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Cinematography : theory and practice : imagemaking for cinematographers and directors

표제/저자사항
Cinematography : theory and practice : imagemaking for cinematographers and directors / Blain Brown
Brown, Blain   
판사항
Third edition
발행사항
New York : Routledge, Taylor & Francis Group, 2016
형태사항
xvii, 421 pages : illustrations (chiefly color) ; 27 cm
주기사항
표지표제: Cinematography : theory & practice : for cinematographers & directors
Includes bibliographical references (pages 398-399) and index
표준번호/부호
ISBN 9781138940925 (pbk)
ISBN 1138940925 (pbk)
ISBN 9781138212589 (hbk)
ISBN 113821258X (hbk)
ISBN 9781315667829 (ebk)
ISBN 1315667827 (ebk)
분류기호
듀이십진분류법-> 777
주제명
Cinematography
내용유형
text
매체유형
unmediated
수록매체유형
volume

권별정보

권별정보 목록
편/권차 편제 저작자 발행년도 ISBN 청구기호 자료이용하는곳 자료상태
Blain Brown 2016 9781138940925 (pbk) W777-17-2 보존 서고 신청후이용(보존)
CONTENTS
Writing With Motion = 1
Writing with Motion = 2
Building a Visual World = 2
The Visual Language of Cinematography = 3
The Frame as Definition = 4
The View of the Lens = 6
Color and Light = 7
Visual Texture = 7
Movement = 10
Establishing = 10
Point-of-View = 10
Detective POV = 11
Putting It All Together = 11
Visual Language = 13
More Than Just a Picture = 14
Design Principles = 15
Unity = 15
Balance = 16
Visual Tension = 16
Rhythm = 16
Proportion = 16
Contrast = 17
Texture = 17
Directionality = 17
The Three-Dimensional Field = 17
Depth = 18
Overlap = 18
Relative Size = 18
Vertical Location = 19
Left /Right = 19
Linear Perspective = 20
Foreshortening = 20
Chiaroscuro = 20
Atmospheric Perspective = 20
Forces of Visual Organization = 21
The Line = 21
The Sinuous Line = 21
Compositional Triangles = 21
Horizontals, Verticals, and Diagonals = 21
The Power of the Edge : the Frame = 22
Open and Closed Frame = 23
Frame within a Frame = 23
Balanced and Unbalanced Frame = 24
Positive and Negative Space = 25
Movement in the Visual Field = 25
The Rule of Thirds = 26
Rules of Composition for People = 26
Headroom = 27
Noseroom = 27
Other Guidelines = 27
Language Of The Lens = 29
The Lens and the Frame = 30
Foreground /Midground /Background = 30
Lens Perspective = 31
Wide Lenses and Expansion of Space = 31
Deep Focus = 32
Compression of Space = 34
Manipulating Perspective = 36
Selective Focus = 38
Image Control at the Lens = 40
Filtration = 41
Lens Height = 42
High Angle = 42
Low Angle = 43
Dutch Tilt = 44
Visual Storytelling = 45
Visual Metaphor = 46
Telling Stories with Pictures = 46
Lighting as Storytelling = 48
Film Noir = 48
Light as Visual Metaphor = 49
Light and Shadow / Good / Evil = 51
Fading Flashbulbs = 53
Visual Poetry = 55
Coverage & Continuity = 57
What Is Cinematic? = 58
A Question of Perception = 58
Visual Subtext and Visual Metaphor = 59
The Frame = 59
Static Frame = 59
The Shots : Building Blocks of a Scene = 60
Wide Shot = 61
Establishing Shots = 61
Establishing the Geography = 61
Character Shots = 62
Full Shot = 62
Two Shot = 63
Medium Shot = 63
Close-ups = 63
Over-the-Shoulder = 63
Cutaways = 64
Reaction Shots = 64
Inserts = 64
Connecting Shots = 65
Pickups = 66
Transitional Shots = 66
Invisible Technique = 66
The Shooting Methods = 66
The Master Scene Method = 66
Coverage = 67
Overlapping or Triple-Take Method = 69
In-One = 70
Freeform Method = 70
Montage = 71
Involving The Audience : POV = 71
The Fourth Wall and POV = 73
Continuity = 74
Shooting For Editing = 74
Thinking about Continuity = 74
Types of Continuity = 75
Continuity of Content = 75
Continuity of Movement = 76
Continuity of Position = 76
Continuity of Time = 77
The Prime Directive = 77
Screen Direction = 77
The Action Axis = 79
These Are the Rules-But Why? = 79
What Establishes the Line? = 79
The Purpose of Screen Direction = 79
Directional Conventions = 80
Exceptions to the Rule = 80
Reverse = 81
Turnaround = 82
Planning Coverage = 82
Cuttability = 83
The 20 and 30 Degree Rules = 83
Other Issues of Continuity = 83
Moving Shots = 84
Going Through a Door = 84
Entering and Exiting Frame = 85
Neutral Axis to Exit Frame = 85
Three Shots = 85
Keep the Nose Out = 85
Prop Continuity in Coverage = 86
Eye Sweeps = 86
Chase Scenes = 86
Cutaway Eyeline Continuity = 86
Eyelines in Over-the-Shoulder Coverage = 87
Eyelines for a Seated Character = 87
OTS and Inserts = 87
Moving Action = 88
Group Shots = 88
Introductions = 88
The Place &The Geography = 89
The Time = 91
The Characters = 91
Other Editorial Issues In Shooting = 91
Jump Cuts = 91
The Six Types of Cuts = 92
The Content Cut = 92
The Action Cut = 92
The POV Cut = 93
Executing a Subjective POV = 95
The Match Cut = 95
The Zero Cut = 96
Color = 97
Color Terminology = 98
Color Temperature : The Balances = 99
Warm and Cool = 99
White Balance, Black Balance, and Black Shading = 101
Magenta vs. Green = 102
The CIE Diagram = 103
Gamut = 104
Video Color Spaces = 104
Rec.709 and Rec. 2020 = 105
DCI P3 = 105
AMPAS ACES Color Space = 105
The Matrix = 106
Ten Numbers : ASC-CDL = 108
ACES : What It Is, What It Does = 109
The Stages = 109
ACES Terminology = 110
The Transforms = 111
Color Balance with Gels and Filters = 111
Conversion Gels = 112
Light Balancing Gels = 112
Color Correction Gels = 114
Correcting Off-Color Lights = 115
HMI = 115
Industrial Lamps = 115
Color as a Storytelling Tool = 116
Cameras & Sensors = 125
The Digital Signal Path = 126
Digital Signal Processor = 126
HD, HD and UHD = 127
HD Recording = 127
Post High-def = 128
RAW vs. Baked In = 130
RAW Camera Signal Path = 130
Viewing Stream = 131
Definitions = 131
Digital Negative = 132
Chroma Subsampling = 134
Pixels = 135
Resolution = 135
Photosites = 136
Pixels and Photosites Are Not the Same Thing! = 136
Digitizing = 136
OLPF = 137
Digital Sensors = 138
CCD = 138
CMOS = 139
Other Types of Sensors = 139
3-Chip = 139
Making Color from Black-and-White = 139
Bayer Filter = 140
Demosaicing /DeBayering = 140
Color Interpolation = 141
What Color Is Your Sensor? = 142
How Many Pixels Is Enough? = 142
5K for 4K = 143
Shutters = 143
Spinning Mirror = 143
Rolling Shutter and Global Shutter = 143
Sensor Size and Depth-of-Field = 144
ISO in Digital Cameras = 145
Noise = 146
IR and Hot Mirror Filters = 147
Bit Rate = 148
Bit Depth = 149
Frame Rates = 149
The Film Look vs. The Video Look = 150
Film Cameras = 150
Measurement = 151
The Waveform Monitor = 152
External Sync = 152
Types of Display = 152
Color Bars In Detail = 155
Using the PLUGE in Monitor Calibration = 156
Monitor Probes = 157
Legal and Valid = 157
Hue /Phase = 158
The Vectorscope = 158
Using the Vectorscope On the Set = 159
Color Bars On the Vectorscope = 159
White Balance /Black Balance = 160
Gamut = 161
Video Test Cards = 161
The Deceptively Simple Neutral Gray Card = 161
The Gray Card and Color Balance in Film and Video = 163
Why Isn't 18 Gray Also 50? = 164
Calibration Test Charts = 164
DSC Labs Test Charts = 164
The One Shot = 165
The X-Rite ColorChecker = 167
ChromaMatch & ScreenAlign = 168
Skin Tone = 168
Measuring Image Resolution = 169
Exposure = 171
Exposure Theory = 172
What Do We Want Exposure to Do for Us? = 172
Controlling Exposure = 173
Change the Bucket = 174
The Elements of Exposure = 174
Light = 175
F /Stops = 175
Shutter Speed /Frame Rate /Shutter Angle = 176
The Response Curve = 176
Underexposure = 176
Overexposure = 176
Correct Exposure = 177
Higher Brightness Range in the Scene = 178
Two Types of Exposure = 178
How Film and Video Are Different = 178
We'll Fix It in Post = 179
The Bottom Line = 180
Exposure in Shooting RAW Video = 180
Video Exposure = 180
The Tools of Exposure = 181
The Incident Meter = 181
The Reflectance Meter = 182
A Different World of Exposure = 182
Setting Exposure with the Waveform Monitor = 183
F /Stops On the Waveform = 183
The 18 Solution = 184
Exposure Indicators in The Camera = 185
Zebras = 185
Histogram = 185
Traffic Lights and Goal Posts = 186
False Color Exposure Display = 187
Arri Alexa False Colors = 189
Strategies of Exposure = 190
Don't Let It Clip, but Avoid the Noise = 191
Texture & Detail = 191
The Dilemma = 192
Using Light Meters = 192
Meter the Key = 193
Using the Waveform Monitor = 193
Placing Middle Gray = 194
Start at the Bottom or Start at the Top = 194
Expose to the Right = 195
Zebras = 196
The Monitor = 196
Know Thyself and Know Thy Camera = 196
Blackmagic Camera Exposure Advice = 197
HDRx = 197
Linear, Gamma, Log = 199
Dynamic Range = 200
Linear Response = 200
An Ideal and a Problem = 201
Linear as Scene Referred = 201
The Classic S-Curve in the Image = 201
Film Gamma and Video Gamma = 203
Video Gamma = 203
The Coincidence = 203
Rec.709 = 204
Studio Swing Levels, Full Range, and Legal Video = 204
Gamma Control in Traditional HD = 205
Knee Control = 205
Black Stretch /Black Gamma = 205
Another Approach = 206
Hypergamma /Cinegamma /Film Rec = 206
Sony Hypergamma terminology = 207
Gamma in RAW Video = 207
The Inefficiency of Linear = 207
Log Encoding = 208
Superwhite = 208
What You See Is Not What You Get = 209
Log and RAW—Two Different Things = 209
Proprietary Log Curves = 209
Sony S-Log = 210
Arri Log C = 210
Canon-Log = 212
Redcode = 212
Red Log = 212
18 Gray in Log = 212
Variation in Log Curves = 213
Image Control & Grading = 215
At the DIT Cart = 216
What Happens At the Cart Doesn't Stay At the Cart = 217
Color Correction and Color Grading = 218
Controllers and Control Surfaces = 219
Control Parameters = 219
Lift /Shadows = 220
Gamma /Midtones = 221
Gain /Highlights = 221
Curves = 221
Log Controls = 222
Log Offset Color and Master Controls = 222
Exporting and Reusing Grades = 224
LUTs And Looks = 224
LUT Formats = 226
Proper Use of LUTs in Color Correction = 226
Viewing LUTs = 226
LUTs and Looks : What's the Difference? = 227
Controlling the Image in Front of the Lens = 228
Camera Filter Types = 228
Diffusion and Effects Filters = 228
Contrast Filters = 229
Neutral Density Filters = 229
Effects Filters and Grads = 230
Conversion Filters = 232
Camera Lens Filters for Color Correction = 232
Warming and Cooling Filters = 232
Contrast Control in Black-And-White = 234
Polarizers = 235
IR Filters = 236
The Tools Of Lighting = 237
The Tools of Lighting = 238
Color Balance = 238
Color Rendering Index = 238
Daylight/Tungsten Sources = 238
LED Lights = 239
Remote Phosphor LEDs = 239
HMI Units = 240
Xenons = 245
Tungsten Lights = 246
Fresnels = 246
Open Face = 247
PARS = 247
Soft Lights = 248
Barger Baglights = 250
Color-Correct Fluorescents = 250
Other Types of Units = 251
SoftSun = 251
Cycs, Strips, Nooks, and Broads = 252
Chinese Lanterns and Spacelights = 252
Self-Contained Crane Rigs = 253
Ellipsoidal Reflector Spots = 253
Balloon Lights = 253
Handheld Units = 254
Day Exteriors = 254
Controlling Light with Grip Equipment = 255
For More Information On Lighting = 258
Lighting Basics = 259
The Fundamentals of Lighting = 260
The [conceptual] Tools of Lighting = 260
The Attributes of Light = 260
Hard vs. Soft = 260
Full Range of Tones = 261(1)
Color Control and Color Balance = 262
Shape = 262
Separation = 262
Depth = 262
Texture = 262
Mood and Tone = 263
Exposure and Lighting = 263
Some Lighting Terminology = 264
Working with Hard Light and Soft Light = 266
Hard Light = 266
Soft Light = 267
Direction = 269
Avoiding Flat Front Lighting = 269
Light from the Upstage Side = 270
Backlight and Kicker = 270
Intensity = 270
Texture in Lighting = 271
Color = 271
Lighting Techniques = 271
Ambient = 271
Classical Lighting = 271
Bringing it through the windows = 272
Practicals and Motivated Lighting = 272
Basic Principles of Lighting = 272
Back Cross Keys = 272
Ambient Plus Accents = 272
Lighting with Practicals = 273
Lighting through the Window = 273
Available Natural Light = 274
Available Light Windows = 274
Motivated Light = 276
Carrying a Lamp = 277
Day Exteriors = 278
Fill = 280
Silks and Diffusion = 280
Open Shade and Garage Door Light = 280
Sun As Backlight = 282
Magic Hour = 283
Optics & Focus = 285
The Physical Basis Of Optics = 286
Refraction = 286
Focal Length and Angle of View = 286
F /Stop = 287
Focus = 287
Mental Focus = 288
Circle of Confusion = 290
Depth-of-field = 291
How Not to Get More Depth-of-Field = 291
Hyperfocal Distance = 291
Nodal Points = 293
The Rear Nodal Point and Special Effects Shots = 294
Zooms and Depth-of-Field = 295
Macrophotography = 296
Exposure Compensation in Macrophotography = 296
Depth-of-Field in Close-Up Work = 297
Calculating Depth-of-Field in Close-Up Work = 297
Close-Up Tools = 297
Diopters = 297
Extension Tubes or Bellows = 298
Macro Lenses = 298
Snorkels and Innovision = 298
Specialized Lenses = 299
Lens Extenders and Filter Factors = 299
Lens Care = 299
Back Focus = 300
Camera Movement = 301
Camera Movement in Filmmaking = 302
Motivation and Invisible Technique = 302
Basic Technique = 303
Types Of Moves = 304
Pan = 304
Tilt = 304
Move In / Move Out = 305
Zoom = 305
Punch-in = 306
Moving Shots = 306
Tracking = 306
Countermove = 307
Reveal with Movement = 307
Circle Track Moves = 307
Crane Moves = 307
Rolling Shot = 308
Camera Supports for Movement = 308
Drones = 308
Handheld = 309
Stabilizer Rigs = 309
Camera Heads = 309
The Tripod = 313
High-Hat = 313
Rocker Plate = 314
Tilt Plate = 314
The Crab Dolly = 314
Dolly Terminology = 314
Car Shots = 317
Camera Positions for Car Shots = 318
Vehicle to Vehicle Shooting = 318
Aerial Shots = 319
Other Types of Camera Mounts = 320
Steadicam = 320
Rickshaw, Wheelchair, and Garfield = 320
Cable-Cam = 321
Crash Cams = 321
Splash Boxes = 321
Underwater Housings = 321
Motion Control = 321
Set Operations = 323
Making It Happen = 324
The Director of Photography = 325
The Cinematographer's Tools = 327
Gaffer Glass = 327
Laser Pointer = 327
Director's Viewfinder = 327
Digital Still Camera = 327
The Shot List = 327
Putting the Order Together = 328
Reading the Script = 328
Talking to the Director = 329
Location Scouts and Tech Scouts = 330
Coordinating with Other Departments = 330
The Team and The Order = 331
The Page Turn = 331
Tests = 332
Camera Crew = 332
Operator = 332
First AC Duties = 333
Second AC = 335
Loader = 336
DIT = 336
DIT Workflow = 336
Simple Data Workflow = 337
Advanced Workflow = 337
Digital Loader /Media Manager = 338
Utility = 338
Camera Crew Reports, Equipment &Tools = 339
Camera Reports = 339
Camera Assistant Tools and Supplies = 341
AC Prep = 342
Camera Prep Checklist = 342
The Team = 344
Lighting Technicians (Electricians or Sparks) = 344
Grips = 344
Other Units = 346
Set Procedures = 348
Block, Light, Rehearse, Shoot = 348
The Process = 348
Room Tone = 351
Set Etiquette = 351
Set Safety = 354
Lighting, Electrical, and Grip = 354
Crane Safety = 355
Slating Technique = 355
Verbal Slating = 356
Tail Slate = 356
MOS Slating = 356
Slating Multiple Cameras = 356
Timecode Slates = 356
Jamming the Slate = 357
What to Write on the Slate = 359
When to Change the Letter = 359
The European System of Slating = 360
Pickups, Series, and Reshoots = 361
VFX = 363
Bumping a Slate = 363
Insert Slates = 363
Finding the Sun = 364
Data Management = 365
Data Management = 366
Basic Principles = 366
Cover your Rear = 366
Standard Procedures = 366
Maintain Your Logs = 367
Procedure-Best Practices = 367
Locked and Loaded = 368
Get Your Signals Straight = 36
Always Scrub = 369
Three Drives = 370
Do Not Drag and Drop = 371
Logs = 371
File Management = 371
File Naming = 372
Download /Ingest Software = 372
ShotPut Pro = 372
Silverstack = 372
Double Data = 373
Proprietary Data Management Software = 373
External Recorders = 374
Hard Drives & RAIDS = 374
RAID = 374
Transfer /Shuttle Drives = 374
How Much Storage Do You Need? = 375
Technical Issues = 377
Shooting Greenscreen /Bluescreen = 378
Lighting for Greenscreen /Bluescreen = 378
Dimmers = 381
Dimming LEDs = 383
Dimmer Boards = 383
Working with Strobes = 384
High-Speed Photography = 386
Lighting For Extreme Close-Up = 387
Effects = 387
Smoke = 387
Fire = 387
TV and Projector Effects = 388
Day-for-Night = 389
Moonlight Effect = 389
Water EFX = 390
Rain = 390
Lightning = 391
Gunshots = 391
Safety with Guns = 391
Explosions = 392
Time-Lapse Photography = 392
Time Slicing = 392
Transferring Film To Video = 393
Framing Charts = 393
Flicker = 394
Virtual Reality = 396
About The Author = 397
Dedication = 397
Acknowledgments = 397
About The Website = 397
Bibliography = 398
Index = 400
Appendix-Film Formats = 414
Aspect Ratios = 415
Widescreen = 415
Alternatives to Anamorphic = 416
3 Perf = 417
2-PerfTechniscope = 417

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