Motion picture and video lighting for cinematographers, gaffers and lighting technicians / (Record no. 36093)
[ view plain ]
| 000 -LEADER | |
|---|---|
| fixed length control field | 09302nam a22003017a 4500 |
| 003 - CONTROL NUMBER IDENTIFIER | |
| control field | OSt |
| 005 - DATE AND TIME OF LATEST TRANSACTION | |
| control field | 20221115163805.0 |
| 007 - PHYSICAL DESCRIPTION FIXED FIELD--GENERAL INFORMATION | |
| fixed length control field | ta |
| 008 - FIXED-LENGTH DATA ELEMENTS--GENERAL INFORMATION | |
| fixed length control field | 200123b2019 nyu||||| |||| 00| 0 eng d |
| 020 ## - INTERNATIONAL STANDARD BOOK NUMBER | |
| International Standard Book Number | 9780415854139 (pbk) |
| 040 ## - CATALOGING SOURCE | |
| Language of cataloging | eng |
| Transcribing agency | HNU |
| Description conventions | rda |
| 082 ## - DEWEY DECIMAL CLASSIFICATION NUMBER | |
| Edition number | 23 |
| Placement Code | GC |
| Classification number | 777.52 B81 2019 |
| 100 ## - MAIN ENTRY--PERSONAL NAME | |
| Personal name | Brown, Blain. |
| 245 ## - TITLE STATEMENT | |
| Title | Motion picture and video lighting for cinematographers, gaffers and lighting technicians / |
| Statement of responsibility, etc. | Blain Brown. |
| 250 ## - EDITION STATEMENT | |
| Edition statement | Third edition |
| 264 ## - PRODUCTION, PUBLICATION, DISTRIBUTION, MANUFACTURE, AND COPYRIGHT NOTICE | |
| Place of production, publication, distribution, manufacture | New York, NY, USA : |
| Name of producer, publisher, distributor, manufacturer | Routledge, |
| Date of production, publication, distribution, manufacture, or copyright notice | ©2019. |
| 300 ## - PHYSICAL DESCRIPTION | |
| Extent | xii, 368 pages : |
| Other physical details | colored illustrations ; |
| Dimensions | 27cm. |
| 490 ## - SERIES STATEMENT | |
| Series statement | A focal press book |
| 500 ## - GENERAL NOTE | |
| General note | Includes index. |
| 505 ## - FORMATTED CONTENTS NOTE | |
| Formatted contents note | [I.] History of lighting : Controllable light ; Early film production ; Introduction of tungsten lighting ; The Technicolor era ; HMI, xenon, fluorescent, and LED sources : Kino flo; LEDs --<br/>[II.] Lighting sources : Types of lights ; Fresnels ; LEDs : Efficiency; LED Panels; LED Fresnels; Remote phosphor LEDs ; Tungsten fresnels : The 10K and 20K/24K; The 5K; Juniors; 1K; 650, Betweenie, and InBetweenie; Inkie ; HMI Units : 12K and 18K; 6K and 8K; 2.5K and 4K; Smaller HMIs; When an HMI fails to fire : Care and feeding of HMIs ; Xenons ; Open face lights : Skypan; 2K open face; 1000/600/650 watt open face; PAR 64; PAR Groups : Dino, Moleeno, and Wendy; Maxi-Brute; FAYs ; HMI PARS : Soft lights; Space lights ; Fluorescent rigs : Color correct fluorescent units; Color correct bulbs ; Cycs, strips, nooks, and broads ; Plasma Lights ; Other types of sources : Chinese lanterns; Lekos; Crane mounted lights; Jokers; Dedolights; Balloon lights; Barger lights --<br/>[III.] Lighting basics : The fundamentals of lighting : The [conceptual] tools of lighting : The attributes of light ; What are the goals of good lighting? : Full range of tones; Shape; Separation; Depth; Texture; Mood and tone ; Exposure and lighting ; Hard vs. soft ; Color control and color balance ; Some lighting terminology ; Working with hard light and soft light : Hard light; Soft light; Direction ; Avoiding flat front lighting : Light from the upstage side ; Backlight and kicker ; Intensity ; Adding texture in lighting ; Color ; Lighting techniques : Classical hard light; Ambient; Bringing it through the windows; Motivated lighting and practicals: Motivated light; Lighting with practicals ; Available ; Basic principles of lighting : Back cross keys; Ambient plus accents; Lighting through the windows; Available light windows; Day exteriors; Open shade and garage door light; Sun as backlight; Magic hour --<br/>[IV.] Controlling light : Hard light and soft light : Fill for day exteriors; Silks and diffusion ; Scrims and barndoors ; Flags, solids, and nets ; Chimeras and snoots : Softboxes; Eggcrates ; The window problem : ND for windows ; Cookies, Celos, and Gobos ; Dimmers : LED dimmers; Hand squeezers --<br/>[V.] Scene lighting : Lighting plans ; General principles of scene lighting ; Let's look at these one by one : Read the script; Confer With the director ; Light the scene, not the set : Insist on seeing a full rehearsal; Insist on having lighting stand-ins ; What are the opportunities? : The set; The action; Script hints ; Consider your resources : Lights; Power; The location; The director's concerns ; Knights around a campfire ; Lighting a scene with practicals ; Lighting/grip order --<br/>[VI.] Light as story : Storytelling with light : Metaphor : Atmosphere; The power of darkness; Establish character --<br/>[VII.] Color : Color terminology : Color temperature: The balances; Warm and cool; Magenta vs. green; The CIE diagram; The spectral locus; The white point; The line of purples ; Color balance with gels and filters : Conversion gels; Light balancing gels; CTO; CTB ; Color correction gels ; Dealing with fluorescent light ; Correcting off-color lights : HMI; Industrial lamps; Camera filtration for industrial sources ; Measuring color : Color meters; The vectorscope; Calibration test charts; DSC labs test charts; The one shot; The X-Rite ColorChecker ; Color as a storytelling tool --<br/>[VIII.] Exposure : Exposure theory : What do we want exposure to do for us? : The bucket ; Controlling exposure : Change the bucket ; The elements of exposure : Light; F/stops ; The response curve : Underexposure; Overexposure; Correct exposure ; Higher brightness range in the scene ; Two types of exposure : The bottom line ; Exposure in shooting RAW video ; The Tools of exposure : The incident meter; The reflectance meter : A different world of exposure : Setting exposure with the waveform monitor; F/stops on the Waveform ; Exposure indicators in the camera : Zebras; Histogram; Traffic lights and goal posts; Goal posts; Traffic lights; False color exposure display; Red false colors : Comparing red exposure modes ; Arri Alexa false colors ; Strategies of exposure : Don't let it clip, but avoid the noise; Texture and detail; The dilemma ; Using light meters : Meter the key; Using the waveform monitor; Placing middle gray; Start at the bottom or start at the top; Expose to the right; Zebras; The monitor; Know thyself and know thy camera --<br/>[IX.] Electricity & distro : Measurement of electricity : Potential; Paper amps ; Electrical supply systems : Single-phase; Three-phase ; Power sources : Stage service; Generators ; Large generator operation ; Guidelines for running small generators : Paralleling small generators : Does paralleling cause damage to generators? ; Tie-ins : Tie-in safety ; Determining KVA ; Wall plugging ; Load calculations and paper amps : Ampacity; Color coding ; The neutral ; Distribution equipment : Tie-in clamps; Busbar lugs; Connectors; Bull switches; Feeder cable; Wire types; Wire designation codes ; Distribution boxes : Lunch boxes, Snake bites, and Gangboxes; Extensions (stingers); Zip extensions ; Planning a distribution system : Balancing the load ; Working with DC ; Calculating voltage drop ; Electrical safety: Wet work; HMI safety; Grounding safety; GFCI --<br/>[X.] Gripology : Definitions ; Light controls : Reflectors : Operating reflectors ; Flags and cutters : Flag tricks; Nets : Net tricks; Cuculoris (cookies) ; Grids and eggcrates ; Open frames ; Diffusers : Butterflies and overheads : Overhead rules; Griff ; Holding : Grip heads and C-stands; C-stand rules ; Highboys ; Clamps : Studded C-clamps; C-clamp tips; Bar clamps; Pipe clamps; Cardellini and Mafer clamps; Quaker clamp ; Wall plates, baby plates, and pigeons : 2K receivers and turtles; Side arms and offset arms ; Other grip gear : Sandbags; Apple boxes; Wedges; Candle sticks; Studded chain vise grips --<br/>[XI.] Set operations : The DP ; The Team : Gaffer; Assistant chief lighting technician; Third electric and electricians : Other responsibilities; The key grip; Grips ; Other crews ; Set operations : Load-in; Staging; The generator; Cabling : The process : Rough-in; Blocking; Light; Rehearsal; Shooting ; Procedures ; Expendables --<br/>[XII.] Technical issues : Lighting for greenscreen and bluescreen : Greenscreen/bluescreen tips; Lighting for process photography ; Flicker : The power supply; Flicker-free HMIs ; Dimmers : Dimmer systems ; DMX ; Working with strobes : Strobe exposure ; Lighting and exposure for high-speed photography : Exposure; Flicker in high-speed photography; Lighting with HMIs and high speed; Tips for lighting high-speed with HMIs ; Exposure for macrophotography : Depth-of-field in close-up work : Lighting for extreme close-up ; Underwater filming ; Effects : Rain; Smoke; Fire; TV and projector effects; Day-for-night; Moonlight effect; Water effects; Lightning ; Using the sun --<br/>Appendix : Typical lighting order for a small independent film --<br/>Equipment order list for a large studio film --<br/>Order for a 2nd unit night shoot: big budget film --<br/>Light loss for common diffusion types --<br/>Effect of diffusion on color temp --<br/>Lamps and sockets --<br/>Lighting expendables order form --<br/>Building your own hand squeezer --<br/>A typical 5-ton truck package. |
| 520 ## - SUMMARY, ETC. | |
| Summary, etc. | Lighting is at the heart of filmmaking. The image, the mood, and the visual impact of a film are, to a great extent, determined by the skill and sensitivity of the director of photography in using lighting. Motion Picture and Video Lighting explores technical, aesthetic, and practical aspects of lighting for film and video. It covers not only how to light, but also why. This revised edition of Motion Picture and Video Lighting is the indispensable guide to film and video lighting. Written by an experienced professional, this comprehensive book explores light and color theory, equipment, and techniques to make every scene look its best, and is heavily illustrated throughout. Three new chapters discuss best practices of using light to benefit your film, and an extensive appendix includes discussion on additional tips and tricks. In addition, a robust companion website includes up-to-date video tutorials and other resources for students and professionals alike. |
| 521 ## - TARGET AUDIENCE NOTE | |
| Target audience note | CAS |
| Source | Bachelor of Arts in Communication |
| 546 ## - LANGUAGE NOTE | |
| Language note | Text in English |
| 650 ## - SUBJECT ADDED ENTRY--TOPICAL TERM | |
| Topical term or geographic name entry element | Cinematography -- Lighting. |
| 650 ## - SUBJECT ADDED ENTRY--TOPICAL TERM | |
| Topical term or geographic name entry element | Video recording -- Lighting. |
| 942 ## - ADDED ENTRY ELEMENTS (KOHA) | |
| Source of classification or shelving scheme | Dewey Decimal Classification |
| Koha item type | Books |
| Classification part | 700-799 |
| Withdrawn status | Lost status | Source of classification or shelving scheme | Damaged status | Not for loan | Collection code | Home library | Current library | Shelving location | Date acquired | Source of acquisition | Total Checkouts | Full call number | Barcode | Date last seen | Price effective from | Koha item type |
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
| Dewey Decimal Classification | GC | College Library | College Library | General Circulation Section | 11/08/2019 | Library Fund | GC 777.52 B81 2019 | HNU000931 | 08/29/2024 | 01/23/2020 | Books |
