INDEPENDENT FILM MAKING

Basic Information

Title

INDEPENDENT FILM MAKING

Subtitle

-

Parallel Title

-

Country

국외

Production Date

1983-**-**

Language

영어

Size (mm)

151 x 235

Pages

445쪽

ISBN/ISSN

067146258X

Edition

2판

Master Files

-

Producer

Lenny Lipton (저자), Simon & Schuster (발행처)

Description

-

Contents

Contents

Author's Preface to the Revised Edition = 11 Introduction / Stan Brakhage = 13 Chapter 1. The Format = 21 COMMON TO ALL FORMATS Aspect Ratio CHOOSING A FORMAT THE ORIGINS OF THE FORMATS 16mm Double 8mm Super 8 'The Living Corpse.' QUALITIES OF THE 8MM FORMATS 8mm Double 8mm Super 8 Super 8-Single 8 Double Super 8 COMPARING 8MM & SUPER 8 Formats Sound Tracks Quality Compatibility 16mm Format Film Availability Laboratory Services Equipment SOUND TRACK Sound Track & Format Running Speed Picture-Sound Separation Magnetic Sound Optical Sound Lip Sync 8mm Sound Super 8 Sound 16mm Sound WHICH FORMAT? Quality Costs Distribution 8 mm, Super 8, 16mm THE FUTURE OF THE FORMATS Super 8 16mm vs. Video Tape Chapter 2. The Film = 50 FILM FORMS AN IMAGE THE QUALITIES OF FILM Film Base, Halation Film Speed Daylight & Tungsten Speed Pushing Film Exposure Latitude Grain Perceiving Grain Contrast & Gradation Sharpness Acutance Modulation-Transfer (M-T) Curves Color Sensitivity Infrared Film Reciprocity Characteristic Curve HOW COLOR FILM WORKS THE QUALITIES OF COLOR FILM Film Speed Grain Exposure Latitude Saturation Color Balance & Color Temperature Indoor & Outdoor Film Black & White Reproduced with Color Film THE KINDS OF CAMERA FILM Black & White Negative Black & White Reversal Processing Reversal Color Negative Color Reversal A CRITIQUE OF THE VARIOUS FILMS 8mm and Super 8-Single 8 16mm FILM STORAGE Before Exposure Exposed Film After Processing RESTORATION OF DAMAGED FILM Rejuvenation Wet Printing Chapter 3. The Camera = 86 HOW IT WORKS, A BASIC RUNDOWN The Shutter Sharpness Fades and Dissolves VIEWING AND FOCUSING SYSTEMS Direct Optical Finder Parallax Compensation Reflex Finder DRIVE MECHANISMS Human Power Spring Drive Electric Motors VARYING FILM SPEEDS Fast & Slow Motion Exposure Getting Up to Speed LIGHT METER SYSTEMS Selenium, Cadmium Sulfide & Silicone Blue Cells Manual Override BTL Automatic Exposure Adjacent & BTL Meters BTL Manual Systems Calibrating the Meter Inertia & Hunting CREATIVE CAMERA CONTROLS Lenses and the Turret Power Zoom RELEASE OR DRIVE BUTTON The Tachometer Single Frame Control Frame Counter Footage Counter Backwinding Electric Power Supplies Battery Check Matte Box Filter Slot Magazines Cable Release Pistol Grip Tripod Socket CAMERA DESIGN Left-handed Cameras Position of Indicators TESTING THE CAMERA Finder Accuracy Working the Controls Steadiness Test CAMERA GUIDE Super 8-Single 8 16mm Repairs & Service Chapter 4. The Lens = 138 THE LENS FORMS THE IMAGE Basic Optics The Simple Lens Focal Length Wide & Long Lenses Sharpness Lens Speed Minimum Aperture Setting ABERRATION Chromatic Aberration Spherical Aberration Astigmatism Coma Curvature of Field Transverse Chromatic Aberration Distortion Aberration and f Stop Antireflection Coatings COMPLEX LENSES Lens Mount Adapter Mounts Telephoto Lens Back Focus & the Retrofocus Lens Catadioptric Lens Fisheye & Very Wide Lenses Zoom Lens Color Bias and Matched Lenses DEPTH OF FIELD Depth & f Stops Depth & Distance Hyperfocal Distance Depth & Image Size More About Depth & Distance Depth of Field & the Formats Depth of Field A Look Back Depth of Focus Focusing the Zoom Lens PERSPECTIVE Image Size Control of Relative Sizes Some Remarks About Normal Perspective Perspective Distortion A Note on Portraits CLOSE-UPS Close-up Lenses Bellows & Extension Tubes More About Getting Close Variable Power Close-up Lenses Split-Diopter Lenses LENS ACCOMPANIERS Focal Length Convertors Anamorphic Attachments Leps Designations The Lens Hood LENS TESTING LENS CLEANING OPERATING A LENS Chapter 5. Shooting = 186 CAMERA MOVEMENT Spatial & Temporal Parallax Smoothness & Focal Length Selecting the Lens & Focal Length Hand-holding the Camera Moving the Camera On a Tripod Tactile Control The Dolly Improvised Dollies Homemade Dollies & Cranes Shooting from a Moving Vehicle EFFECTS IN THE CAMERA ANIMATION Collage Animation Cell Animation Other Techniques EXPOSURE Determining the Exposure Using the Reflected Light Meter Using Spot Meters Using the Incident Meter Using the Polaroid Land Camera Flashing FILTERS Gelatin Filters Glass Filters Filters for Black & White Color Film Filters Fluorescent Light Black & White & Color Filters Special Purpose Filters LIGHTING Outdoor Lighting Indoor Lighting Mixing Daylight & Artificial Light for Color Chapter 6. Splicing and Editing = 229 SPLICES & SPLICERS The Tape Splice The Cement Splice Hot & Cold Splicers Bevelled-edge & Film-on-Film Negative & Positive Splices THE TECHNIQUES Scraping Applying Cement Adjusting the Splicer Base-to-Base Splices & Splicing Different Materials Splicing Striped Film Repairing a Splice EDITING TOOLS The Editing Table The Film Winds The Viewer The Synchronizer The Projector The Moviola Horizontal Editing Machines Motorized Viewers Odds & Ends Cost of Equipment EDITING PROCEDURES Single Roll Editing A and B Roll Editing Optical Printing Composing with the Synchronizer Chapter 7. Sound and Magnetic Recording = 278 THE NATURE OF SOUND Frequency & Wavelength Harmonics & Waveform Amplitude & Loudness Dynamic Range, Noise, Overload Acoustics MAGNETIC RECORDING Sound Recorded Magnetically Recording & Playback The Transport System About Heads Bias, Equalization TAPE RECORDER COMPONENTS Tape Microphones Volume Control MIXING Electronic Mix Acoustic Mix Sound-over-Sound Sound-with-Sound Sound-on-Sound Quarter-over-Half EDITING MAGNETIC STRIPED TRACK Preparing Striped Film Recording on Striped Film Dupes with Sound Duping in Sync QUALITY PUTTING THE BALANCE STRIPE TO WORK Chapter 8. Preparing the Sound Track = 304 LIP SYNC SOUND Recording Equipment Recording Technique Single System Sound Sync Pulse-Double System Sound Establishing Sync Resolving Pulsed Tape to Film Ivan's Method―Wild Sync Postsynchronized Dubbing PREPARING THE MAGNETIC FILM Before the Studio Talking to the Engineer Making Your Own Transfers Editing Magnetic Film Print Volume Level Background Level Tone Studio Custom-made Tracks LABORATORY MAGNETIC OR OPTICAL TRACK PRINTS Magnetic Tracks Optical Tracks Types of Color Print Tracks Electro-printing Optical Track Masters Positive & Negative Tracks A & B Wind Which Type of Track? SOUND FOR 8MM PRINTS Chapter 9. The Laboratory's Role = 341 WHAT A LAB DOES Talking to the People at the Lab Getting Credit Film Processing Processing Errors Variable Contrast Forced Development Censorship PRINTMAKING Answer Prints Print Timing Print Contrast Color Balance Answer Print Evaluation OPTICAL PRINTERS Release Prints Effects ENLARGEMENT AND REDUCTION Projection Prints Printing Masters Reduction Printing New Super 8 Reduction Methods Blowing Up to 35mm Super 16 PRINTS & PRINTING MASTERS Typical Printing Masters Intermediate Printing Masters SUMMING UP Chapter 10. Mixed Bag = 373 INGREDIENTS The Story Board Scripts Budget Income Tax Distribution Publications Eisenstein's Writings Copyright Special Mailing Rate REPHOTOGRAPHY Rear Screen Front Screen Filming the Gate Single Frame or Continuous Run? Interlock Systems General Techniques Frame Enlargements Shooting the TV Screen Bi-packing Traveling Mattes Aerial Image Printer COLORING & DRAWING Producing Negative Colors Tints & Tones Drawing on Film PROJECTION Automatic Projectors Brightness & Throw The Screen Projection Lenses Sound Setting Up Chapter 11. Video for the Filmmaker = 401 MOTION PICTURE AND VIDEO TECHNOLOGIES THE PICKUP TUBE THE RASTER THE MONITOR OR RECEIVER THE VIDEO PROJECTOR NTSC COLOR VIDEO STANDARDS DIGITAL VIDEO SOLID STATE SENSORS THE TELECINE FILM SHOT FOR VIDEO TAPE TO FILM RGB COLOR HIGH-DEFINITION TV TRANSMISSION SHORTCOMINGS TAPE FORMATS TIME BASE CORRECTION NEW TAPE FORMATS VIDEO DISKS VIDEO POSTPRODUCTION OF FILM PROJECTS Index = 431 List of illustrations = 442

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