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Cinematography: Theory and Practice: Image Making for Cinematographers and Directors, by Blain Brown
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There's more to being a DP than holding 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.
New! A DVD and website features hours of video footage, offering key instruction in topics such as camera basics and essentials, lighting, shooting methods, and much more.
Topics include:
. Concepts of filmmaking
. Language of the lens
. Cinematic continuity
. Lighting for film, digital, and HD
. Exposure
. HD cinematography and shooting
. Shooting in HD
. Image control and filters
. Bleach bypass processes
. Lighting as storytelling
. Shooting special effects
. Set procedures and other issues
The DVD files are also available at http://www.taylorandfrancis.com/cw/brown-9780240812090/.
- Sales Rank: #56593 in Books
- Published on: 2011-07-18
- Original language: English
- Number of items: 1
- Dimensions: 10.00" h x 7.25" w x .75" l, 2.50 pounds
- Binding: Paperback
- 384 pages
Review
"The main purpose of this book is to introduce cinematography/ filmmaking as we practice it on a professional level. It includes the basic introduction to the essential concept of visual storytelling and more. Cinema is a language and within it the specific vocabularies and sublanguages of the lens, composition, visual design, lighting, image control, continuity, movement, and point-of-view. Learning these languages and vocabularies is a never-ending and a fascinating life-long study."--NeoPopRealism Journal
"A gorgeous piece of work that bids to become a classic text on cinematography....Few books on cinematography meld aesthetics and pragmatics as deftly as this one." --American Cinematographer
"The gorgeous illustrations bring movies to life, and the modern approach that incorporates digital as well as film means that this book can be used for years to come." --Judy Irola, ASC. Head of Cinematography, USC School of Cinematic Arts
"The book is a wonderful, well-organized and knowledgable collection of all information a cinematographer may need. I recommend it highly." --Andrew Laszlo, ASC
"This book shows that there is more to the DP than holding the light meter--he needs to understand so much more about using photography to tell a story, create a mood, evoke an emotion. No other text I know of stresses this to this extent." --Douglas C. Hart, First Camera Assistant, Instructor, and Author of The Camera Assistant
"Cinematography is a skillfully written guide to the technical craft and artistry of cinematography for today's cinematographers and directors. It presents each aspect of cinematography in precise language to help all filmmakers better understand the complexities with which the cinematographer engages during every moment of every shot.” -Michael Hofstein, Director of Photography
"Blain Brown's book is a necessity for anyone who is starting out or still working in the media acquisition industry.” -Don Lampasone, Producer/Editor/DP/VFX Artist (Austin, TX)
"[Cinematography] is a comprehensive, muscular, and authoritative guide to what cinematography means: [it] refreshingly addresses the why's with greater emphasis than the how's. A tourist's phrasebook and fluent speaker's aide memoire of the language and practice of making films.” -Phil South, Writer, Film and Creativity Coach (http://goingdownwriting.wordpress.com)
"There's more to being a DP than holding 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. 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 focus on the body of knowledge they should share with their Director of Photography."--InternetVideoMagazinecom
About the Author
Blain Brown is a cinematographer, director and writer based in Los Angeles. He has been the director of photography on features, commercials, music videos, industrials and other types of projects. He has directed and edited features and commercials, worked as a producer and has had three screenplays produced.
Educated at Long Island University, Harvard Graduate School of Design and M.I.T, he was a commercial still photographer in New York before getting into film production, which he has been doing for 26 years, starting as an electrician, gaffer, and grip and then as a cinematographer, director, writer, and producer.
Most helpful customer reviews
3 of 3 people found the following review helpful.
Horrible Lighting Examples
By Bluebell
I glanced through this book for a few minutes and immediately reboxed it to return it. The photographs he uses as example of good and bad lighting are awful. For instance, he has a man standing in glaring sunlight and explains how the hard light of the sun is too harsh. His solution? He puts the man under an awning, where he says the lighting is softer and more flattering. Maybe the light is softer under the awning, but also the IMAGE is softer, the color is greyed down, and there is little to no contrast. In the sunlit image, the man's skin is a beautiful rich chocolate brown and has definition and contrast, whereas in the "soft" image his skin is grey and blurs into the background.
The truth is that both solutions are wrong. All he really had to do for the sunlit photo was to flag or scrim the highlight off of the man's bald head, and bounce light into his eyes, which were going too dark, with a reflector. For the shot of the man under the awning, there needed to be bounced light (or even direct light) on the man's face to define it and give it some color, and a backlight to separate it from the background. But he doesn't suggest either of these solutions. Why? Is the art of lighting just to stick an actor somewhere and hope that the light looks good on their face? I don't recognize that sort of lighting as an "art." That's totally amateur. Any real D.P knows how to use his tools: lights, reflectors, bounce cards, flags, scrims, diffusion, etc. He doesn't just stick someone somewhere and hope for the best.
Another group of photos shows what the author claims is a shot that is correctly exposed, a shot that's underexposed, and a shot that's three stops overexposed. He also shows the negative for each of these types of exposures to the right of the photos. To my eye, the shot he claims is correctly exposed is about two stops underexposed, and the shot he claims is three stops overexposed is only one stop overexposed. The lighting on the two figures in the photo is uneven, and in the shot he claims is correctly exposed one of the people is going very dark, so that we are losing most of the detail in his face. In other words, only the highlights are correctly exposed. Then he makes the error of stating that the overexposed shot has a thick negative, "which is really hard to get a good print from." Well it's well-known that a thick negative gives you the best prints, which is why cinematographers used to overexpose negatives by two-thirds of a stop on purpose. So this is an obvious error. Plus, why is he using such an unevenly lit shot anyway? It's not as if one person was in shadow on purpose, for dramatic reasons. It's two people sitting down side-by side, but the actor on the shadow side has darker skin and is not filled in. So the lighting looks like an error too. There would actually be no way to expose this shot correctly for both of the actors.
I leafed through some more of the book, and saw more shots ranging from mediocre to awful that he he used to represent good lighting, and more bad solutions to cinematography problems, and I had had enough. I couldn't return it fast enough. If you want to learn how to light, read "Painting with Light" by John Alton.
1 of 1 people found the following review helpful.
Solid study on cinematography and serves as a baseline for what Directors and DP's need to know.
By Brock
Without getting into too much of a song and dance about how this book has impacted me, I feel it necessary to give a little background on myself in hopes of putting this book into better perspective for potential buyers. For the past year and a half I've decided to dedicate my life to pursuing a career in filmmaking. This has all been self-taught, reading 19 books, making multiple short films, corporate videos, working and making money in both my creative and business endeavors as a freelancer of sorts. I have read books on overall film production, directing, editing, making cinematic images, corporate videography, etc. I consider myself a Writer & Director, but I have also recently been doing work in cinematography. As a filmmaker you have to have a huge amount of respect for what goes into crafting the film image. This book gives a solid foundation for how important the cinematographer is, not only from a cinematographer perspective but also from an overall filmmaking perspective. So if you're likely in a similar position as me in trying to better yourself as a filmmaker, this book will undoubtedly be of use to you. If you're someone who wants to have a career solely as a cinematographer, you'll need this book in addition to the many more specialized books on lighting, camera operating, lenses, post-production color grading and correcting, etc to develop your abilities. So in conclusion, I highly recommend this book as a solid theory and practice-oriented look at the process of cinematography and the tools necessary to make cinematic images.
0 of 0 people found the following review helpful.
I loved it.
By Edith P Tower
It was so cheap and helped me so much in filmmaking. I loved it. Some sections of it were not as helpful as others, but in all its a really helpful resource.
I ordered this and a couple other filmmaking books. I liked this one the best. The "DSLR Cinema: Crafting the Film Look with Video" was not helpful AT ALL. The author just talked and talked about the gear and about philip bloom. It was also very misleading, and implied that you needed everything in the book to make a film, when all you really need is a camera and and idea.I've gotten more useful information from random videos on youtube than in that book, about both gear and filmmaking on a budget on DSLRS. This book actually talked about filmmaking, and wasn't just a useless catalog of photography gear.
You can tell from the other reviews that this is a great book. Buy it.
DSLR Cinema: Crafting the Film Look with Video - I found this not useful at all. For 20 bucks, it's very cheap, but it doesn't even come near the amount of useful information this has in it. It talks much more about the gear you'll need than actually using it. (if that made sense)
Anyways, this is a great book and I'd recommend it to anyone interested in filmmaking.
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