High Definition and 24P Cinematography / Edition 2

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Overview

This authoritative new reference demystifies the technologies of high definition and 24P cinematography. It is written for the director of photography, camera crew and producer or director and deals with the subject from their point of view. It provides a thorough and logical description of the five scanning formats 24P, 25P, 30P, 50i and 60i as well as recording formats, editing options, delivery potential and discussions on the financial implications theses decisions might have.


It looks at comparative costs between different decisions surrounding camera formats, such as 16mm to 35mm shooting for different examples, such as a 100-minute low budget movie or 30 second commercial. There is also considerable discussion on the advantages and disadvantages of using HD versus film, seen from a producer's perspective and what the impact is on all those involved in making a movie. Different delivery systems and camera equipment are discussed as well as editing.

Filled with practical advice for tackling everyday decisions and choices, this is a must-have guide for anyone using or considering using high definition technology.

Audience: Professional Directors of Photography (DPs) and associated crew members: camera operators, focus pullers, first and second camera assistants who are converting to high definition from film or TV format digital tape. Directors, Producers and Production Managers.

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Product Details

  • ISBN-13: 9780240516769
  • Publisher: Taylor & Francis
  • Publication date: 6/4/2003
  • Edition description: New Edition
  • Edition number: 2
  • Pages: 240
  • Product dimensions: 7.44 (w) x 9.74 (h) x 0.57 (d)

Meet the Author

Paul Wheeler BSC FBKS was trained at the BBC rising to become a Senior Drama Film Cameraman. Paul Shot one of the first BBC Drama Series to be photographed using the then new Digi Beta cameras, by which time he was freelance. He is a renowned cinematographer/director of photography and trainer, he has been Head of Cinematography at National Film & Television School and still runs courses on Digital Cinematography there. He has also been Head of Cinematography on the Royal College of Arts MA course. Paul was invited to become an associate of Panavision in order to help them introduce the Panavised version of Sony's HDW 900f camera which meant he joined the HD movement 3 days before the first Panavision camera arrived in Europe. Despite all this he is still very much a working cinematographer. He has been twice nominated by BAFTA for a Best Cinematography award and also twice been the winner of the INDIE award for Best Digital Cinematography. His previous books, "Practical Cinematography” and "Digital cinematography”, are both published by the Focal Press.

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Table of Contents

Why chose HD?: What is 24P and HDcam?; Picture Quality; Display quality; Cost implications; Delivery requirements; Sales potential; Pre Production Decisions: Production decisions and frame rates; Production decisions relating to the type of production; Crewing; Preparing for a shoot: Camera Preparation Prior to the shoot; Camera preparation "Top of Day" check list; Troubleshooting; The Shoot: Lighting and exposure for HD; Lenses; Monitors; Colour balance; Playback; Shipping; Multi camera shoots; Hazardous conditions; Camera supports; How HD affects other crafts; Examples of shoots: Some pictures that made it to HD - and why; Post Production: Post production; The Sony HDW F900 camera: The camera head; Digital Imaging; Frame Rates and Scanning; The On-Board VTR; The Panavision HDW F900 and its system: Introduction; The Sony HDW 750 camera: The Sony HDW F750 / F730 HD camera; The Thomson Viper HD camera: The Thomson Viper camera; The Sony HDW F500 Desktop VTR: The Sony HDW F500 VTR; The Sony HDW F900 menus: The HDW F900 Menus

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