Cinematography Reading Material

Homersapien

Homersapien

Well-known member
I'm posting this here since the reason I need to get hold of some good reading material is because I'm purchasing a Red Camera.

I was just wondering if anyone had a list or suggestion of up to the minute books or other material that would be good for learning about cine-lenses, digital movie making, the art of shooting 4k (Or as close as) or anything else really that might help with the learning curve for shooting with a camera such as Red and the Zoom Lense? I'm looking for suggestions and recommendations more than anything, I know there are books out there I'm just wondering what everyone here considers to be the really useful (Biblesque) books?

Cheers
 
Check out the ASC site


Learning the 'art of cinematography' has nothing to do with RED.....Janusz could WOW us with a 1CCD
 
It isn't just learning the art of cinematography i was looking to learn about though, I was after reading material such as shooting with 2 or 4k and the type of lenses that I would be looking at Hiring in the long term to use with the Red Camera.

Given there isn't currently any material about the Red Camera I can only ask for what people consider to be the best material at present.

I woulda thought there was quite alot of people who were looking or infact going to buy a RedOne that would also be interested in the best reading material for the camera.

I'm sure many people could WOW us with worser cameras and if I wanted a book about the HVX for example I'd buy Barry's or whatever was most relevant to the camera I was purchasing... like I say though there isn't such material out for Red at the moment so I think it's odd you moved the thread to be honest.

I could harldy have named the thread "RED reading material" could I???
 
Are you planning on being the DP, Operator, or AC.

DP doesn't really care about a lot of the technical garbage. 4k, 2k , HD. It doesn't matter. Lighting, framing, movement are what you should study. Knowing the basics of the camera is important but not even a fraction of your job.

The AC should know everything about the camera. Look into HD Cinematography, there is a book out there. Look for a the book Physics of Lenses for Camera Assistants. Read Doug Hart's book on Assisting in general.

If you are coming from shooting with a DVX/HVX and not film there is a big jump. Try to get a job as a 2nd AC on a HD shoot, or work at a rental house that has the newest HD cameras.

I want a RED too. If they do come out.

Cheers,

:beer: Matt
 
escozooz said:
DP doesn't really care about a lot of the technical garbage. 4k, 2k , HD. It doesn't matter. Lighting, framing, movement are what you should study. Knowing the basics of the camera is important but not even a fraction of your job.
Click to expand...

Your kidding right? The DP has to know everything about the technical capabilities of the equipment. It is the DP that makes the decisions of what equipement will be used, what the set up is as far as lense and f-stop, how the lighting will be set up, what framing to shoot etc. In the film world what film stock will be bought and the list goes on and on. To say the DP doesn't care about the technical stuff, well they won't be a DP very long if they don't know every technical detail about the equipment.

To answer the orginal question, I'm reviewing a lot of books right now that publishers have sent to me looking for a new text for the Camera Techniques class I teach. I have settled on Painting With Light for the astetic side, along with the Professional Lighting Handbook for the technical side of lighting. The basic Cinematograhpy course text will be Cinematography by Kris Malezic (last name isn't spelled correctly)I'll let you know what I find for camera techniques.

Book knowledge is only a small part of being a camera man, gaffer or any other position on a movie set. Get out and get hired on sets in any capicity you can. Inbetween shoots take your cameras and lights out and shoot whatever you can. Down load it, look at it, learn from it and go shoot some more. The really great DP's are the ones who have a never ending passion for the art.
 
Gopher_Greene said:
...The DP has to know everything about the technical capabilities of the equipment. It is the DP that makes the decisions of what equipement will be used, what the set up is as far as lense and f-stop, how the lighting will be set up, what framing to shoot etc....
Click to expand...

Right on the money; great DP's need to understand their equipment otherwise they're crippling their creative abilities. Creativity combined with an understanding of technology is what allows truly great pieces of art to arise.

You can know what you want a shot to look like, that's 'one' part of the process, the 'second' is how to actually achieve what you're envisioning in your head. The more technical knowledge you've got crammed in your head, the more likely you're going to translate that image from your mind to the screen in a more accurate fashion.

Beyond the frame, let's never forget the golden rule of production...communication. If a DP can't communicate and express his intentions to his gaffer, cam op and lighting team, every setup is going to be taking longer than it should.
 
escozooz said:
...Knowing the basics of the camera is important but not even a fraction of your job....
Click to expand...

This is true, I believe when you get to a certain level of professionalism you aren't going to be messing around with camera settings or adjusting the f-stop; your highly trained crew will take care of that for you. But I'm sure most, 'almost all', big, pro DP's have that technical know-how forever imprinted on their memory.

I'm sure there are a few, rare exceptions where the DP has no idea how to work the camera ( I see this much more often with Directors who talk about shooting on formats that don't even exist such as 55mm or ED 'Extreme Definition' ) Anyway...I think those rare cicrumstances apply to people who have a ton of money and hire a pro AC/Gaffer who basically does all the real work, but they take the credit for Directing and DP'ing the film.

Also...you spoke about how DPs really concentrate on framing, setting up shots...a lot of times that is actually the Directors gig.


escozooz said:
...If you are coming from shooting with a DVX/HVX and not film there is a big jump. Try to get a job as a 2nd AC on a HD shoot, or work at a rental house that has the newest HD cameras...
Click to expand...

That's excellent advice. Get on some sets shooting 35 if you can as well. Then you can talk to ACs or OPs during breaks and get some insight on the workflow differences, needs, ect.
 
Homersapien said:
I was just wondering if anyone had a list or suggestion of up to the minute books or other material that would be good for learning about cine-lenses, digital movie making, the art of shooting 4k (Or as close as) or anything else really that might help with the learning curve for shooting with a camera such as Red and the Zoom Lense? I'm looking for suggestions and recommendations more than anything, I know there are books out there I'm just wondering what everyone here considers to be the really useful (Biblesque) books?
Click to expand...
Homer brings up a something interesting I've noticed in a lot of "up and comers".

It's like myopia, being able to point, operate and even engineer does not a cinematographer make. Same thing goes for ACs.

The best DPs I know are solid/fast with their lighting, work well with directors designing achievable shots and successfully manage the grip, lighting and camera departments.

They also have a good overall understanding of the equipment in use. Do they know everything? No. They just need to know the equipment limitations, or employ the people who do.

In the camera crafts 70% of the job to be learned has NOTHING to do with the camera. It's much more important when you're in the trenches to have a team with excellent fundamental camera protocols (both technical and non…) including: equipment management, set-etiquette, work ethic, personality and street smarts.

The differences between any style of camera be it consumer or the highest of the high-end are (in the big picture) minor. All that really matters is a solid understanding of basic photography and videography principals. What’s new about data based cameras and recorders, is that basic fundamentals of computer/i.t. knowledge is now also helpful. Each set of principals will apply, no matter what box of technology you’re using. After you understand the foundations, all that is required to become a master of a piece of equipment is learning the quirks and nuances.

That being said the mark of a quality camera, is how intuitive it is to learn. However, without the appropriate background no camera is intuitive. That's why consumer camcorder products are constantly trying to make everything automatic.

Working in a rental house, I can spot problem jobs a mile a way. I predict with about 90% accuracy, which ACs/DPs are going to have totally avoidable operator error damage to the equipment.

Almost without fail it’s small to medium sized clients with the really big attitudes. They’re too arrogant to ask questions, or for help. It's too bad, because they usually only know one solution to any problem (when many exist), and don’t know how to craft workarounds or shortcuts especially when time is of the essence. These are the same people who are quick to blame the equipment provider, and usually have to eat crow, when operator error and a lack of the basic craft foundations are found to be the cause of the problem.


Okay… It’s time for my usual, long run of unsolicited advice.


If you want to be a good at crafting shots get yourself a cheap camcorder and practice. Recreate the blocking and action shot for shot from some of your favorite scenes/sequences. For further study pick up a copy of Daniel Arijon’s book ‘Grammar of the Film Language’. That way you'll have some basis to communicate what it is that you want to do with your collaborators.


If you want to be a good operator, learn to take still photos, dance, or play some kind of instrument. I’m not kidding. The best operators (almost without fail) have mastery of at least one of those skills, and probably two. Rhythm and timing- all good operators have it. Then practice, practice, practice. Live sporting events and theater are a good way to hone operating skills. If you need the practice find a friend or relative with a child in competitive sports, they’ll be happy for the tape at the end of the day, and if you blow a few shots no one will be upset. The way to get good is to keep shooting.


Lighting is tricky one. Books and videos can offer fundamentals, but it’s a poor substitute for actually working with real instruments. I’ve met many people starting out who were really frustrated with the Lowel Omni and Tota kits (or equivalent /DIY fixtures) they purchase, rent, or borrow from a college. The truth of the matter is that Omni’s and Tota’s are not really professional gear, and are much more difficult for beginners to control compared to small open face and fresnels from any of the big manufacturers. Yes you can get an exposure with the low-end stuff, but lighting is not about just getting an exposure. Again, pick a sample of your favorite lighting from a movie and try your best to recreate it to your eye. Don’t worry about what your camera sees initially, especially if you are using a really low-end camera. After you’ve lit by eye and are happy with it. Take a mental snapshot, and then adjust your levels to get your camera to see your mental snapshot. Start with close ups, and work out wider. Lastly, try to find a mentor. There are plenty of good hard working DPs and lighting folk who are happy to give back if asked politely and correctly. Send written letters, you might be surprised at the response you receive. There’s tons of good books on lighting, but I really think that having some experience with it first is key.


I.
 
I, makes some good points. First the purpose of lighting is two fold, quantity and quality. Quantity will give you exposure, quality will give you mood, orientation, depth and beauty. These qualities are best explained in John Altons "Painting with Light". Also in the quantity of light you must know the limitations of the equipment your working with. The DVX with only about 5 stops of lattitude is probably not the best choice for shooting a white sand beach with lots of people. For that matter you'd have to have a lot of bounce or HMI fill with the Varicam. Anyway after reviewing several books here's what I'm going to be using to teach.

Equipment Overview: "The Grip Book" by Michael Uva
"The Professional Lighting Handbook" by Carlson
an optional text "The Camera assistants manual" by Elkins

Cinematography I: "Cinematography" by Kris Malkiewicz

Cinematography II: "Painting with Light" by John Alton
"Picture Composition" by Peter Ward

Some say forget books and just go do it. Well thats fine, you'll learn.... the hard way. It's much easier to build skill based on knowledge. an old adage "If you think education is expensive check the cost of ignorance" Once you have the knowledge then start learning the skills, the only way to do that is by doing it. Here at our school the classes are part knowledge and part pratical exercises. So when the student graduates they have a solid basis to build a career. I have not reviewed any of the DVD courses so I can not comment on those, but from some of the web sites I've looked at, they have some very fundemental problems, like growing lines out of the top of heads and things like that. The books above will give a complete fundamental base. So there's my two cents.

Gopher
 
Illya Friedman said:
Okay… It’s time for my usual, long run of unsolicited advice.


If you want to be a good at crafting shots get yourself a cheap camcorder and practice. Recreate the blocking and action shot for shot from some of your favorite scenes/sequences. For further study pick up a copy of Daniel Arijon’s book ‘Grammar of the Film Language’. That way you'll have some basis to communicate what it is that you want to do with your collaborators.


If you want to be a good operator, learn to take still photos, dance, or play some kind of instrument. I’m not kidding. The best operators (almost without fail) have mastery of at least one of those skills, and probably two. Rhythm and timing- all good operators have it. Then practice, practice, practice. Live sporting events and theater are a good way to hone operating skills. If you need the practice find a friend or relative with a child in competitive sports, they’ll be happy for the tape at the end of the day, and if you blow a few shots no one will be upset. The way to get good is to keep shooting.


Lighting is tricky one. Books and videos can offer fundamentals, but it’s a poor substitute for actually working with real instruments. I’ve met many people starting out who were really frustrated with the Lowel Omni and Tota kits (or equivalent /DIY fixtures) they purchase, rent, or borrow from a college. The truth of the matter is that Omni’s and Tota’s are not really professional gear, and are much more difficult for beginners to control compared to small open face and fresnels from any of the big manufacturers. Yes you can get an exposure with the low-end stuff, but lighting is not about just getting an exposure. Again, pick a sample of your favorite lighting from a movie and try your best to recreate it to your eye. Don’t worry about what your camera sees initially, especially if you are using a really low-end camera. After you’ve lit by eye and are happy with it. Take a mental snapshot, and then adjust your levels to get your camera to see your mental snapshot. Start with close ups, and work out wider. Lastly, try to find a mentor. There are plenty of good hard working DPs and lighting folk who are happy to give back if asked politely and correctly. Send written letters, you might be surprised at the response you receive. There’s tons of good books on lighting, but I really think that having some experience with it first is key.


I.
Click to expand...

some of the best advice I've read on this forum

I agree totally

thanks for that
 
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