Introduction -- Contents -- Chapter 1: Fundamentals of DSLR Filmmaking -- Features of DSLR Cameras -- Sensor Size -- Frame Rates -- ISO Settings -- Features of SLR Lenses -- Aperture, f-stops, and t-stops -- Cine-Style Lenses vs. Photo Lenses -- Types of Lenses -- How Sensor Size and Lenses Interact -- Focal Length Multiplication Factors -- Focal Length and Field of View -- Angle of View and Magnification Factor -- Chapter 2: Gear and Recommendations -- What Camera Is Right for You? -- Decisions in Choosing a Camera -- Best Camera For… -- Manual Controls -- Lenses and Accessories -- 50 mm Lens -- Set of Prime Lenses -- Trade-offs -- Lens Brands -- Lens Mounts and Adapters -- Matte Boxes -- Filters -- Lens Accessories -- Viewing While Shooting -- Lights -- Studio Lighting -- LED Lighting -- Hardware-Store Lighting -- Audio -- Mixers -- Microphones -- Slate (Clapboard) -- Tripod and Dollies -- Specialty Items and Miscellaneous -- Camera Mounts -- Follow Focus -- Stabilizers and Handheld Rigs -- Carrying Case -- CF Cards and SD Cards -- Batteries -- Planning Your Gear Package -- Low Budget -- Independent Budget -- Blockbuster Budget -- The Next Three Things You Should Buy -- Should You Buy or Rent? -- Gear That Goes Together -- Chapter 3: Testing and Custom Settings -- Camera-Specific Testing -- Testing ISO -- Testing Exposure and Color -- Testing Color Temperature and White Balance -- Testing Frame Rate and Shutter Speed -- Testing Recording Length Limitations and File Size Limitations -- Testing File Formats and Codecs -- Testing Equipment Interactions -- Testing Lenses -- Testing Filters, Hoods, and Matte Boxes -- Testing Viewfinders and EVF -- Testing Lighting: Color Temperature and Amount of Light -- Using and Calibrating External Monitors -- Testing Focus Pulling and Follow Focus -- Remote Starting the Camera and Rigging in Unique Spots.

Testing Camera Movement -- Testing Off-Camera Audio -- Testing Cables -- More Things to Test -- Using In-Camera Presets -- Native Canon Picture-Style Settings -- Changing the Camera Presets for Image Control -- Customizing a Camera Preset -- Creating a Unique Custom Setting from Scratch -- Should You Bother Creating a Preset? -- Settings That Prepare for Post-Production -- Settings to Work without Post -- Customizing Your Picture Style: Steps for Canon DSLR Cameras -- Chapter 4: Cameras and Lenses on Location -- Using Cameras on Location -- Mixing Multiple Cameras, Makes, and Models -- Powering Your Camera -- Understanding Recording Time Limitations -- Managing Memory Cards -- Using Lenses on Location -- Perspective -- Depth of Field and Focus -- Perceived Distance and Compression -- Blur and Distortion -- Sharpness -- Image Stabilization and Vibration Reduction -- Focusing -- Methods of Pulling Focus -- De-clicking a Lens -- Zooming -- Chapter 5: Camera Motion and Support -- Camera Motion -- Why Add Movement? -- Restricting Movement -- On-Screen Action and Position with Movement -- Types of Camera Movement -- Pan and Related Movements -- Whip Pan -- Zooming -- Push-In -- Pull-Back (or Pull-Out) and Widen-Out -- Combined Push-In and Pan -- Combined Push-In and Whip Pan -- Circling -- Dolly Moves -- Tracking Lateral Movement through Space and Retracking -- Moving or Tracking through Solid Objects -- Pendulum Pan -- Crane Moves -- Movement with a Jib Arm -- Planning the Motion -- Blocking and Previsualization -- Storyboarding and Diagrams -- Rehearsals and Run-Throughs -- Gear for Designing and Controlling Movement -- Tripods -- Monopods -- Accessories for Camera Angle -- Stabilizing Your Camera Motion -- Why Stabilize? -- Gear for Motion -- Unique Movement and Support -- Motion, the Edit, and Cutting -- Chapter 6: Lighting on Location.

Planning the Lights -- Timing: When to Set Lights -- Choosing Lights -- Distribution and Shape -- Color -- Principles for Setting Lighting -- Adding Depth and Dimension -- Lighting the Entire Scene -- Using Logic to Create a Natural Look -- Reflecting Mood and Emotion -- Setting Visual Priority and Focus -- Types of Fill Light -- Light Direction and Angle of Light -- Types of Lights by Position -- Key Light -- Backlight -- Fill Light -- Illuminating the Rest of the Set: The Traditional Three-Point Light Setup -- Light Sources and Ambient Light -- Lighting for Special Situations -- Shadows -- Light at Night -- Fire and Flames -- Mirrors -- Glare -- Close-up Lighting, Matching, and Cheating -- Lighting for Green Screen or Chroma Key -- Managing Light -- Diffusion -- Bouncing -- Blocking -- Tools for Controlling Light -- Light Quality -- Changing the Quality of the Light -- Picking Exposure -- Chapter 7: Sound on Location -- The Role of Sound -- Hiring a Professional -- Recording Sound with DSLR Cameras -- Using an External Recording Device -- Capturing Reference Audio -- Using an XLR Audio Adapter -- Wearing Headphones -- Microphones and Key Accessories -- Types of Microphones -- Placing Microphones -- Microphone Pickup Patterns -- Sound-Managing Accessories -- Planning, Setting Up, and Recording a Shoot -- Planning for Dialogue -- Recording a Shoot -- Managing Sound on Set -- Chapter 8: Organizing and Storing Data in the Field -- Setting Up a File System -- Labeling Equipment -- Manually Setting File Numbering -- Setting Up Separate Folders in the Camera -- Understanding Current Types of Capture Media -- Transferring Files from Capture Media to Hard Drive -- Understanding Different Capture Formats -- Backing Up Your Footage on Set -- Organizing Data on Set -- Managing Files on the Set -- Arranging Your Footage -- Chapter 9: Troubleshooting.

Avoiding Problems: What to Do, What to Take -- Emergency Items -- iPhone/iPad Applications for Filmmaking -- Planning for Sufficient Power -- Shooting Problems -- Rolling Shutter Dilemmas and Sensor Problems -- Difficulties Achieving Sharp Focus -- Chapter 10: Converting and Editing Your Footage -- Setting the Foundation for Post-Production Workflow -- Choosing the Right Hard Drives -- Internal Hard Drives -- External Hard Drives -- Hard Drive Recommendations -- Drive Speed and Cache -- Backing Up Data -- Choosing and Using an Editing Codec -- "Format" Is Not "Codec" -- Delivery Codec vs. Capture Codec -- To Convert or Not to Convert -- Online vs. Offline Editing -- Codecs for Online and Offline Editing -- Converting Your Footage -- Editing Your Footage -- Choosing a Nonlinear Editor -- Organizing Your Footage in Your NLE -- Chapter 11: Audio Crash Course -- Syncing Your Audio and Video -- Setting Up Your Editing Timelines Properly -- Syncing Footage Directly in Your NLE -- Syncing Automatically with PluralEyes -- Unsynced Files? -- Troubleshooting Out-of-Sync Sound -- Automated Dialogue Replacement and Sound Effects -- Finding Music -- Chapter 12: Color Correction and Grading -- Color Theory and the Eye -- Subjective Properties of Color -- Objective Properties of Color -- Color Correction on Set: Outside the Camera -- Multiple Light Sources and Color Temperature -- On-Set Changes in Light -- Gels and Filters -- Sometimes the Camera Sees Things You Don't -- Color Correction Card -- Single Camera Shoot vs. Multiple Cameras -- Color Correction on Set: Inside the Camera -- White Balance: Setting It in the Camera and Changing for Effect -- Picture-Style Settings -- What Is This Camera Shooting Anyway and Why Do I Care? -- Color Spaces in Video and Encoding -- Bit Depth and Color Depth -- Compression, Subsampling, and Color.

Post-Production Color Correction and Grading -- Evaluating Footage -- Scopes and How to Read Them -- Primary Corrections -- Evaluating Color -- Secondary Corrections -- Chapter 13: Compressing Your Film -- Understanding Compression -- Outputting Your Video -- Creating a Self-Contained Master Digital File -- Creating a DVD or Blu-ray Disc -- Compressing Your Footage -- Authoring Your DVD/Blu-ray Disc -- Publishing to the Web -- Chapter 14: Post-Production Looks -- Primary Color Correction -- Micromanaging with Regional Color Corrections -- Secondary Color Correction -- Creating a Hard-Hitting Action Movie Look -- Saturation -- Faux Lens Effects -- Diffusing Your Footage -- Applying Color, Filters, or Tints -- Behind-the-Lens Fakery -- Adding Vignettes -- Understanding Grain -- Making Genuine Film-Grained Footage -- Removing Banding -- Chapter 15: Workshops -- A Brief Guide to Underwater Cinematography -- Remember Where You Are -- Bring a Flash, Ideally Two -- Shoot Up -- Buoyancy -- You Need Two Lenses Only If You Have the Option of Changing Them Out -- Focus. Not the Camera, You. -- The Manual Method -- Autofocus -- Preparation before Shooting -- Pre-Dive Prep -- Histograms -- Rigging a Car -- Safety First -- Interior Dialogue Scenes -- Car Chase -- Achieving That Cinematic Look: Ramping and Changing Frames per Second -- Shooting in Slow Motion -- "Rubber Arms" (or the Bending of Images That Shouldn't Bend That Way) -- The 180º Rule -- Index.