Film and Its Techniques

Introduction = 1 I. Mapping the Route = 5 II. How a Film Starts = 14 CATEGORIES OF STYLE IN THE FILM OF IDEAS = 21 WHERE THE FILM COMES FROM = 25 THE UNIT = 25 THE DIRECTOR AND UNIT MANAGER = 28 THE CAMERA AND ITS CREW = 32 GRIPS AND GAFFERS = 34 THE SOUND CAMERA AND ITS CREW = 34 THE SCRIPT GIRL = 35 DUTIES OF THE UNIT = 35 FILM AND ACTUALITY = 36 III. The Camera = 39 ADAPTING THE CAMERA TO ACTUALITY = 40 ADAPTING ACTUALITY TO THE CAMERA = 43 HOW THE CAMERA WORKS = 46 DRIVE AND SPEED RANGE = 47 FILM MAGAZINES = 50 FOCUSING AND VIEWFINDING = 51 LENSES = 54 THE ZOOM LENS = 62 LENS TURRETS AND ACCESSORIES = 64 INTERMITTENT MOVEMENT = 66 THE CHOICE OF A CAMERA = 71 CHARACTERISTICS OF LEADING MAKES = 72 CAMERA FAULTS = 75 ACCESSORIES TO THE CAMERA = 77 BLIMPS = 77 CAMERA MOUNTINGS = 77 TROPIC HEAT AND ARCTIC COLD = 80 THE PROBLEM OF EXPOSURE = 82 FILM SPEEDS AND EXPOSURE INDEXES = 87 IV. The Cutting Room = 90 THE ARITHMETIC OF FILM = 91 THE CUTTERS TOOLS = 94 THE MOVIOLA = 96 THE SPLICER = 98 BITS AND PIECES = 100 FILING PROCEDURE = 101 FILM ON FIRE = 103 THE PSYCHOLOGY OF CUTTING = 104 SYNC = 107 THE CUTTING UNIT = 111 THE FILM TAKES SHAPE = 112 V. The Library: Indexing Time and Space = 114 STORING FILM = 115 THE FILM ENCYCLOPEDIA = 115 VI. Synthesizing Space and Time = 120 ANIMATING THE INANIMATE = 122 THE CAMERA IN ANIMATION = 124 THE CATEGORIES OF ANIMATION = 128 SHOOTING AT SECONDHAND = 146 VII. The Irreplaceable Negative = 152 VIII. The Laboratory: Studio Grand Central = 160 THE IMAGE APPEARS = 163 WHAT GOES INTO A DEVELOPER AND WHY = 165 WHAT GOES ON IN A DEVELOPING MACHINE AND WHY = 167 CONTROLLING THE IMAGE = 171 SENSITOMETRY AND THE FILM CHARACTERISTIC = 174 WHY EXPOSURES AND DENSITIES ARE MEASURED LOGARITHMICALLY = 177 THE RELATION BETWEEN CONTRAST AND THE CHARACTERISTIC CURVE = 178 PRACTICAL SENSITOMETRY = 183 PRACTICE AND THEORY DIVERGE = 185 THE EFFECTS OF OVER- AND UNDEREXPOSURE = 186 LATITUDE = 187 SPEED = 188 NEGATIVES AND POSITIVES = 189 THE PRINT COMES OFF = 104 THE CONTINUOUS-CONTACT PRINTER = 195 THE CONTINUOUS-OPTICAL PRINTER = 195 THE STEP-CONTACT PRINTER = 196 THE STEP-OPTICAL PRINTER = 196 MULTIPLYING THE ORIGINAL NEGATIVE = 196 SNOWBALLING ERRORS = 197 IRONING OUT BRIGHTNESS CHANGES = 198 ROUTING THE TRAFFIC = 200 IX. Production Techniques: Color and 16 mm = 203 WHAT IS COLOR? = 204 FILTERS = 205 ADDITIVE COLOR PROCESSES = 207 SUBTRACTIVE COLOR PROCESSES = 208 PACKING UP THE COLOR = 211 THE MONOPACK OR INTEGRAL TRIPACK = 211 BIPACKS = 215 TRIPACKS = 216 RELEASE PRINTING = 216 DYE TONING = 217 MONOPACK PRINTING = 217 THE TRANSFER PROCESS (IMBIBITION PRINTING) = 219 BLOW-UP = 220 MASKING = 220 SOUND REPRODUCTION = 221 CAMERA MODIFICATIONS ENTAILED BY COLOR = 223 LIGHTING FOR COLOR = 225 LEVEL AND CONTRAST OF LIGHT = 230 LATER STAGES OF COLOR PRODUCTION = 231 CHARACTERISTICS OF 16 MM. PRODUCTION = 232 16 MM. FILM: REVERSAL = 235 THE 16 MM. CAMERA = 239 EDITING 16 MM. FILM = 240 MATCHING 16 MM. ORIGINALS = 242 16 MM. SPLICING = 243 STORAGE OF 16 MM. FILM = 244 DUPLICATION OF 16 MM. FILM = 246 16 MM. SOUND RECORDING = 247 16 MM. RELEASE PRINTING = 254 BLACK-AND-WHITE RELEASE = 254 COLOR RELEASE = 255 EMULSION POSITION = 256 GREEN FILM = 257 16 MM. PROJECTION = 258 MECHANICAL AND ELECTRICAL CONSTRUCTION = 259 PICTURE PROJECTION = 260 SOUND PROJECTION = 264 THE SCREEN = 267 SIMPLE PROJECTOR TESTS = 268 PRINTS AND PROJECTORS = 270 SUMMARY OF 16 MM. PRODUCTION CHARACTERISTICS = 271 FILM WIDTHS: A SUMMARY = 272 X. Sound: Getting It onto Film = 275 WHAT IS SOUND? = 276 SOUND―IMAGE―SOUND = 279 TYPES OF SOUND TRACK = 282 THE MODULATOR = 283 THE AMPLIFIER = 288 NOISE REDUCTION = 288 DISTORTION = 293 FREQUENCY DISTORTION AND MODIFICATION = 293 AMPLITUDE DISTORTION = 295 INTERMODULATION DISTORTION = 296 CROSS MODULATION = 299 DYNAMIC DISTORTION = 299 SCALE DISTORTION = 300 DISTORTION AT WORK = 300 METHODS OF IMPROVING THE SOUND TRACK = 304 CONTROL TRACKS = 306 STEREOSOUND = 307 VARIABLE-AREA AND VARIABLE-DENSITY RECORDING = 309 MAGNETIC RECORDING = 312 PRACTICAL APPLICATION = 316 BASIC PROBLEMS OF RECORDING = 319 XI. Sound: Getting It onto the Screen = 323 BREAKING UP THE WORLD OF SOUND = 323 SELECTING THE SOUNDS THAT ARE WANTED = 324 PUTTING THE SOUNDS TOGETHER = 325 NOISES OFF = 328 FILM MUSIC = 328 MECHANICS OF SOUND CUTTING = 329 THE FINAL SOUND TRACK = 331 THE MIXER = 332 THE MIXING MACHINE = 333 XII. Some Studio Techniques = 336 LIGHTING = 337 TECHNIQUES AND SOURCES = 339 INCANDESCENT LIGHTING = 341 ARC LIGHTING = 344 STUDIO ACCESSORIES = 345 PROCESS PROJECTION = 348 PRESCORING AND PLAYBACK = 349 DUBBING = 353 XIII. Journey’s End = 358 XIV. Things to Come = 364 FILM AND TELEVISION = 365 ADDING A THIRD DIMENSION = 374 STEREOGRAPHIC ART = 379 THE LIBERATION OF SOUND = 381 MUSIC WITHOUT INSTRUMENTS = 384 Epilogue = 388 Glossary = 393 Booklist = 485 Index of Films = 503 General Index = 506

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