First published in 2014. With the shift from film to digital, a new view of the future of cinematography has emerged. Today's successful cinematographer must be equal parts artist, technician, and business-person. The cinematographer needs to master the arts of lighting, composition, framing and other aesthetic considerations, as well as the technology of digital cameras, recorders, and workflows, and must know how to choose the right tools (within their budget) to get the job done. David Stump's Digital Cinematography focusses primarily on the tools and technology of the trade, looking at how digital cameras work, the ramifications of choosing one camera versus another, and how those choices help creative cinematographers to tell a story. This book empowers you to both correctly choose the right camera and workflow for your project from today's incredibly varied options, as well as understand the ins and outs of implementing those options. Stump sheds a light on the confusing advantages and disadvantages of shooting theatrical features using digital technology and what it can or can't do. Topics covered include: * Detailed coverage of Arriflex, Blackmagic, Canon, Ikonoskop, Panasonic, Panavision, Phantom, Red, Silicon Imaging, Sony, and Weisscam digital motion picture cameras * Coverage of a wide variety of lenses, including Angenieux, Canon, Cooke, Fujinon, Hawk, Leica, Panavision, Red, Schneider, Sony, UniqOptics, Vantage, and Zeiss * Coverage of recorders, displays, and look management tools * Exposure theory tips - learn how to correctly expose digital cameras * Focusing tips - learn how to focus digital cameras correctly * Checklists to help design digital workflows * Practical tips on preparation - prepare for shooting a digital motion picture like a professional * Camera set-up and operation, color management, digital intermediates, 3D stereo cinematography, future trends, and much more If you aspire to be a successful cinematographer in this new digital age, or if you already are a working cinematographer in need of a resource to help you stay on top of your game, this is a must-read book.
Today’s successful cinematographer must be equal parts artist, technician, and business-person. The cinematographer needs to master the arts of lighting, composition, framing and other aesthetic considerations, as well as the technology of digital cameras, recorders, and workflows, and must know how to choose the right tools (within their budget) to get the job done. David Stump’s Digital Cinematography focuses on the tools and technology of the trade, looking at how digital cameras work, the ramifications of choosing one camera versus another, and how those choices help creative cinematographers to tell a story. This book empowers the reader to correctly choose the appropriate camera and workflow for their project from today’s incredibly varied options, as well as understand the ins and outs of implementing those options. Veteran ASC cinematographer David Stump has updated this edition with the latest technology for cameras, lenses, and recorders, as well as included a new section on future cinematographic trends. Ideal for advanced cinematography students as well as working professionals looking for a resource to stay on top of the latest trends, this book is a must read.
In this book, David Stump traces alternative conceptions of the a priori in the philosophy of science and defends a unique position in the current debates over conceptual change and the constitutive elements in science. Stump emphasizes the unique epistemological status of the constitutive elements of scientific theories, constitutive elements being the necessary preconditions that must be assumed in order to conduct a particular scientific inquiry. These constitutive elements, such as logic, mathematics, and even some fundamental laws of nature, were once taken to be a priori knowledge but can change, thus leading to a dynamic or relative a priori. Stump critically examines developments in thinking about constitutive elements in science as a priori knowledge, from Kant’s fixed and absolute a priori to Quine’s holistic empiricism. By examining the relationship between conceptual change and the epistemological status of constitutive elements in science, Stump puts forward an argument that scientific revolutions can be explained and relativism can be avoided without resorting to universals or absolutes.
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