Voice & Vision: A Creative Approach to Narrative Film and DV Production

By Mick Hurbis-Cherrier

Voice & Vision is a entire handbook for the self reliant filmmakers and picture scholars who need a good grounding within the instruments, suggestions, and procedures of narrative movie with a view to in attaining their creative imaginative and prescient. This e-book contains crucial and specified details on proper movie and electronic video instruments, a radical assessment of the filmmaking levels, and the classy concerns for telling a visible tale.

The final aim of this e-book is that will help you boost your inventive voice whereas buying the forged functional talents and self assurance to exploit it. not like many books that privilege uncooked technical info or the line-producing features of creation, Voice & imaginative and prescient locations creativity, visible expression, and cinematic rules entrance and heart. in any case, each functional choice a filmmaker makes, like selecting a position, an actor, a movie inventory, a focal size, a lighting fixtures set-up, an edit element, or a valid impact is additionally an expressive one and will serve the filmmaker's imaginative and prescient. each choice, from the biggest conceptual offerings to the smallest sensible ideas, has a profound influence on what seems at the display and the way it strikes an viewers.

"In perform" sidebars all through attach conceptual, aesthetic and technical concerns to their program within the actual global. a few offer a short research of a scene or method from simply rentable motion pictures which illustrate how a particular know-how or strategy is used to help a conceptual, narrative, or aesthetic selection. Others recount universal creation demanding situations encountered on actual scholar shoots with a view to motivate you to be leading edge and creative while you are fixing your personal filmmaking challenges.

INSTRUCTORS: stopover at the better half site (www.voiceandvisionbook.com) for a hyperlink to extra instructing resources.

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Utilizing box Monitors.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . different DV publicity Factors.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  fifty three 2 254 255 257 259 261 261 264 266 Chapter 13: easy lighting fixtures for movie and DV n The basic goals of Lighting.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . n The basic resources of Light.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . n Three crucial homes of Light.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Intensity. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . difficult as opposed to Soft. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . colour Temperature.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . n Camera Filters and lighting fixtures Gels. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . changing gentle with Filters.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . changing gentle with Gels.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . n Light and Directionality.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . n primary lights Setups and Principles. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Key Light. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Fill Light. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Backlight.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Set Lights.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  70 2 271 272 272 273 274 275 275 279 281 282 284 285 285 287 Contents Specials and Practicals.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Three-Point Lighting. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . lights Ratios.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . n Exterior Lighting.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . situation Scouting.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . n Basic lighting fixtures and Grip Equipment. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . lights Units.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . easy Grip Gear.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  87 2 287 287 290 290 294 294 297 Chapter 14: lights and publicity: past the fundamentals n Contrast diversity and publicity Range. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . movie shares: range and attribute Curves.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Gamma.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . placing range, Exposures, and lighting fixtures to Work.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Reflectance Values and publicity Range.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . movie range and publicity Latitude. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Dynamic diversity and electronic Video.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Black Stretch, Knee, and CineGamma.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . n Lighting ways and Styles..

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