LIBRARY: Tutorials Reviews Interviews Editorials Features Business Authors RSS Feed

Rick Gerard reviews Cinematography: Image Making for Cinematographers, Directors, and Videographers

COW Library : Cinematography : Rick Gerard : Rick Gerard reviews Cinematography: Image Making for Cinematographers, Directors, and Videographers
Rick Gerard reviews Cinematography: Image Making for Cinematographers, Directors, and Videographers
A Creative COW "Real World" Book Review


Rick Gerard reviews Cinematography: Image Making for Cinematographers, Directors, and Videographers

Rick Gerard Rick Gerard
Gerard Production
Roseville, California, USA

© 2003 Rick Gerard and CreativeCOW.net. All rights reserved.


Article Focus:
Rick Gerard takes a close look at Cinematography: Image Making for Cinematographers, Directors, and Videographers by Blain Brown. This is his third book and for the aspiring or experienced cinematographer – the best reference book Rick has ever seen.

Click here to order this book from the Dairy Store at Creativecow.netBlain Brown has created a masterpiece. Cinematography: Image Making for Cinematographers, Directors, and Videographers is his third book and for the aspiring or experienced cinematographer – the best reference book I have ever seen.

Anyone that aspires to this highest art of story telling should have this book on their shelf. He writes "At the heart of it, filmmaking is shooting, but cinematography is more than the mere act of photography. It is the process of taking ideas, words, actions, emotional subtext, tone and all other forms of non-verbal communication and rendering them in visual terms." Through both verbal metaphor and pictorial example he takes the keys to this art from their hiding place under the bed and hangs them right there on the peg on the kitchen wall. All you have to do is take them down and apply them.

Learning the language of visual art is more than just learning the difference between subjective and objective camera angles, or knowing what the director means when he says he wants “a choker.” When you have finished the first chapter you will have a good enough handle on the terms a director and cinematographer bandy about on the set to sound like a pro. By the time you get to the fifth chapter “Cinematic Continuity” you will have been exposed to enough graduate level theory and practice to start you on the road to mastery of the form. I especially enjoyed Blain’s explanation and examples of continuity in chapter five. MTV has had such a profound effect on new filmmakers that many of us from the ‘OLD School’ have a tendency to wonder what’s going on sometimes. There is such a lack of “continuity” in so many of the montage sequences you see now days that it was refreshing to see so much time and space dedicated to such an important part of storytelling.

The next section of the book moves through every technical aspect of filmmaking from Exposure to Set Operations and Formats without ever forgetting to explain and theorize on the relationship between technique and story.

Frames from films directed by Orson Welles, Stanley Kubrick and Akira Kurosawa are used and analyzed not as a model for their style of filmmaking but as examples of controlling every part of the frame to achieve an effect. As Mr. Brown says: “not only do they serve as excellent examples of framing, composition, use of lens, blocking and color, but more importantly you know that nothing in the frame is an accident – it is easier to follow the choices that they made in order to serve the story."

Though some of the tables and explanations in the technical sections of this book may become outdated as technology changes, the theories and practices revealed here will never go out of date. This is a “must have” book for anyone claiming to be a cinematographer that hasn’t got at least two Academy Awards sitting on their mantle. Well done Mister Brown. Well done.



I give Cinematography: Image Making for Cinematographers, Directors, and Videographers five cows for all camera junkies, and four and a half cows for everyone else that is interested in the movies.

Rick Gerard






If you found this page from a direct link, please visit our forums or read other articles at CreativeCOW.net







Related Articles / Tutorials:
Cinematography
The Lion King's Virtual Cinematography: Caleb Deschanel, ASC

The Lion King's Virtual Cinematography: Caleb Deschanel, ASC

Caleb Deschanel, cinematographer for Disney’s live-action The Lion King, shares how they used traditional cinematography to create the life-like virtual film. Caleb and Go Creative Show host, Ben Consoli, discuss modeling cameras and lenses for virtual filmmaking, how Caleb was able to move the sun around in virtual space to get the perfect lighting, using a real drone for the Circle of Life sequence, and more!


Ben Consoli
Cinematography
Shooting RED 8K for Danny Boyle's Yesterday

Shooting RED 8K for Danny Boyle's Yesterday

The magical romantic comedy Yesterday reunites cinematographer Christopher Ross BSC with director Danny Boyle to tell the story of a singer-songwriter who wakes up to discover that he's the only one in the world who remembers The Beatles. Christopher selected the RED HELIUM S35 8K sensor (with as many as 17 cameras rolling simultaneously in a single scene!) to capture a variety of looks as the story takes viewers from East Anglia to Los Angeles. With 10-15TB of footage coming in every day, this is also a workflow story, featuring DIT Thomas Patrick and the team at Mission Digital for dailies, and Goldcrest Post for online, VFX, conform, and grade.


Adrian Pennington
Cinematography
Spider-Man Far From Home Cinematographer Matthew Lloyd

Spider-Man Far From Home Cinematographer Matthew Lloyd

Matthew Lloyd, cinematographer for Spider-Man: Far From Home, takes us behind the scenes of the film and shares techniques for lighting and shooting massive visual effects scenes. Matthew and Go Creative Show host Ben Consoli, discuss working in Marvel’s Cinematic Universe, using pre-vis to prep for shots with VFX, creating Spider-Man’s holographic world, plus Matt’s camera and lens choice, his experience with commercial and fashion filmmaking, audience questions and so much more!


Ben Consoli
Cinematography
DJI Osmo Action Camera In-Depth: Taking on GoPro

DJI Osmo Action Camera In-Depth: Taking on GoPro

The DJI Osmo Action is DJI's first GoPro-like action camera. It shoots crisp 4K video at 60 FPS, and super slow motion at 240 FPS at 1080p, also with support for HDR and terrific RockSteady image stabilization. Especially interesting: TWO LCD screens to make it easy to see what you're shooting from every angle. VFX guru and filmmaker, Surfaced Studio's Tobias G puts the Osmo Action through its paces and tells all about what he likes and doesn't, with lots of sample footage for you to judge for yourself!


Tobias G
Cinematography
Stuart Dryburgh: DP for Men In Black International

Stuart Dryburgh: DP for Men In Black International

Stuart Dryburgh, cinematographer for Men In Black International, joins Go Creative Show host, Ben Consoli, to discuss creating the look for the film. Stuart talks about the challenges of working in an established franchise, filming in NYC in the snow, why Stuart prefers Arri Alexa cameras, his lighting and lens choices for the film, shooting action scenes, and more!


Ben Consoli
Cinematography
Capturing ProRes RAW

Capturing ProRes RAW

Apple ProRes RAW has lots of buzz, and can offer some great opportunities in both shooting and post, once you know how to capture it. Director Steve Pierce and DP Igor Kropotov explain why they love it, how to capture it on set, and what tools you can use.


Adorama TV
Cinematography
Small HD FOCUS 7 4K Monitor Hands On

Small HD FOCUS 7 4K Monitor Hands On

Here's a first look at the SmallHD FOCUS 7, a 7-inch, 4K monitor that packs significant production value in a moderate price. The monitor includes Small HD’s OS3 software, which gives users access to features such as pinch-to-zoom, waveform monitors, focus pulling, 3D LUTs, and more, in a build that's lightweight, durable, and retains mobility.

Tutorial
Adorama TV
Cinematography
GoPro HERO7 First Look

GoPro HERO7 First Look

The new GoPro HERO7 can do WHAT? Join Steven John Irby, co-owner and director of Street Dreams Magazine, for a look at the most advanced GoPro yet: HyperSmooth Stabilization, TimeWarp Video, live streaming, voice control, waterproof, and much more.


Adorama TV
Cinematography
Five Cinematic Drone Shots For You To Master

Five Cinematic Drone Shots For You To Master

If you tend to put your drone up in the air and then struggle with what to do next, or if you just randomly shoot around filling up your memory card, then this tutorial is for you. Here are 5 cinematic drone shots that, with a little practice, will take your aerial cinematography to the next level.

Tutorial
Adorama TV
Cinematography
Filming In Small Spaces

Filming In Small Spaces

"Penned" is a narrative series shot on location in New York, which means working in lots of small spaces. The team not only explores how these challenges call upon their highest level of creativity in the shortest amount of time, but also lay out how these challenges give some of the most creative results. The producers, director, and DP all share their tricks and advice including connecting the corners, putting light in Z space, having the lens closer to a foreground element, and utilizing high ceilings.

Tutorial
Adorama TV
MORE
© 2020 CreativeCOW.net All Rights Reserved
[TOP]