Cinematography Web Reading References
The following web references will be used as supplemental materials to give you both
breadth and depth in the various aspects of video media production. In replacement of a
dated textbook, magazine and web articles tend to be more current. Some of the articles
listed here are several years old, but the concepts are timeless.
One of the sources for these articles is DV magazine. To gain access to this site, they
require you to set up a login name and password. This is common for trade specific
publications. When you log in, you might want to enter your login and password here for
Login Name:________________ (It will be your email address)
Many of these sites have vast collections of great information for you to explore. All I
am trying to do is point you to information with a focus directly on this class. You can
never have to much information… so explore to your hearts content.
The articles listed as Hard Copy are in their own folders for you to copy to one of your
disks. These are scans of the original pages.
--24p: Back to the Future?
As I write this, there are four 24 fps, progressive-scan camcorders available: two high
definition and two standard definition. ….have sparked a sea of change in high-end
production by supplanting film for episodic television, independent production, and an
increasing number of Hollywood features. One of the primary differentiators between film
and video imaging was 24 fps, but now that video can capture at 24 fps, the entire film-
versus-video debate has attained a new level of relevance and immediacy.
--The Three E's
In the midst of the often exhilarating chaos that is the creative process, even seasoned
editors and designers get off track occasionally. Wild brainstorming and daring
experimentation play a role in the creative process, but they must take their place within
the framework of a disciplined approach. Over the years, I've worked on and observed
dozens of productions from small student projects to multihour documentary series and
movies of the week. The successful productions have all shared two factors-
organization and discipline.
--How to Deal with Your Clients
By Bill Miller
Video Systems, Sep 1, 2002
Whether you are a freelancer or work for a major company, you have a client to please. Here are
a few simple rules to help make your working relationships more productive.
-- Client Collaboration
In our hyperconnected world of cell phones, PDAs, pagers, and instant communication, clients'
expectations have risen so much that they expect some form of online collaboration with their
editors.In many situations, that collaboration might be to upload a Real, QuickTime, or WMV
file to a Web server and email the URL to the client. Today it's a breeze to compress acceptable
video for the Web.
--The Freelancer's Survival Guide
By Bill Miller Video Systems, May 1, 2002
--Building a Decision Tree
Decisions are the building blocks of your business. Each decision rests upon earlier
decisions. Making good decisions in the early stages of a business creates a solid
foundation for future growth. But throw in some risk, and things start to get interesting.
Should I upgrade my camera package now or wait? Do I add staff and equipment in
anticipation of a change in my business environment? How can I reasonably forecast
revenue one, two, or more quarters from now? We can be consumed by such questions.
Take the wrong path and the consequences can be disastrous.
--In Praise of Progress
Just when you thought you had it dialed in, something won't cooperate. That distant deadline now
looms unexpectedly closer. It's technology....
--A Conspiracy of Noise and Distraction
Rev. John Jackman, Bruce A. Johnson
Murphy's Law is alive and well and living in your video production business. In fact,
there is probably no business more ripe for repeated visits from the good Mr. Murphy.
Combining tight schedules with lots of people and technology almost guarantees that
something will go wrong at the worst possible moment. The experienced shooter will
always bring extra tapes and backup gear, double-check everything about the schedule,
and wear both belt and suspenders. We all have horror stories from which we've learned
by Dave Kapoor
"What it takes to keep your business and productions covered."
"Obtaining insurance for a video business or short-term shoot is daunting. As evidenced by
postings in the DV.com Business Forum and other industry mailing lists, digital video pros have a
lot of questions. How do you calculate how much insurance you need? What types of coverage do
you need? How much does general liability cost? What if your business is strictly wedding or
event videography? Can business equipment be insured through a homeowner's policy?"
Judging from questions on DV.com's Forums, few nontechnical things confuse
filmmakers more than copyright. And most of the confusion is about music--people who
know you can't lift scenes from Pulp Fiction insist the rules are different for songs. To
clear things up, I talked to an expert.Entertainment lawyer Kevin Koloff spent 12 years
as senior vice president of music business affairs at Paramount Pictures, and now works
for private clients--including some major players--from his Santa Monica office. He
knows the law, he knows the industry, and is a cool guy besides.
--Be Your Own Copyright Cop
Patricia L. Casey
AV MultiMedia Producer May 2000
--Supplemental Lighting - HARD COPY
By Bill Holshevnikoff
Video Systems magazine, 1997
Some times, when working outdoors with people, all you need is a little extra light. Maybe
recycling what's already there… and it's cheap and easy.
--Lighting on the Cheap
Bruce A. Johnson
It's not much of a stretch to say that the best-shot stories are the best-lighted ones. Today's cameras
are much more light sensitive than yesterday's cameras?it's not hard to find pictures of studios
from the early days of television with dozens of 2000W (watt) scoops hanging from the grid. You
don't need megawatts of light to get a good image anymore, and the proper use of a little light here
and there can greatly improve your footage.
--Lighting 201: shinny and transparent objects
--"Techniques for making night scenes look good."
"Hardly a week goes by when I don't get an email asking some variation on the question, 'How do
I shoot at night in a dark room/basement/exterior?' Sometimes the questioner references a look
from a specific television show or film. Every few months someone drops by my studio with a
tape that looks like grainy surveillance video, and wails, 'What did I do wrong?' The answers: not
enough light in the darkness; not enough fakery."
--"How to Make Video Look like Film,"
by John Jackman
"Creating video that resembles film isn't as hard as you think."
"Getting video to look like film is a complex and nuanced subject. It's also the kind of topic that
lends itself to Internet forum flame wars. Oversimplifications and broad generalizations abound.
So where do we begin?"
--The New Production Methodology
By Scott Billups
The head-on collision of film and video has created a train wreck of jumbled methodologies.
Nowhere is this more evident than in the conflicted world of high-definition production, where a
No-Holds-Barred Smack-Down Battle of Standards has been raging for more than a quarter-
Why do we still need measurement tools such as waveform monitors and vectorscopes in the
--"Technical Difficulties: We've Been Set Up!,"
by Adam Wilt
"Dissecting DV's picture pedestal problem."
"If you work with DV, you've probably heard that 'DV doesn't have setup,' and you may have to
recalibrate monitors so you won't crush your blacks. What's up with that? Should you boost the
black levels in your NLE? Is that "7.5% setup" setting in the Sony DSR-PD150 the same as