DIGITAL CINEMATOGRAPHY 1.1 Why Digital Cinematography 1.2 Exposure Meters 1.3 Tonal Range 1.4 Exposure Control 1.5 Image Stability 1.6 Greater Perceived Detail 1.7 Repeatability 1.8 PortabilityTHE DIRECTOR of PHOTOGRAPH's CRAFT2 CREATING A LOOK 2.1 Decide What You Want 2.2 Sharp or Soft2.3 Cold or Warm 2.4 Saturated and De-saturated 2.5 Skin Tone Control2.6 The Film Look3 LIGHTING 3.1 Useful Styles 3.2 Soft Lighting 3.3 Hard Lighting3.4 Coloured Sources4 LIGHTING RATIOS4.1Defining a Lighting ratio 4.2Visualising Lighting Ratios 4.3 Different Lighting Ratios for Film and Television 4.4 Using Lighting Ratios on the Set4.5 Controlling the Whole Scene 4.6 The Effect of Not Recording the Whole Scene 5 COLOUR TEMPERATURE5.1What is Colour Temperature? 5.2 Filters and Mired Shift Values5.3 The Colour Temperature Meter 5.4 Location Sources5.5 Correcting Lamps6 FILTERS 6.1Camera Filters 6.1.a Colour Compensating Filters 6.1.b Colour Correction Filters 6.1.c Skin Tone Warmer 6.1.d Sepia, Coral, Tobacco etc.6.1.e Graduated Filters 6.1.f Neutral Density 6.1.g Low Contrast6.1.h Ultra Contrast6.1.i Fog 6.1. Double Fog6.1.k Pro Mist 6.1.l Star Filters6.1.m Nets 6.2 Matching Shots6.3 Enhancing Filters6.4 Fluorescent Light Correction 6.5 Polar Screens 6.6 Filter Factors 6.7 The Pan Grass THE SHOOT7 EXAMPLES OF SHOOTS7.1 Drama 7.1.a "The Queen's Nose" 7.1 "The Merchant of Venice"7.1.c "Small Hotel " 7.2 Documentary 7.2.a "The ABBA Story" 8 CREWING 8.1 For Fiction 8.1.a Should the DoP Operate? 8.1.b Do you need a Focus Puller? 8.1.c Do we need a Loader? 8.1.d Do we need a Clapper Board? 8.1.e Do we need a Grip? 8.1.f Sound 8.1.g Electricians8.2 For Factual 8.2.a Crew size 8.2.b Clapper boards9 THE DIRECTOR of PHOTOGRAPHY's PREPARATION9.1 Technical Schedule 9.2 Camera Lists 9.3 Lighting Lists 10 TECHNICAL PREPARATION FOR A SHOOT10.1 Technical Checks 10.1.a The Tripod 10.1.b The Camera Base Plate10.2 Camera Checks - Record / Playback 10.3 Lens Checks10.3.a Back Focus and the Star Chart 10.4 Time Code10.5 Accessories 10.6Matte Boxe 10.7 Follow Focus Devices 10.8 Viewfinders 10.9 Monitors 10.9.a Choosing a Monitor 10.9.b Nine Inch Monitors 10.9.c Fourteen Inch Monitors 10.9.d Lining up a Monitor 10.9.e My Approach 10.9.f Why take such trouble? 10.9.g Lining up a PAL Monitor 10.9.h Helpful Hints 10.9.i Lining up an NTSC Monitor 10.9.j Ambient Light 10.9.k Cabling your Monitor 10.9.k.i Termination 10.9.k.ii Serial monitors 10.9.k.iii Best Practice10.9.l On Screen Monitor InformationTHE TECHNOLOGY11 THE CAMERA 11.1The Television Image 11.2 Additive Colour Imagery11.3 Resolution 11.4 The Digital Camera 11.5 The Camera Head11.6 The Image Sensors 11.7 The Sensor Chip 11.8 The Image Signal11.9 The Internal Circuitry12 THE VCR12.1 The Video Cassette Recorder 12.1 Helical Scan 12.2 Mechanical Considerations 12.4 The Scanning Drum 12.5 The Drum Lacing Mechanism12.6 A Jammed Mechanism13 WHITE AND BLACK BALANCE13.1 White balance 13.2 What is White Balance? 13.3 White Balance Using a White Card 13.4 White Balance Using a Coloured Card 13.5White Balance Under Fluorescent Lighting 13.6 The Inner Filter Wheel 13.7 Black Balance14 TIME CODE AND USER BITS14.1 User Bits 14.2 Time Code 14.3 Record Run Time Code 14.4 Free Run Time Code 14.5 Time of Day Time Code 14.6Setting Time Code 14.7 Resetting Time Code After Removing a Tape 14.8 Synchronising Using a Cable 15 DELIVERY SYSTEMS15.1 Television 15.2 Projection 15.3 Transfer to FilmHIGH DEFINITION TELEVISION16 High Definition16.1 High Definition Image Capture16.2 The Sony HDCAM16.3 The Sony HDW-F500 Digital Recorder16.4 Inputting to Non Linear Editing16.5 Panavision Digital Cinematography16.6 Panavision High Definition Lenses16.7 Depth of Field16.8 Camera Control Cards16.9 Digi Beta / HDCAM Familiarity16.10 The Camera Menus16.11 Projection16.12 What Does it Actualy Look Like?16.13 HDCAM - A Replacement for 35 MM?16.14 ConclusionsTHE Sony DVW IN-CAMERA MENUS17 The Sony DVW Camera menus 18.1 The Set-up Card 18.2 Reading Data from a Set-up Card 18.3 Film Gamma Cards 18.4 Making Adjustments18.5 Rate of Change 18.6 The User Menu 18.7 The Menu Pages18.8 Fathers and Grandfathers 18.9 The Individual Pages 18.10 Different Software - The Quick Reference Lists 18 The Sony DVW 700 Quick Reference List 19 The Sony DVW 700 Menus 20 The Sony DVW 790 Quick Reference List 21 The Sony DVW 790 MenusDIGITAL CINEMATOGRAPHY 1.1 Why Digital Cinematography 1.2 Exposure Meters 1.3 Tonal Range 1.4 Exposure Control 1.5 Image Stability 1.6 Greater Perceived Detail 1.7 Repeatability 1.8 PortabilityTHE DIRECTOR of PHOTOGRAPH's CRAFT2 CREATING A LOOK 2.1 Decide What You Want 2.2 Sharp or Soft2.3 Cold or Warm 2.4 Saturated and De-saturated 2.5 Skin Tone Control2.6 The Film Look3 LIGHTING 3.1 Useful Styles 3.2 Soft Lighting 3.3 Hard Lighting3.4 Coloured Sources4 LIGHTING RATIOS4.1Defining a Lighting ratio 4.2Visualising Lighting Ratios 4.3 Different Lighting Ratios for Film and Television 4.4 Using Lighting Ratios on the Set4.5 Controlling the Whole Scene 4.6 The Effect of Not Recording the Whole Scene 5 COLOUR TEMPERATURE5.1What is Colour Temperature? 5.2 Filters and Mired Shift Values5.3 The Colour Temperature Meter 5.4 Location Sources5.5 Correcting Lamps6 FILTERS 6.1Camera Filters 6.1.a Colour Compensating Filters 6.1.b Colour Correction Filters 6.1.c Skin Tone Warmer 6.1.d Sepia, Coral, Tobacco etc.6.1.e Graduated Filters 6.1.f Neutral Density 6.1.g Low Contrast6.1.h Ultra Contrast6.1.i Fog 6.1. Double Fog6.1.k Pro Mist 6.1.l Star Filters6.1.m Nets 6.2 Matching Shots6.3 Enhancing Filters6.4 Fluorescent Light Correction 6.5 Polar Screens 6.6 Filter Factors 6.7 The Pan Grass THE SHOOT7 EXAMPLES OF SHOOTS7.1 Drama 7.1.a "The Queen's Nose" 7.1 "The Merchant of Venice"7.1.c "Small Hotel " 7.2 Documentary 7.2.a "The ABBA Story" 8 CREWING 8.1 For Fiction 8.1.a Should the DoP Operate? 8.1.b Do you need a Focus Puller? 8.1.c Do we need a Loader? 8.1.d Do we need a Clapper Board? 8.1.e Do we need a Grip? 8.1.f Sound 8.1.g Electricians8.2 For Factual 8.2.a Crew size 8.2.b Clapper boards9 THE DIRECTOR of PHOTOGRAPHY's PREPARATION9.1 Technical Schedule 9.2 Camera Lists 9.3 Lighting Lists 10 TECHNICAL PREPARATION FOR A SHOOT10.1 Technical Checks 10.1.a The Tripod 10.1.b The Camera Base Plate10.2 Camera Checks - Record / Playback 10.3 Lens Checks10.3.a Back Focus and the Star Chart 10.4 Time Code10.5 Accessories 10.6Matte Boxe 10.7 Follow Focus Devices 10.8 Viewfinders 10.9 Monitors 10.9.a Choosing a Monitor 10.9.b Nine Inch Monitors 10.9.c Fourteen Inch Monitors 10.9.d Lining up a Monitor 10.9.e My Approach 10.9.f Why take such trouble? 10.9.g Lining up a PAL Monitor 10.9.h Helpful Hints 10.9.i Lining up an NTSC Monitor 10.9.j Ambient Light 10.9.k Cabling your Monitor 10.9.k.i Termination 10.9.k.ii Serial monitors 10.9.k.iii Best Practice10.9.l On Screen Monitor InformationTHE TECHNOLOGY11 THE CAMERA 11.1The Television Image 11.2 Additive Colour Imagery11.3 Resolution 11.4 The Digital Camera 11.5 The Camera Head11.6 The Image Sensors 11.7 The Sensor Chip 11.8 The Image Signal11.9 The Internal Circuitry12 THE VCR12.1 The Video Cassette Recorder 12.1 Helical Scan 12.2 Mechanical Considerations 12.4 The Scanning Drum 12.5 The Drum Lacing Mechanism12.6 A Jammed Mechanism13 WHITE AND BLACK BALANCE13.1 White balance 13.2 What is White Balance? 13.3 White Balance Using a White Card 13.4 White Balance Using a Coloured Card 13.5White Balance Under Fluorescent Lighting 13.6 The Inner Filter Wheel 13.7 Black Balance14 TIME CODE AND USER BITS14.1 User Bits 14.2 Time Code 14.3 Record Run Time Code 14.4 Free Run Time Code 14.5 Time of Day Time Code 14.6Setting Time Code 14.7 Resetting Time

Paul Wheeler BSC FBKS was trained at the BBC rising to become a Senior Drama Film Cameraman. Paul Shot one of the first BBC Drama Series to be photographed using the then new Digi Beta cameras, by which time he was freelance. He is a renowned cinematographer/director of photography and trainer, he has been Head of Cinematography at National Film & Television School and still runs courses on Digital Cinematography there. He has also been Head of Cinematography on the Royal College of Arts MA course. Paul was invited to become an associate of Panavision in order to help them introduce the Panavised version of Sony's HDW 900f camera which meant he joined the HD movement 3 days before the first Panavision camera arrived in Europe. Despite all this he is still very much a working cinematographer. He has been twice nominated by BAFTA for a Best Cinematography award and also twice been the winner of the INDIE award for Best Digital Cinematography. His previous books, "Practical Cinematography” and "Digital cinematography”, are both published by the Focal Press.