ZEISS Master Primes
      3. ARRI/ZEISS Master Zoom
      4. ARRI Lens Data System
      5. ARRI/ZEISS Ultra Primes
      6. ARRI/ZEISS Master Anamorphic Lenses
    45. ZEISS Compact Primes
      1. ZEISS Compact Prime Super Speeds
      2. ZEISS Compact Zooms and Lightweight Zoom
  20. Chapter 8 Camera Issues
    1. Variety of Camera and Lens Package Configurations: Studio, Portable, Documentary, Steadicam, Crashcam, etc.
    2. “Ready to Roll” Capabilities, Boot-Up Time, Pre-Roll Management of Expectations on the Set
    3. Viewing the Image while Shooting
    4. Viewfinders: A Cautionary Note
    5. Weight and Balance Issues
    6. Onboard Camera Controls vs. Outboard Camera Controls
    7. Ease of Use of Camera Controls and Menus
    8. Accessory Design: Focusers, Matte Boxes, etc.
    9. In Camera, Behind-the-Lens Filtration
    10. Cables, Cables, and More Cables
    11. Camera Power
    12. Lens Mount/Chip Mount Optical Block Strong Enough to Eliminate Back-Focus Problems
    13. Digital Still Cameras Used for Production Shooting
      1. Blackmagic Design Pocket Cinema Camera 4K and 6K Cameras
      2. Canon EOS 1D X Mark III
      3. Fuji GFX 100
      4. Panasonic Lumix DC-GH5S
      5. SONY A7S III
      6. SONY DSC-RX0 II
    14. Weight and Mass in Hand-Held Operation
    15. Digital Media and X-Rays/Magnetometers (the TSA)
    16. Digital Cameras and Cosmic Rays
    17. Sensor Cleaning: Shooting a Sensor Dust Check Image
    18. How to Clean the Sensor
    19. Dead or Lit Pixels
  21. Chapter 9 High Resolution Digital Motion Picture Cameras
    1. ARRI ALEXA Workflows
    2. ARRI ALEXA 65
    3. ARRI ALEXA LF and ALEXA Mini LF
      1. ARRI ALEXA LF
      2. ARRI ALEXA LF Workflows
      3. ARRI ALEXA Mini LF
    4. ARRI ALEXA SXT W
    5. ARRI ALEXA Mini (1/2)
    6. ARRI ALEXA Mini (2/2)
    7. ARRI AMIRA
    8. ARRI ALEXA/ALEXA XT
      1. ARRI ALEXA XT Plus
      2. ARRI ALEXA XT M
      3. ARRI ALEXA XT Studio
    9. Blackmagic Ursa Mini Pro 12K
    10. Blackmagic Ursa Mini Pro 4.6K/Ursa Mini 4K Cameras
    11. Canon C700, C700 GS (Global Shutter), C700 FF (Full Frame) Cine Cameras
    12. Canon EOS C500Mark II, C500 Cine Cameras
      1. Canon EOS C500Mark II
      2. Canon EOS C500 (discontinued)
      3. Canon EOS C300 Mark III
      4. Canon EOS C300 Mark II
      5. Canon EOS C300
    13. Canon EOS C200 Cine Camera
    14. Canon EOS C100 Cine Camera (discontinued)
    15. Canon ME20F-SH Cine Camera
    16. Canon ME200S-SH Cine Camera
    17. Canon EOS-1D X Mark III Camera
    18. Panasonic VariCam Pure
    19. Panasonic VariCam 35
    20. Panasonic VariCam LT
    21. Panasonic AU-EVA1
    22. Panavision Millennium DXL 2
    23. Panavision Genesis
    24. RED Digital Cinema
    25. RED RANGER and DSMC2 Camera Bodies
      1. RED MONSTRO, HELIUM, GEMINI, and DRAGON Sensors
    26. RED Camera Models: History
    27. RED Sensors
      1. DRAGON
      2. GEMINI
      3. HELIUM
      4. MONSTRO
    28. RED Digital Cinema KOMODO 6K
    29. REDCODE RAW
    30. RED Digital Cinema IPP2 Color Science
    31. Apple ProRes and Avid DNx Formats
    32. Color Management
    33. Legacy Product Overview
      1. RED WEAPON Dragon (Carbon Fiber/Magnesium) and SCARLET W Cameras
    34. Legacy Product Overview
      1. RED Epic Dragon 6K and SCARLET Dragon Cameras
    35. Legacy Product Overview
      1. RED Epic Mysterium-X Cameras: Epic M-X, Epic M-X Monochrome
    36. Legacy Product Overview
      1. RED SCARLET M-X Camera
    37. SONY
      1. SONY VENICE
      2. SONY F65
      3. SONY PMW-F55
      4. SONY FX9
      5. SONY PXW-FS7M2
      6. SONY FX6
      7. SONY PXW-FS5M2
      8. SONY PXW-FS5
    38. SONY FS7/FS7 M2
      1. SONY NEX-FS700U
    39. SONY PMW-FS5/FS5M2
      1. SONY F35
      2. SONY PMW-F3
      3. SONY F23
    40. Vision Research Phantom High Speed Cameras
      1. Vision Research Phantom Flex4K
      2. Vision Research Phantom VEO 4K 990 and 590
      3. Vision Research Phantom VEO 4K PL-RLS
      4. Vision Research Phantom v2640 Onyx
    41. Legacy Cameras
      1. Vision Research Phantom Flex
      2. Vision Research Phantom 65 4K
      3. Vision Research Phantom HD GOLD
    42. WEISSCAM HS-2
  22. Chapter 10 Camera Setup and Operation
    1. Bars and Tone
    2. Using Color Bars to Set Up a Monitor
    3. SMPTE Time Code
    4. Time Code on Set
    5. How Time Code Is Carried
    6. 29.97 Frames per Second?
    7. Drop Frame and Non Drop Frame Time Code
    8. Five Running Modes for Generating Time Code
    9. Shutter/Exposure Time
    10. Exposure Time: Speed vs. Shutter Angles
    11. Going Beyond 180 Degree Maximum Shutter Angle
    12. Electronic Viewfinders
      1. Viewfinder Magnification
    13. Shutter Angle and Motion Blur in Digital Cameras
    14. Camera Setup and Operation: Menus
      1. White Balance
      2. Black Balance
      3. Gamma γ A Video Power Function
      4. Gain
      5. Knee
      6. Master Black
      7. Master Black Gamma
      8. White Clip
      9. Detail
      10. De-Bayer Sharpening: ALEXA Mini and AMIRA Scaler Parameters
      11. Matrix
      12. Hue
      13. Saturation
      14. Lens Shading
    15. Saving Camera Settings
    16. Gamut
    17. Log Output Signals
    18. How to Expose Log Using a Gray Card in Standard Dynamic Range
    19. Exposure Strategy
    20. ARRI Log C
    21. SONY S-Log
    22. Hyper Gamma Curves
    23. HD-SDI Outputs
    24. Raw Output
    25. Viewing Output: A Cautionary Tale
    26. Sync/Black Burst
    27. Test Signal Outputs
    28. Exposure Metrics
      1. Waveform Monitor and Vectorscope
      2. Waveform Monitoring for Log Signals
      3. Waveform Monitoring for High Dynamic Range (HDR)
      4. Hybrid Log Gamma (HLG)
      5. HDR10 and HDR10+
      6. Dolby Vision Perceptual Quantization (PQ)
      7. European Broadcast Union Hybrid Log Gamma (HLG) Color Bars
      8. Dolby Laboratories HDR Alignment Frame
      9. How and Why to Use Color Charts
      10. DSC Color Charts
      11. Image Engineering TE269 V2 D Dynamic Range Chart
      12. X-Rite Macbeth ColorChecker
      13. Focus Assist, Crispening, and Peaking
      14. Zebras
      15. False Color
      16. Histograms
      17. Goal Posts
      18. Traffic Lights
      19. The “One Eyed Jack” Exposure Ball
      20. Chrome and Gray Balls
      21. Datacolor Spyder Cube HDR Reference Target
  23. Chapter 11 Prep, Testing, and Problem Solving
    1. Failing to Prepare Is Preparing to Fail
    2. Prep Begins with Understanding the Final Deliverables
    3. Sharing a Visual Language with Your Director
      1. Create a “Look Book”
        1. Shotdeck
    4. Breaking Down the Script
    5. Location Scouting
    6. The Tools of Location Scouting
      1. pCam Film + Digital Pro
      2. Artemis Director’s Viewfinder
      3. Helios Sun and Moon Position Calculator
      4. Sun Surveyor
      5. Cinematography Electronics FLICKERfree Calculator
      6. Cine Meter II
      7. FieldMonitor
      8. Clinometer
      9. AJA DataCalc
      10. Digital Cinema Pocket Guides
      11. Google Street View
      12. Apple Maps
      13. Stellar App by ARRI
      14. ARRI Photometrics
      15. The Grip App
        1. VUER
        2. QTake Monitor
        3. The Lee Diffusion app
        4. Focus Chart
        5. iMovie
        6. Magicplan
        7. LUTCalc
      16. Adobe Suite
      17. Other Tools
    7. Crew Size for Shooting Digital
    8. Hire a Great Gaffer
    9. Lighting Plots for Sets
    10. Hire a Great Key Grip
    11. Hire the Best Focus Puller You Can Get!
    12. Get to Know Your Colorist
    13. Equipment Lists
    14. Digital Imaging Technician
    15. Test Test Test!
      1. The 2009 Camera Assessment Series
      2. The 2012 Image Control Assessment Series
    16. Camera Prep Tests and Tasks Summary
    17. Contributed by Phillippe Ros AFC
      1. Makeup Tests
      2. Wardrobe Tests
      3. Infrared Filter Tests
      4. Lighting Tests
      5. Color Temperature Is Not the Same Thing as Spectral Power Distribution
      6. Spectroscopes
      7. Location Tests
      8. Flicker Tests
      9. Workflow Tests
      10. Filmout Tests
      11. Camera Tests, Lens Tests/Lens Projection
      12. Resources for Creative Lens Tests
    18. Shoot Framing Charts!
    19. ARRI Frame Line and Lens Illumination Tool
    20. Flesh Tone and Color Tests
    21. Camera Noise/Exposure Latitude Tests
    22. Image Engineering TE269 V2 D Dynamic Range Chart
    23. DSC XYLA 21: 20 Stop Grayscale Chart
    24. Dynamic Range and Exposure Latitude
    25. Dual Native ISO Cameras
    26. Practical Dynamic Range and Exposure Latitude Testing
    27. A Proposed Definition of Dynamic Range in Digital Cinema Cameras
      1. Introduction
      2. Defining Terms and Making Choices
      3. Sensor
      4. Ratio
      5. Measurable
      6. Summary of the Proposed Dynamic Range Metric
  24. Chapter 12 The Shoot
    1. Set Etiquette
    2. Look Management, Monitors, Tents, and Directors
    3. You Are the Producer’s Business Partner
    4. You Are the Director’s Hardest Working Best Friend
    5. The Studio: What Time Did You Get the First Shot of the Day?
    6. Making a Shot
    7. Picking up the Pieces at the End of the Day: The Crew
    8. Dailies
  25. Chapter 13 Workflow, Data, and Color Management
    1. Workflow
    2. A Checklist for Defining a Workflow
    3. Sample Workflows
      1. Baked in Look vs. Full Range Data
      2. Shooting Log
    4. Look Management: Color Correcting the Images for On Set Viewing
    5. Creating, Storing, and Recalling Camera Settings
    6. The DIT Tent, Viewing Environment, and Monitor Calibration
    7. High Dynamic Range Monitoring On Set
    8. Video Village
    9. Making Secure and Reliable Data Backups of the Footage
    10. LTO/LTFS Offline/Online, Conform from LTO
    11. Delivering Materials from Acquisition to Editorial
    12. Marrying Audio and Picture Files to Create Editorial Dailies
    13. Managing the Look of Images from Set through Post and Final Color Correction
    14. The Warner Brothers Next Generation Production Report
      1. Representative Samples of Workflow Diagrams
        1. Category 1: “Custom Configured” Workflow
        2. Category 2: “Plug and Play” Workflow
        3. Category 3: “Facility Supplied” Workflow
    15. LUTs: A More Granular Examination
      1. Shaper LUTs
      2. Calibration LUTs
      3. Display LUTs
      4. Creative LUTs
      5. Emulation LUTs
    16. Academy ASC Common File Format for Look-Up Tables
      1. LUTs (Look-Up Tables), Exchange Spaces, and Working Spaces
    17. ASC CDL: A More Granular Examination
      1. ASC Color Decision List (ASC CDL)
      2. ASC CDL Transfer Functions
        1. Slope
        2. Offset
        3. Power
        4. Saturation
      3. Behavior for Different Image Encodings
      4. Video-Gamma and Linear (Gamma 1.0)
        1. Slope
        2. Offset
        3. Power
        4. Saturation
      5. Video-Gamma Examples
      6. Log
        1. Slope
        2. Offset
        3. Power
        4. Saturation
      7. Log Examples
      8. ASC CDL Interchange Formats
    18. On-set Look Management Hardware and Software
    19. Color Correction and Look Modification Tools
      1. Assimilate Scratch
      2. Black Magic DaVinci Resolve/Resolve Live
      3. Colorfront: Transkoder, QC Player, On-set Dailies, and Express Dailies
      4. FilmLight Truelight
      5. FilmLight Prelight
      6. FotoKem nextLAB
      7. Gamma and Density 3cP/Image Control
      8. Lattice
      9. LUTCalc: 1D and 3D Cube LUT Calculator
      10. MTI Film Cortex Control Dailies
      11. Pomfort LiveGrade Pro
      12. RED Cine-X
      13. Technicolor DP Lights
    20. Data Management/Checksum Software
      1. Codex Digital
      2. Double Data
      3. Drylab
      4. Pomfort Silverstack
      5. Shot Put Pro
      6. Yoyotta
    21. LUT Boxes
      1. AJA LUT Box
      2. Blackmagic Teranex Mini
      3. Box IO: Flanders Scientific
      4. TV Logic IS Mini LUT Box
      5. Pandora Pluto LUT Box
      6. Teradek Colr/Colr Duo
    22. Additional Useful Resources
      1. AJA
      2. Blackmagic Design
      3. DAX® Production Cloud and PIX Systems
      4. DAX® Production Cloud
      5. PIX System and Fotokem nextLAB®
      6. Moxion
  26. Chapter 14 Displays and Recorders
    1. Displays
    2. A Brief History of Display Technologies
      1. CRT – Cathode Ray Tube Monitors
      2. LCD – Liquid Crystal Displays
      3. LED – Light Emitting Diode Displays
      4. Gas Plasma Displays
      5. OLED – Organic Light Emitting Diode Displays
    3. Calibration
      1. Manual Standard Dynamic Range Monitor Calibration
    4. Display Calibration Tools
      1. Portrait Displays CalMAN
      2. Datacolor Spyder
      3. X-Rite
      4. PR 735 Spectroradiometer
    5. Waveform Monitors and Vectorscopes
      1. Leader/Phabrix
      2. Phabrix
      3. Leader
      4. Tektronix
    6. Monitors/Monitor Recorders for On Camera/Near Camera Displays
      1. Atomos
      2. Blackmagic Design
      3. Convergent Design
      4. IKAN
      5. Small HD
      6. Transvideo
      7. TV Logic
    7. Monitors for Use on Set/Near Set/DIT Cart/Director Viewing
      1. Canon
      2. EIZO
      3. Flanders Scientific FSI
      4. LG
      5. Panasonic
      6. SONY
      7. TV Logic
    8. Monitors for DI Suite/Mastering
      1. Canon DP-V3120 31-inch 4K HDR Reference Monitor
      2. SONY BVM-HX310 30-inch 4K LCD Master Monitor
      3. Dolby Professional Reference Monitor PRM-4220
    9. Digital Projection for Dailies, Previews, and Digital Cinema
      1. Barco Projectors
      2. Christie Projectors
      3. NEC Projectors
      4. Panasonic Projectors
      5. SONY Projectors
    10. Recorders
      1. AJA Ki Pro
      2. Blackmagic Design
      3. Codex Digital
      4. Panasonic Recorders
        1. Panasonic P2 Media
      5. RED Mini Mag
      6. SONY On Camera Recorders
      7. SONY SxS Cards
    11. Sound Devices Pix 270i
    12. Vision Research CineMag and CineStation
  27. Chapter 15 File Formats, Log Encoding, Data, and Compression
    1. Motion Picture Image File Types
      1. Cineon/DPX
      2. OpenEXR
      3. RAW File Formats
      4. TIFF – Tagged Image File Format
    2. Log Functions
    3. Waveform Monitoring for Log Signals
    4. Log Functions in Detail
    5. Interfaces and Data Transport Streams
      1. HDSDI
      2. HDMI
    6. Codecs, Containers, and Wrappers
      1. MXF
      2. Quicktime
      3. Apple ProRes Codecs
      4. REDCODE RAW
      5. Cinema DNG
      6. Avid DNx Codecs
      7. Other Video Wrapper/Containers
    7. Image Compression
      1. Chroma Subsampling
      2. H.264 (MPEG-4 AVC)
      3. High Efficiency Video Coding (HEVC, H.265, and MPEG-H Part 2)
      4. JPEG 2000 Wavelet Compression
      5. How JPEG 2000 Works
        1. Pre-Processing
        2. The Discrete Wavelet Transform
        3. Compression of the Wavelet Coefficients
        4. The Entropy Coding Unit
        5. Rate Control
        6. Data Ordering
    8. Compression
      1. Intraframe vs. Interframe Compression Schemes
        1. Interframe Compression
        2. Intraframe Compression
    9. Post Production File Types
      1. ALE Files
      2. XML Files
      3. AAF Files
      4. EDL Files
      5. AIFF and WAV Audio Files
      6. Metadata
    10. How Much Data?
    11. Bandwidth
    12. 10-Gig E/Fibre Channel
    13. The Cloud
    14. Data Transport: Fiber Brokers and Data Synchronization across Sites
    15. Infrastructure as a Service: Raw Computing Resource Clouds
    16. Software as a Service
    17. Cloud-Enabled Workflows
    18. Security
  28. Chapter 16 Post Production and Digital Intermediate
    1. Handling of Original Media
    2. Dailies Generation
    3. Film Scanning
    4. Watching Dailies
    5. Editing
    6. Visual Effects and Computer Generated Images
    7. Audio Finishing
      1. Foley
      2. Sound Design
      3. Dubbing
    8. Turnover
    9. Checklist for a Correct and Effective Turnover
    10. Ingest and Conform
    11. OpenColorIO
    12. Digital Intermediate: Color Correction
    13. The Principal Tools of Color Correction
      1. Primary Color Corrections
    14. Lift, Gamma, Gain/Slope, Offset, Power/Hue/Saturation
      1. Lift/Offset
      2. Gamma/Power
      3. Gain/Slope
      4. Hue
      5. Saturation
    15. Secondary Color Corrections
    16. Power Windows and Shapes
    17. Color Vectors
    18. Color Curves
    19. Dynamics
      1. Masks/Mattes/Keys
    20. Color Correction and Decimation: Cautionary Notes
    21. Decimation, Downsampling, or Subsampling
    22. Noise Reduction (or sometimes Amplification)
    23. Film Grain and Film Look
    24. Sharpening
    25. Using Sharpening Filters in Baselight
    26. FilmLight Texture Equalizer: A New Approach to Texture Management
      1. Texture Equalizer
      2. Texture Highlight
      3. Texture Highlight
    27. A Suggested Order of Operations in Grading on DaVinci
    28. Output: The Digital Source Master (DSM)
    29. What Possibilities Does ACES Hold for Color Grading?
      1. Images Corrected in a 10-bit Log Environment
      2. Images Corrected in a 16-bit ACES Environment
    30. Color Correction Systems
      1. Assimilate Scratch
      2. Autodesk Lustre
      3. Blackmagic DaVinci Resolve
      4. Digital Vision Nucoda
      5. FilmLight Baselight
      6. Grass Valley Rio
      7. Mistika
      8. Pandora Revolution
      9. RED Giant Magic Bullet Colorista II
  29. Chapter 17 Delivering and Archiving Digital Movies
    1. Digital Cinema Initiatives, LLC (DCI): Architect of Digital Cinema
    2. Delivering a Motion Picture
    3. The Digital Source Master and the Digital Cinema Distribution Master
    4. Interoperable Master Format (IMF)
    5. Archiving a Motion Picture in the Digital Age
    6. The Carrington Event
    7. Taking Digital Out to Archival Film
    8. The Digital Dilemma
    9. The Digital Cinema Package or DCP
    10. DCP Delivery to Theaters
    11. The Migration from Film to Digital
    12. A Simplified Source Material Digital Assets List for IMF Packaging Delivery
    13. A Simplifed Motion Picture Studio Deliverables List for Film Projects
      1. Media
      2. Distribution Elements
      3. Editorial Items
      4. Sound Elements
      5. International Elements
      6. Trailer Material
      7. Videotape Master Material
      8. Publicity Materials
      9. DVD Blu-Ray Bonus Materials
      10. Clearance Documents
      11. Legal Materials
    14. Broadcast Delivery Technical Specifications
      1. Rec 709 Video Levels
      2. HDR “Legal” Video Levels
  30. Index (1/4)
  31. Index (2/4)
  32. Index (3/4)
  33. Index (4/4)

Product information

  • Title: Digital Cinematography, 2nd Edition
  • Author(s): David Stump ASC
  • Release date: November 2021
  • Publisher(s): Routledge
  • ISBN: 9780429889011