Download e-book for kindle: The Filmmaker's Guide to Digital Imaging: for by Blain Brown

By Blain Brown

ISBN-10: 0415854113

ISBN-13: 9780415854115

It’s an entire new global for cinematographers, digicam assistants, and postproduction artists. New apparatus, new tools, and new applied sciences need to be realized and mastered. New roles akin to that of the DIT (Digital Imaging Technician), electronic Loader, and knowledge supervisor are critical to today’s movie creation strategy. Take your mastery of those new instruments, thoughts, and roles to the subsequent point with this state of the art roadmap from esteemed writer and filmmaker Blain Brown. The Filmmaker’s consultant to electronic Imaging covers either the idea and the perform, that includes full-color, in-depth insurance of crucial terminology, know-how, and industry-standard best-practices. Brown covers new industry-wide creation criteria equivalent to ASC-CDL and the ACES workflow. Interviews with expert cinematographers and DITs engaged on Hollywood productions equip you with wisdom that's crucial with the intention to paintings in today’s movie undefined, even if as a cinematographer, DIT, electronic Loader, facts supervisor, digital camera assistant, editor, or VFX artist.

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Additional info for The Filmmaker's Guide to Digital Imaging: for Cinematographers, Digital Imaging Technicians, and Camera Assistants

Example text

A matrix is denoted with a capital letter. Scalar multiplication is very simple. 15): For our purposes, the operation most often used is the dot product, which is a little more complex. 16). It looks a bit complex, but it’s really just basic arithmetic. Most of the time when dealing with video, a 3x3 matrix is used, for the simple reason that we are generally dealing with three channels: Red, Green and Blue. As we will see later, this is directly related to the idea of matrix on a video camera, which is a way to control the color of the image.

Also, interlaced video was difficult to rescale or process in postproduction; an important factor in abandoning it for progressive. THE FILM LOOK VS. THE VIDEO LOOK Film at 24 FPS has a distinctive look that most people consider to be cinematic in appearance; on the other hand, 30 FPS has a “video” look. The primary reason for this is that we have become accustomed to 24 frames per second. In reality, when we see film projected, we are seeing 48 FPS. This is because projectors have a blade which interrupts each frame and makes it the equivalent of two frames.

This can be a result of using a higher ISO, underexposing and compensating later or even by color compensation in white balance, which may result in certain color channels being amplified more than others. Charles Poynton, color scientist, consultant and writer, says “Sensitivity and noise are two sides of the same coin. Don’t believe any specification that states one without the other. ” A standard measure of noise is the Signal to Noise ratio (abbreviated S/N or SNR, which is usually expressed in deciBels (dB).

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The Filmmaker's Guide to Digital Imaging: for Cinematographers, Digital Imaging Technicians, and Camera Assistants by Blain Brown

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