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Cinematography Mailing List - CML- The First 5 Years

"This book consists of edited conversations between DPs, Gaffers, their crew and equipment suppliers. ... These pages cover the period November 1996 to November 2001"--p. 1.

"This book consists of edited conversations between DPs, Gaffers, their crew and equipment suppliers. ... These pages cover the period November 1996 to November 2001"--p. 1.

Transnational Cinematography Studies

This collection explores how the role of cinematography will evolve in an ever-increasing digitized industry in a transnational context. Contributors aim to bridge conversations about critical film studies and technical film practices while proposing that cinema has always been at the foreground of transnational culture.

This collection explores how the role of cinematography will evolve in an ever-increasing digitized industry in a transnational context.

Digital Cinema

The Revolution in Cinematography, Post-Production, and Distribution

With its huge cost-saving potential, digital cinema is the biggest thing to happen to the movies since sound -- this book details how each phase of the digital movie-making process, shooting, postproduction, delivery, and exhibition -- differs from film and provides clear answers to the cost vs. quality controversy. * Nonlinear editing -- software, basic technique, cost savings * Digital video color correction * CGI -- changing the shot after the shoot * Digital composition for film * Universal mastering (film, DVD, TV, Internet) * Digital distribution and exhibition

With its huge cost-saving potential, digital cinema is the biggest thing to happen to the movies since sound -- this book details how each phase of the digital movie-making process, shooting, postproduction, delivery, and exhibition -- ...

Image and Geometry Processing for 3-D Cinematography

papers, illustrated with examples. They include wavelet bases, implicit functions de ned on a space grid, etc. It appears that a common pattern is the recovery of a controllable model of the scene, such that the resulting images can be edited (interaction). Changing the viewpoint is only one (important) aspect, but changing the lighting and action is equally important [2]. Recording and representing three-dimensional scenes is an emerging technology made possible by the convergence of optics, geometry and computer science, with many applications in the movie industry, and more generally in entertainment. Note that the invention of cinema (camera and projector) was also primarily a scienti c invention that evolved into an art form. We suspect the same thing will probably happen with 3-D movies. 3 Book Contents The book is composed of 12 chapters, which elaborate on the content of talks given at the BANFF workshop. The chapters are organized into three sections. The rst section presents an overview of the inter-relations between the art of cinemat- raphy and the science of image and geometry processing; the second section is devoted to recent developments in geometry; and the third section is devoted to recent developmentsin image processing. 3.1 3-D Cinematography and Applications The rst section of the book presents an overview of the inter-relations between the art of cinematography and the science of image and geometry processing.

The book brings together researchers and practitioners from computer graphics, computer vision, broadcasting and motion pictures, to offer a broad perspective on all current areas of research related to the production of high quality 3-D ...

Filming the Fantastic: A Guide to Visual Effects Cinematography

Don't waste valuable time and budget fixing your footage in post! Shoot the effects you want effectively and creatively the first time. This full-color step-by step guide to visual effects cinematography empowers you to plan out and execute visual effects shots on a budget, without falling into the common pitfall of using high-end computer graphics to "fix it in post. Learn how to effectively photograph foreground miniatures, matte paintings, green screen set ups, miniatures, crowd replication, explosions, and so much more to create elements that will composite together flawlessly. Filming the Fantastic focuses on the art and craft of visual effects using real case scenarios from a visual effects cameraman. These lessons from the front line will give you ideas and insight so you can translate your skills into any situation, no matter what camera or software package you are using and no matter if you are using film or digital technology. Learn how to film your fantastic visual effects with this book!

Learn how to film your fantastic visual effects with this book!

Authorship and Aesthetics in the Cinematography of Gregg Toland

Philip Cowan introduces new approaches to analyzing the art of cinematography and new methodologies for attributing authorship to moving images. Cowan’s revisionist examination of the work of Gregg Toland emphasizes the expressive potential of contemporary cinematographers’ contribution to visual storytelling.

Cowan’s revisionist examination of the work of Gregg Toland emphasizes the expressive potential of contemporary cinematographers’ contribution to visual storytelling.

Cinematography in the Weimar Republic

Lola Lola, Dirty Singles, and the Men Who Shot Them

Cinematography in the Weimar Republic argues that the new medium of film was preeminent among the avant-garde art forms that distinguished the cultural renaissance of the Weimar Republic and that within this progressive medium cinematographers were the leading purveyors of the new kinetic visual imaginary.

Cinematography in the Weimar Republic argues that the new medium of film was preeminent among the avant-garde art forms that distinguished the cultural renaissance of the Weimar Republic and that within this progressive medium ...

Affecting the audience through motion pictures: The cinematography of 'Amores Perros'

Seminar paper from the year 2009 in the subject Film Science, grade: 1,7, University of London, course: Latin American Cinema, language: English, abstract: Amores Perros (2000) is the first feature film of Mexican Filmmaker Alejandro González Iñárritu. Released in 2000 at the Cannes Film Festival, the movie won the Prize of the Critic's Week at Cannes. It was the first Mexican film after 25 years that entered an Oscar competition. By referring to specialist magazine Cine XS (Flores-Durán and Pedroza, 2000) Paul Julian Smith explains that ‘Amores Perros is representative of a ‘new trend’ in Mexican cinema’ (Smith, 2003, p. 25). The film not only won a lot of prizes at international film festivals, it was also very successful at the box offices. It earned $ 10 million in Mexico, $ 5 million in the US and $20 million worldwide (Smith, 2003, p. 13). ‘The critical and commercial success of González Iñárritu’s film comes at a time when the Mexican film industry appears to be going through its worst period since the early 1930s’ (D’Lugo, 2003, p. 221). But what makes this film so successful? The brilliant narration, the strong soundtrack, the outstanding cinematography and special marketing strategies could be factors for its success. The cinematic and editing techniques used in this movie are very different from films of former Latin American filmmakers. In this essay, I would like to concentrate on the cinematography of Amores Perros and analyse how it creates meaning and supports the story and the characters. I will start with general information about the movie and sum up the plot very briefly. After that, I will begin the analysis of the cinematography and give some background information about the production. Firstly, I want to give some general information about the specific cinematographic techniques used in Amores Perros and then I would like to analyse several sequences more properly. The opening sequence will be analysed accurately, then I concentrate on several key-scenes.

In this essay, I would like to concentrate on the cinematography of Amores Perros and analyse how it creates meaning and supports the story and the characters.

Digital Cinematography

Lighting and Photographing Computer Generated Animation

Digital Cinematography presents computer animators with the tools and techniques at their disposal to give their animation the look and feel of a real Hollywood movie. Starting with the basics of lighting, camera movement, and genre, the book teaches how to effectively create interior and exterior lighting, how to light characters to invoke a mood or theme, and even how to create special effects. For animators who would like to create 3D computer games, this book illustrates how to light scenes effectively as well as how to cover up modeling and texturing mistakes. This book is an invaluable guide to the cinematic art of computer animation. Key Features * Exercises and examples focus on the implementation of 3D, and the functionality of specific graphic tools such as omnidirectional lights, depth of fields, and image processing * Historical reference of films photographed in the style of the tutorial, as well as images of both the process and the final result * Cinematic styles covered include film noir, naturalism, expressionism, comedy, and cartoon * Cinematic principles covered include key light, fill light, back light, set light, single source lighting, contrast, projection and gobos, camera lenses, color usage, composition and leading lines * Multi-platform CD-ROM provides hands-on project files for each of the tutorials, enabling the reader to explore virtually all of the book's contents in 3D

This book is an invaluable guide to the cinematic art of computer animation.

Making Pictures

A Century of European Cinematography

Five hundred movie stills and photographs highlight this comprehensive overview of European cinematographic art, which offers incisive analyses of one hundred seminal films---from Battleship Potemkin to The Elephant Man--along with a technical and creative history of the cameraperson's craft.

Five hundred movie stills and photographs highlight this comprehensive overview of European cinematographic art, which offers incisive analyses of one hundred seminal films---from Battleship Potemkin to The Elephant Man--along with a ...