The DSLR Filmmakers Handbook: Real–World Production Techniques

Get expert results with your DSLR— before, during, and after the shoot They look like standard digital cameras for taking still photos, but the video and filmmaking capabilities of today′s DSLR cameras can take you to Hollywood. If you want to create independent films and full–length HD videos with your DSLR camera, this detailed guide is where you need to start. Packed with professional movie–making secrets, solid technical advice, and practical timesavers, this unique book offers real–world solutions for all aspects of DSLR filmmaking, including: Choosing the best camera, lenses, and accessories for your shoot Working with still lenses vs. cinema lenses Using your gear in the field Lighting your scene with studio or available light Setting up your camera to achieve the visual look you desire Evaluating color on set, color grade in post, and creating a "look" for your final project Deciding whether it′s better to record sound on your own or hire a pro Rigging and moving your camera for car chases or action shots Shooting under water Understand outdoor lighting conditions before you shoot Choose and use the best equipment for your film′s needs Choose the optimal settings for everything from web video to theater presentation

Introduction xi Chapter 1 Fundamentals of DSLR Filmaking 1 Features of DSLR Cameras 1 Features of SLR Lenses 9 How Sensor Size and Lenses Interact 16 Chapter 2 Gear and Recommendations 21 What Camera Is Right for You? 21 Lenses and Accessories 26 Lights 40 Audio 41 Tripod and Dollies 46 Specialty Items and Miscellaneous 48 Planning Your Gear Package 54 Chapter 3 Testing and Custom Settings 59 Camera–Specific Testing 59 Testing Equipment Interactions 67 Using In–camera Presets 78 Changing the Camera Presets for Image Control 80 Customizing Your Picture Style: Steps for Canon DSLR Cameras 92 Chapter 4 Cameras and Lenses on Location 99 Using Cameras on Location 99 Using Lenses on Location 103 Chapter 5 Camera Motion and Support 125 Camera Motion 125 Types of Camera Movement 127 Planning the Motion 134 Gear for Designing and Controlling Movement 135 Stabilizing Your Camera Motion 140 Motion, the Edit, and Cutting 154 Chapter 6 Lighting on Location 157 Planning the Lights 158 Choosing Lights 159 Principles for Setting Lighting 163 Types of Lights by Position 170 Lighting for Special Situations 176 Managing Light 182 Light Quality 188 Picking Exposure 191 Chapter 7 Sound on Location 195 The Role of Sound 195 Recording Sound with DSLR Cameras 197 Microphones and Key Accessories 204 Planning, Setting Up, and Recording a Shoot 210 Chapter 8 Organizing and Storing Data in the Field 217 Setting Up a File System 217 Capture Formats 226 Backing Up Your Footage on Set 227 Organizing Data on Set 229 Chapter 9 Troubleshooting 233 Avoiding Problems: What to Do, What to Take 233 Shooting Problems 238 Hardware Problems 255 Ways to Save the Shot 264 Chapter 10 Converting and Editing Your Footage 267 Setting the Foundation for Post–Production Workflow 267 Choosing the Right Hard Drives 268 Backing Up Data 273 Choosing and Using an Editing Codec 274 Editing Your Footage 279 Chapter 11 Audio Crash Course 285 Syncing Your Audio and Video 285 Troubleshooting Out–of–Sync Sound 289 Automated Dialogue Replacement (ADR) 291 Chapter 12 Color Correction and Grading 297 Color Theory and the Eye 297 Color Correction on Set: Outside of the Camera 303 Color Correction on Set: Inside of the Camera 307 What Is This Camera Shooting Anyway and Why Do I Care? 310 Post–Production Color Correction and Grading 315 Chapter 13 Compression 327 Understanding Compression 327 Outputting Your Video 330 One File Fits All 337 Chapter 14 Fixing It in Post 341 Primary Color Correction 341 Micromanaging with Regional Color Corrections 343 Secondary Color Correction 345 Faux Lens Effects 349 Behind–the–Lens Fakery 353 Chapter 15 Workshops 363 A Brief Guide to Underwater Cinematography 363 Rigging a Car 378 Achieving That Cinematic Look: Ramping and Changing Frames per Second 389 Index 392

Barry Andersson is an award–winning independent filmmaker. His career started with live television video production and now includes several acclaimed short films, a television pilot, commercials, and a DSLR feature–length film. Follow him on Twitter: @mopho—barry. Janie L. Geyen has a law degree with an emphasis on entertainment and contract law. She has produced several award–winning short films, a television pilot, and a recently completed feature–length DSLR film. She is currently producing another DSLR feature. Follow her on Twitter: @deodand.