Live Cinema and Its Techniques
Page 15
marks for, 99–101
placement of, 11
rehearsals, 29, 33–42, 50–51, 55, 92–99, 129, 132–39, 141, 160, 163
repertory, 5–6
self-confidence of, 35–36
theater, 3, 5–6, 10, 34
action films, 54, 84
action shots, 88–91
Actors Room, 34, 39, 41
adapters, lens, 44
Airstream trailers, 66–68, 67
Allah, 104
Allied Artists, 2
American Graffiti, 70
Amnesia, 14–15
Ampex video recorders, 25
analog signals, 159
Andermann, Andrea, 29, 111
Anderson, Wes, 107
animals, 94, 95, 99
animated films, 11, 12, 51
Antonioni, Michelangelo, 113
apertures, 162
Apocalypse Now, 8, 9, 36–37, 68, 69–70, 71, 72, 74, 77, 115
Appia, Adolphe, 55, 59, 159
Apple, 74, 157
apprentices, 74
Archer, William, 32
archival copies, 118
arc lights, 111
Arriflex cameras, 107
art, 15, 109, 157
ASC cinematographer’s manual, 43
asides, 83
associate directors (ADs), 92–93, 95, 101–2, 138, 159
Astaire, Fred, 62
AT&T, 20, 21
Attenborough, Richard, 12
audiences:
for cinema, xii, 9, 30, 31, 69–70, 88–91
for Live Cinema, 7, 16, 30
television, 105
theatrical, 9–10, 30–31
Austin, Tex., 5
auteurs, xii, 27–28
A.V. Club, 79
Avengers, The, 123
awards ceremonies, 104
babies, 94, 104
backdrops, 46, 54, 55, 61, 85, 98, 132, 159–60, 162
backlots, 61, 159
Baird, John Logie, 22
Baker, George Pierce, 31
Bancroft Junior High, 73
bandwidth, 159
Barney, Matthew, 157
baseball games, 16, 17, 50
basic units, 7–9, 10, 87
battery-powered lights, 52, 54, 55, 98, 156
Beauty and the Beast, 79
Beggs, Richard, 70n
behavior, 7
Bell, Alexander Graham, 18, 19
Berger, Mark, 70n
Bergman, Ingmar, 110, 113
Bergman, Ingrid, 25
Berlin, 21–22
Bernstein, Armyan, 71, 72, 73
Bertolucci, Bernardo, 76
“Best Director” Academy Award, 26–27
Best Years of Our Lives, The, 114
Bidwell, Shelford, 18–19
bildungsroman, 117
Birdman, 29
Birth of a Nation, The, 31
Bizet, Georges, 30
black and white films, 113
black cards, 16–17
black curtains, 51–52
Blackmagic, 107
Blackmagic Micro Studio digital cameras, 44
Blackmagic Studio digital cameras, 44
Blackmagic Teranex Express frame rate converters, 44
blocking, 130
Blow-Up, 114
Bolex 16mm lenses, 44
booms, sound, 136–37
Borgnine, Ernest, 2
Boulanger, Nadia, 126
boxed sets, 157
Boxer, Nathan, 70n
Bram Stoker’s Dracula, 80
Brando, Marlon, 36–37, 38, 70
Breaking Bad, 26, 28
broadcasts, 1–2, 25, 49, 103–7, 152
Broadway, 23, 24, 30–31
Brown, Garrett, 111
Brown, Jerry, 63–68
Brynner, Yul, 24
Buddenbrooks (Mann), 116–17
Bulow, Hans von, 29–30
Bwana Devil, 109
Caan, James, 38
Cabiria, 31
Caesar, Sid, 28
Camelot, 62
cameras:
angles and views from, 65–66, 99, 111, 129, 130
apertures of, 162
Arriflex, 107
classic style for, 84–85
coordination of, 92–97, 137
digital, xii, 43, 74, 107–8, 112, 160
8K, 14–15, 160
focal lengths of, 162, 164
4K, 60, 107, 160
frame rate for, 43–44, 93, 147, 161
handheld, 54, 84–85, 161, 163
hand offs of, 85
Handycam, 108
lenses for, see lenses
lighting levels and, 76
live, 6, 95–99, 135–36
in Live Cinema, 14, 15, 17, 43–44, 92–97, 110–11, 135
motion control for, 64, 162
mounted cards for, 93
movement of, 7, 8, 54, 55, 84–85
multiple, 12, 14, 60, 65–66, 76, 92–93, 111, 135–36, 163–64
operators of, 65–66, 101, 129, 138
placement of (setups), 29, 86, 99, 130, 131, 139–40, 159
shutters of, 161
single setup for, 29
60i (59.94 interlaced fields per second), 43, 44
stationary, 54
Steadicam, 85, 110–11, 163
style of, 84–85
tally lights for, 93, 163
technology of, 14–15, 21, 43, 44, 60, 107, 160
television, 43, 75, 93
30p (standard TV frame rate), 93
tilting of, 111, 149–50
tripods for, 161
24p (23.98 progressive frames per second), 43–44
video, 106–7, 110
viewfinders for, 75, 129
visibility of, 14, 15
Campbell-Swinton, A. A., 19
Candid Camera, 105
Canon, 107
Canon EOS C300 digital cameras, 44
Captain Video and His Video Rangers, 2
Carmen (Bizet), 30
Carnegie Hall, 147
cartoons, 110
Caruso, Enrico, 143
cathode ray tube (CRT), 19, 21, 159
Cazale, John, 38
CBS, 24, 53, 106–7, 118
CBS Television City, 53, 107, 118
celebrities, 33, 116
celluloid film, xi–xii, 107–8, 109
Century City, 61–62
Cervantes, Miguel de, 123
chairs, 34–35, 41, 129, 133, 145, 150
Channel 5, 2
Channel 13, 2
characterization, 7, 34, 36–42
Chayefsky, Paddy, 2, 24
children, 41, 94, 95, 99, 104
Children’s Hour, The, 2
Chinatown, 28
choreography, 99
choruses, 83
chroma key, 46, 54, 64, 66, 85, 159–60
Cimino, Michael, 27
Cinedome Theater, 77
cinema:
acting in, 13, 29, 33–34, 38, 42, 61, 70, 163
audiences for, xii, 9, 30, 31, 69–70, 88–91
auteurs in, xii, 27–28
basic unit in, 7–9, 10, 87
classic or traditional, xi–xiii, 3, 7, 15–16, 44, 61–62, 84–85, 87, 99, 103, 105, 112–14
dailies in, 47, 160
design in, 84–85
development of, xi–xii, xiii, 21–22, 61–62, 84–85
as electronic-digital medium, xi–xii, 3, 14–15, 24, 29–30, 33–34, 107–8
emotional impact of, 9, 10, 50, 88–91
essence of, xii, 3, 9–12, 20, 87–91
exhibition of, 111–12
expressionism in, 84, 85
failure in, 62–72
final cuts in, 160
formulas in, 83
genres in, 48, 84
German, 21–22
glossary of, 159–64
Golden Age of, 61–62
grammar and syntax of, 9–12, 87–91
history of, 21�
�22
industry for, 20, 106
Japanese, 8
lighting in, 13, 52, 58–59, 76, 160
literary adaptations for, 23–24
Live Cinema compared with, 48, 85–86, 99, 103, 105, 111–12, 118
masterpieces of, 112–14
microphones in, 21, 136–37, 138
montage in, 7, 9, 21, 87–91, 162
as “moving pictures,” 20
narrative in, 113
as photochemical-mechanical medium, xi–xii, 107–8, 109
plays used in, 113
post-production in, 159–60
production of, 5, 12, 21, 33, 76, 159–60, 163
props for, 11–12
realism in, 81–86
rehearsals for, 38, 42
scenes in, 162
scripts (screenplays) for, 33–34, 42, 71, 72, 75, 99
sets in, 61–62, 76, 87, 138, 162
shots in, 2–3, 13–14, 102
soundstages for, 61–62
stars in, 33
start-and-stop, 85
storytelling in, 21
style of, 2–3, 8–9, 12, 13, 20, 24, 25, 44, 48, 81–91
television compared with, 2–3, 12, 23, 24–28, 78, 112
theater compared with, 31–32, 83, 84
see also film. films
Cinema Paradiso, 111
cinematography, 8–9, 70n, 76, 160, 161
“cinemawrights,” 157
Citizen Kane, 84
City Magazine, 71
Clark, Petula, 62
classical music, 1, 29–31, 68, 113, 114, 148
classic cinema, xi–xiii, 3, 7, 15–16, 44, 61–62, 84–85, 87, 99, 103, 105, 112–14
clichés, 7
close-up (CU) shots, 10, 14, 15, 21, 32, 52–53, 60, 88–89, 133, 146–47, 153–54, 161
C-mounts, 44
CNN, 26, 85
Coca, Imogene, 28
Coe, Fred, 23
Cold War, 116
color balance, 109, 142
color film, 113
color theory, 108, 109
Comedian, The, 24, 25, 107
comedies, 28–29, 70–71
comedy series, 28–29
commentators, 85
commercials, 20, 132, 146, 149, 151
common reference signals, 161
communication revolution, 27
composers, 29–30
compositing, 86
computers:
for cameras, 44
development of, 27, 73–74
editing on, 74, 110, 162
mixing with, 45, 98
scenics generated by, 54
technology of, 44, 46, 112, 157
“concentration” exercises, 35, 40–41
conductors, music, 1, 29–30
confetti, 101
Conformista, Il, 76
Connick, Harry, Jr., 153
continuity, 85, 135–36
contract actors, 74
Conversation, The, 70
Coppola, August Floyd, 63
Coppola, Carmine, 1, 25, 126, 147
Coppola, Eleanor, 77, 135
Coppola, Francis Ford, 119
Academy Awards presentation of (1979), 26–27
Bricktown apartment of, 121–22, 124
Brown’s campaign filmed by, 63–68
in Buenos Aires, 38–39
in Cambridge, Mass., 108–10
Chapter 11 bankruptcy of, 77
childhood of, 1, 25
as director, 3, 15–17, 34, 36, 42, 63–77, 84, 119
education of, 73, 75
Edwin Land met by, 108–10
family of, 108, 117–18, 125, 131, 135
finances of, 70–71, 77
journal of, xiii, 121–57
Live Cinema developed by, xii–xiii, 1–3, 15–17, 27, 34, 76, 77, 84, 115–18, 121–57
in Los Angeles, 121, 154
in Madison, Wis., 63–68
as magazine publisher, 71
meditation practiced by, 155
name of, 63
in New York, 154, 155
in Oklahoma City, 121–57
polio of, 2, 150
as producer, 78–79
reviews of films by, 69–70, 77, 79–80
in San Francisco, 71–73
screenplays by, 3, 71; see also Dark Electric Vision (Coppola)
“story and character” notes of, 7–8
television programs watched by, 2–3, 25
as UCLA student, 75
winery owned by, 122
Coppola, Gian-Carlo (Gio), 84, 108
Coppola, Sofia, xii, 8, 9, 107, 154
countdowns, 92
Count of Monte Cristo, The (Dumas), 82–83, 82
courtroom dramas, 10, 48
coverage, 10, 11, 12–13, 15, 48, 60, 91, 133, 156, 160
Covered Wagon, The, 87
Coward, Noël, 118
cowboy movies, 2, 71
Cracknell, Lloyd, 122–23
Craig, Edward Gordon, 32, 55–59, 56, 86–87, 98
Cremaster series, 157
crews, 17, 93, 95–97, 99, 119, 135, 160, 163
crisis moments, 16
criticism, 33–34, 69–70, 77, 79–80
Cruze, James, 88
cues, lighting, 92, 132
cues, sound, 137, 138, 141, 142
curtain calls, 142
cutting, 8–9, 49, 52–53, 76, 88–91, 95, 99, 111, 127, 138, 141, 147, 151, 153, 160
dailies, 47, 160
Dallas, Tex., 6
Dancing with the Stars, 53
Danger, 24
Dark Electric Vision (Coppola), 3, 118
see also Distant Vision (Coppola); Elective Affinities (Coppola)
Days of Wine and Roses, 2, 24–25
Deadwood, 28
deafness, 18
Debussy, Claude, 30
Deer Hunter, The, 27
Denney, Mike, 131, 136, 138, 142, 151
dialects, 6
dialogue, 95, 141
Digidesign, 45–46
digital cameras, xii, 43, 74, 107–8, 112, 160
digital editing, 74, 110, 162
digital medium, xi–xii, 3, 14–15, 24, 29–30, 33–34, 107–8
digital settings, 54
digital television, 26, 160
directors:
action, 84
associate (ADs), 92–93, 95, 101–2, 138, 159
film, xii, 3, 14–15, 24, 29–30, 33–34, 107–8
Internet, xii
in Live Cinema, 15–17, 24, 46, 92–93, 104–5
of photography (DPs), 160, 161
technical (TDs), 95, 101–2, 124, 130, 138, 144, 145–47, 152–53, 163–64
television, 2, 3, 11, 23–25, 30
theater, 3, 30
Disney, 12, 110
dissolves, 144
“distant electric vision,” 18–20, 22
Distant Vision (Coppola), 59, 118, 122, 123, 124, 127–28, 129, 131, 135, 138, 155, 165–90
documentary films, 49–50
Dogville, 52, 53, 129
Dolby, Ray, 25
Dolce Vita, La, 116
Don Quixote (Cervantes), 123
doors, 57
Dowling, Robert M., 82
dramatic series, 26, 28
dress rehearsals, 34, 95, 99, 132, 133, 134–35, 160
Dumas, Alexandre, 82–83
DuMont Television Network, 2, 21, 23
Duvall, Robert, 38
Duvall, Shelley, 78
Eastman Kodak, xi–xii
Edison, Thomas, 20
editing:
cutting in, 8–9, 49, 52–53, 76, 88–91, 95, 99, 111, 127, 138, 141, 147, 151, 153, 160
digital, 74, 110, 162
final cuts in, 76, 111, 160
intercutting in, 95, 99
for Live Cinema, 46–47, 99, 104, 132
nonlinear, 45, 162
parallel, 21
sequences in, 141
sound, 47, 70n, 99
, 137, 141, 148, 160, 163–64
video, 21
editorial assistants, 47
8½, 114, 116
8K cameras, 14–15, 160
8mm film, 108
Eisenstein, Sergei, 9, 88–91
Elective Affinities (Coppola), 72, 118
electricians, 161
electronic image screens, 54
electronic movie studios, 74
electronic signals, 159, 161
electrons, 159
elements, lighting, 58–59
emotional impact, 9, 10, 24–25, 50, 88–91
emulsion, xii
entertainment industry, 20, 106
entrances, 58, 86, 92
epilogues, 83
equalization, 45–46
establishing shots, 52–53, 133
Evans, Robert, 84
EVS (“ELVIS”) DYVI switchers, 6, 26, 44–47, 49, 60, 94, 95–99, 103, 133, 135–36, 141, 143, 150, 156, 160, 164
EVS XT3 replay servers, 45
exhibitions, 111–12
exits, 58, 86
experimental proof-of-concept workshops, see Oklahoma City Community College (OCCC) workshop; UCLA School of Theater, Film and Television workshop
exposure levels, 52
expressionism, 84, 85
exterior shots, 159
extras, 6, 94, 95, 99
FaceTime, 22
fades, 149, 151
Faerie Tale Theatre, 78–80
Fanny and Alexander, 113
Farnsworth, Philo, 19, 22
Fellini, Federico, 110, 113, 116
Few Good Men, A, 48
film, films:
action, 54, 84
animated, 11, 12, 51
archival copies of, 118
black and white, 113
budgets for, 62, 70, 73, 85, 103
celluloid or photochemical, xi–xii, 107–8, 109
color, 113
criticism and reviews of, 33–34, 69–70, 77, 79–80
development and printing of, 107–8, 110
documentary, 49–50
8mm, 108
grammar of, 9–12, 87–91
invention of, 20
lenses for, 12–13, 44, 108, 112
masterpieces of, 112–14
negatives of, 75
one-shot, 29, 85
preservation of, 110n, 113, 118
production of, 5, 12, 21, 33, 76, 159–60, 163
reels of, 22, 75, 102, 110, 111–12
revenues from, 70, 72
second units in, 61–62, 163
silent, xi, 7, 21, 31, 87–88, 112–13
16mm, 2, 21, 106–7
sound (“talkies”), xi, 1, 21, 31–32, 47, 113
soundtrack of, 47, 70–76
studios for, 61, 73, 75, 112n
subtitles in, 6, 99
takes in, 85–86, 160
televised, 12, 112
35mm, 109–10, 111, 112
3-D, 51, 109–10
two-reel, 22
Western, 2, 71
see also cinema
Film Foundation, The, 113
film technicians, 160
final cuts, 76, 111, 160
final dress rehearsals, 132
Finian’s Rainbow, 62
Flaherty, Joseph, 106–7
Flaherty, Robert J., 49–50
flashlights, 101
flat lenses, 13, 44, 52, 156