Selected Tables Charts And Formulas For The Student Cinematographer 4th Ed
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Selected Tables, Charts And Formulas for the Student Cinematographer 4TH Ed by Stephen Burum Pdf
Selected Tables, Charts and Formulas for the Student Cinematographer comprises subjects from the American Cinematographer Manual that are most relevant and helpful to the student. This material reflects the basic concepts of our craft; these tables, charts and formulas are the same ones used by professionals. We have carefully chosen key areas that will enlighten and inform. Look closely over these pages, and you'll find a great deal of useful information presented in the charts and tables.
Selected Tables, Charts and Formulas for the Student Cinematographer from the American Cinematographer Manual by Asc Stephen Burum,Stephen H. Burum Pdf
From its basic chapter on cinematographic principles to the actual tables, charts and formulas used by professional cinematographers, this slim volume gives the film student authoritative facts, clearly presented. The American Cinematographer Manual is a professional resource that is used by cinematographers around the world. Conceived by Hollywood feature-film cinematographers over 70 years ago, the manual is designed to be a complete reference source on the set. It covers every aspect of cinematography from lens to lab. The current edition encompasses more than 880 pages.Over the last decade, many schools and universities have introduced courses in filmmaking, and interest in the art and craft of cinematography has grown. We have endeavored to meet this burgeoning interest with this book, which was designed with a student budget in mind. Selected Tables, Charts and Formulas for the Student Cinematographer comprises subjects from the American Cinematographer Manual that are most relevant and helpful to the student. This material reflects the basic concepts of our craft; these tables, charts and formulas are the same ones used by professionals. We have carefully chosen material that will enlighten and inform. Look carefully, and you will find a great deal of useful information embedded in the charts and tables.
American Cinematographer Manual by American Society of Cinematographers Pdf
This newly revised edition of the "American Cinematographer Film Manual" continues to be the standard, providing fully updated, comprehensive coverage of cinematography from production to post. (Performing Arts)
American Cinematographer Manual Vol. I by Asc Michael Goi Pdf
"Known as the "Filmmaker's bible," for several generations, one of the world's most widely used cinema reference books is more comprehensive than ever -- moving into the digital side of image capture. Completely re-imagined to reflect the sweeping technological changes that our industry has experienced, this edition of the Manual is vibrant and essential reading, as well as an invaluable field resource, covering subjects such as: A comprehensive breakdown of digital technology terminology The explosion of prosumer cameras in professional use Previsualization 3-D LED lighting fixtures How to use the Academy Color Encoding Specification (ACES) An entirely new section on digital camera prep, and more!"--Amazon.com viewed Feb. 26, 2021.
Cinematography: Theory and Practice by Blain Brown Pdf
There's more to being a DP than holdng a light meter! With this book as your guide, you are on your way to learning not only about the equipment and technology, but also about the concepts and thought processes that will enable you to shoot professionally, efficiently, and with artistic mastery. A leading book in the field, Cinematography has been translated into many languages and is a staple at the world's top film schools. Lavishly produced and illustrated, it 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 classic tried and true methods.
Directing: Film Techniques and Aesthetics is a comprehensive manual that teaches the essentials of filmmaking from the perspective of the director. Ideal for film production and directing classes, as well as for aspiring and current directors, Directing covers all phases of preproduction and production, from idea development to final cut. Thoroughly covering the basics, Directing guides the reader to professional standards of expression and control, and goes to the heart of what makes a director. The book outlines a great deal of practical work to meet this goal, with projects, exercises. The third edition emphasizes the connection between knowing and doing, with every principle realizable through projects and exercises. Much has been enhanced and expanded, notably: aspects of dramaturgy; beats and dramatic units; pitching stories and selling one's work; the role of the entrepreneurial producer; and the dangers of embedded moral values. Checklists are loaded with practical recommendations for action, and outcomes assessment tables help the reader honestly gauge his or her progress. Entirely new chapters present: preproduction procedures; production design; script breakdown; procedures and etiquette on the set; shooting location sound; continuity; and working with a composer. The entire book is revised to capitalize on the advantages offered by the revolutionary shift to digital filmmaking.
Fiftieth anniversary reissue of the founding media studies book that helped establish media art as a cultural category. First published in 1970, Gene Youngblood’s influential Expanded Cinema was the first serious treatment of video, computers, and holography as cinematic technologies. Long considered the bible for media artists, Youngblood’s insider account of 1960s counterculture and the birth of cybernetics remains a mainstay reference in today’s hypermediated digital world. This fiftieth anniversary edition includes a new Introduction by the author that offers conceptual tools for understanding the sociocultural and sociopolitical realities of our present world. A unique eyewitness account of burgeoning experimental film and the birth of video art in the late 1960s, this far- ranging study traces the evolution of cinematic language to the end of fiction, drama, and realism. Vast in scope, its prescient formulations include “the paleocybernetic age,” “intermedia,” the “artist as design scientist,” the “artist as ecologist,” “synaesthetics and kinesthetics,” and “the technosphere: man/machine symbiosis.” Outstanding works are analyzed in detail. Methods of production are meticulously described, including interviews with artists and technologists of the period, such as Nam June Paik, Jordan Belson, Andy Warhol, Stan Brakhage, Carolee Schneemann, Stan VanDerBeek, Les Levine, and Frank Gillette. An inspiring Introduction by the celebrated polymath and designer R. Buckminster Fuller—a perfectly cut gem of countercultural thinking in itself—places Youngblood’s radical observations in comprehensive perspective. Providing an unparalleled historical documentation, Expanded Cinema clarifies a chapter of countercultural history that is still not fully represented in the arthistorical record half a century later. The book will also inspire the current generation of artists working in ever-newer expansions of the cinematic environment and will prove invaluable to all who are concerned with the technologies that are reshaping the nature of human communication.
Informing with the Case Method by T. Grandon Gill Pdf
There are a number of marvelous books that address the topic of the case method. If you are interested in facilitating cases, you can look to the classic book Teaching and the Case Method by Louis Barnes, C. Roland Christensen and Abby Hansen (1994). The collection of essays on the subject, Education for Judgment: The Artistry of Discussion Leadership by C. Roland Christensen, David Garvin and Ann Sweet (1991) is a wonderful and inspiring read as well. If your interest is case-based research, it would be nearly impossible to find a more authoritative source than Robert Yin’s (2009, 4th Edition) Case Study Research: Design and Methods, which (at last count) has been cited nearly 29,000 times, according to Google Scholar. There is even a new entry to the field, William Ellet’s (2007) The Case Study Handbook: How to Read, Discuss, and Write Persuasively about Cases that is specifically aimed at the student. At first glance, then, the topic of case studies in education and research seems to be pretty well covered. Do we really need another book on the subject? I write this book believing the answer is yes. While I have great affection for the classics, there are a number of issues facing most business faculty—not to mention faculty members from disciplines outside of business—that these books simply do not address. In writing this book, my intention is to offer some thoughts on some of these. Paradoxically, these omissions arise from the very fact that the authors of the classics are undisputed masters of their craft. Why this is a problem should become clear as I identify the three areas of focus for this book. The first issue that I feel must be considered is using the case method with a novice audience. Consider the following. When I was enrolled in the MBA program at Harvard Business School (HBS) in the early 1980s, the curriculum consisted of nearly 900 case discussion (15 per week) and—perhaps—as many as 20 class periods given over to lecture-style presentations. When I teach a case-method graduate course at my own institution, on the other hand, I am constrained to 11 case discussions (a 12 week semester). As it happens, I am also the only course in the entire program that employs pedagogy reasonably faithful to the case method, as it is normally defined. The math is very simple. By the last day of my semester, my students have as much experience discussing cases as I did on Thursday afternoon of the first week of my two year MBA program at HBS. With the exception of faculty teaching at those rare institutions that have chosen to widely adopt the case method, the situation I face is commonplace. The second concern that existing books raise for me is their tendency to focus on isolated topics. Specifically, case facilitation, case writing and case research are treated as separable activities. I would argue that these three aspects of the case method—which I define quite broadly—are inseparable. For institutions that wish to achieve the full set of benefits provided by the case method, all three activities must be pursued in parallel. Perhaps this is why so few institutions have achieved success through the case method. In this book, I will argue that achieving such integration is precisely why those rare institutions have been so successful. Once you start believing that the case method can be a key to institutional success, how you get there becomes a real challenge. At leading institutions featuring the case method, such as HBS, the philosophy is largely learned through a period of apprenticeship. For example, I did not encounter any of the references mentioned in the first paragraph—excepting Yin—at any time during my 5 year doctorate at HBS. Instead, I went out and wrote cases, facilitated discussions and did research under the guidance of faculty members who were masters of the craft. How can someone without the benefit of such an experience acquire such mastery? While I cannot offer any promises in this regard, I will at least provide some examples and easy-to-follow checklists that may be of service to individuals getting started.
"A wonderful introduction to the workings of the Hollywood system. We learn in rich and yet accessible detail about special effects, technical wizardry and gadgetry, lighting, make-up, the breakdown of crews, and filming strategies. The book is legendary and its reprint is a major event for film study."—Dana Polan, Tisch School of the Arts, New York University
Graphic Design Theory is organized in three sections: "Creating the Field" traces the evolution of graphic design over the course of the early 1900s, including influential avant-garde ideas of futurism, constructivism, and the Bauhaus; "Building on Success" covers the mid- to late twentieth century and considers the International Style, modernism, and postmodernism; and "Mapping the Future" opens at the end of the last century and includes current discussions on legibility, social responsibility, and new media. Striking color images illustrate each of the movements discussed and demonstrate the ongoing relationship between theory and practice. A brief commentary prefaces each text, providing a cultural and historical framework through which the work can be evaluated. Authors include such influential designers as Herbert Bayer, L'szlo Moholy-Nagy, Karl Gerstner, Katherine McCoy, Michael Rock, Lev Manovich, Ellen Lupton, and Lorraine Wild. Additional features include a timeline, glossary, and bibliography for further reading. A must-have survey for graduate and undergraduate courses in design history, theory, and contemporary issues, Graphic Design Theory invites designers and interested readers of all levels to plunge into the world of design discourse.
Concert Lighting: Tools, Techniques, Art, and Business Fourth Edition provides readers with an updated look at how to succeed in the complex world of concert lighting design and technology. The authors have reorganized the book into three comprehensive and thoroughly revised sections, covering history, equipment and technology, and design, and containing new information on LED technology, pixel mapping, projection options, media servers, automated lighting, solutions for moving lights, DMX, and Ethernet problems, and designer communication and collaboration. This book also explores the cross-media use of concert lighting techniques in film, video, theatre, and the corporate world, highlighted with advice from master designers such as Bruce Rodgers, Cosmo Wilson, and Sarah Landau. From securing precious contracts to knowing the best equipment to use to design a show, Concert Lighting covers everything a designer needs to know about working in the touring industry.
