Enhanced descriptions from Syndetics:

Lavishly produced and illustrated, Cinematography covers the entire range of the profession. The book is not just a comprehensive guide to current professional practice; it goes beyond to explain the theory behind the practice, so you understand how the rules came about and when it's appropriate to break them. In addition, directors will benefit from the book's focus on the body of knowledge they should share with their Director of Photography. Cinematography presents the basics and beyond, employing clear explanations of standard practice together with substantial illustrations and diagrams to reveal the real world of film production. Recognizing that professionals know when to break the rules and when to abide by them, this book discusses many examples of fresh ideas and experiments in cinematography. Covering the most up-to-date information on the film/digital interface, new formats, the latest cranes and camera support and other equipment, it also illustrates the older tried and true methods.

Table of contents provided by Syndetics

• Introduction (p. ix)
• Filmspace (p. 1)
• Cinematic technique (p. 2)
• Subjective and objective POV (p. 6)
• The building blocks of scenes (p. 9)
• Character shots (p. 12)
• The fine art of cheating (p. 15)
• The master scene method (p. 17)
• Transitions (p. 19)
• Coverage (p. 22)
• Plan scene (p. 25)
• Hitchcock's rule (p. 26)
• Triple take or overlapping method (p. 27)
• Montage (p. 28)
• Conclusion: a mixture of techniques (p. 28)
• Visual language (p. 29)
• Design principles (p. 31)
• The three dimensional field (p. 34)
• Depth (p. 34)
• Forces of visual organization (p. 37)
• Film and video composition (p. 43)
• Basic composition rules for people (p. 44)
• Lens language (p. 45)
• The lens and the frame (p. 46)
• Lens perspective (p. 47)
• Deep focus (p. 48)
• Compression of space (p. 49)
• Manipulating perspective (p. 50)
• Selective focus (p. 51)
• Image control (p. 54)
• Camera dynamics (p. 61)
• Motivation and invisible technique (p. 62)
• Types of moves (p. 64)
• Moving shots (p. 66)
• Camera mounting (p. 68)
• Dolly terminology (p. 69)
• Cranes (p. 72)
• Car shots (p. 74)
• Aerial shots (p. 75)
• Other types of camera mounts (p. 76)
• Steadicam (p. 76)
• Motion control (p. 77)
• Cinematic continuity (p. 79)
• Types of continuity (p. 80)
• Continuity of content (p. 80)
• Continuity of movement (p. 80)
• Continuity of position (p. 81)
• Continuity of time (p. 81)
• The line (p. 83)
• What establishes the line? (p. 84)
• Screen direction (p. 84)
• Deliberately breaking the rules (p. 85)
• Reverse (p. 87)
• Cheating the turnaround (p. 88)
• Cuttability (p. 90)
• Other issues in continuity (p. 90)
• Introductions (p. 96)
• Other editorial issues in shooting (p. 98)
• Jump cuts (p. 98)
• The six types of cuts (p. 99)
• Exposure (p. 103)
• Light as energy (p. 104)
• F/stop (p. 104)
• Exposure, ISO and lighting relationships (p. 104)
• Inverse square law and cosine law (p. 105)
• ISO speeds (p. 105)
• Light and film (p. 106)
• Densitometry (p. 109)
• Brightness perception (p. 113)
• Contrast (p. 113)
• Determining exposure (p. 116)
• The tools (p. 117)
• The Zone System (p. 118)
• The grey scale (p. 121)
• Place and fall (p. 124)
• Exposure and the camera (p. 125)
• Color theory (p. 127)
• The nature of light (p. 128)
• Color perception (p. 129)
• The color wheel (p. 131)
• Hue, chroma and value (p. 133)
• Color mixing (p. 135)
• Complementary (p. 135)
• Advancing and retreating color (p. 135)
• Film and video colorspace (p. 135)
• Color harmonies & the interaction of color (p. 135)
• Color models (p. 138)
• Additive colors (p. 138)
• Subtractive colors (p. 138)
• The CIE color system (p. 139)
• Digital and electronic color (p. 140)
• The tools of lighting (p. 141)
• HMI (p. 142)
• Xenons (p. 145)
• Carbon arcs (p. 146)
• Tungsten fresnels (p. 147)
• PARs (p. 149)
• HMI PARs (p. 151)
• Soft lights (p. 151)
• Color corrected fluorescents (p. 151)
• Cycs, strips, nooks and broads (p. 152)
• Chinese lanterns and spacelights (p. 153)
• Self contained crane rigs (p. 154)
• Lekos (p. 154)
• Balloon lights (p. 154)
• Portable units (p. 155)
• Day exteriors (p. 156)
• Lighting as storytelling (p. 157)
• Origins of motion picture lighting (p. 159)
• Film noir (p. 159)
• Light as visual metaphor (p. 161)
• Controlling color (p. 167)
• Color temperature (p. 168)
• Color balance of film (p. 170)
• Correcting light balance (p. 171)
• Light balancing filters (p. 171)
• Correcting off-color lights (p. 174)
• Stylistic choices in color control (p. 176)
• Optics (p. 177)
• Physical basis of optics (p. 178)
• F/stop (p. 179)
• Focus (p. 180)
• Circle of confusion (p. 182)
• Depth-of-field (p. 183)
• How not to get more depth-of-field (p. 183)
• Hyperfocal distance (p. 184)
• Macrophotography (p. 187)
• Frazier lens and Revolution (p. 191)
• Lens tests (p. 192)
• Video and high def (p. 193)
• Basics of video (p. 194)
• The video signal (p. 194)
• The waveform monitor and vectorscope (p. 197)
• SMPTE color bars (p. 198)
• The vectorscope (p. 199)
• Setting up a color monitor (p. 201)
• The PLUGE (p. 201)
• Camera white balance (p. 202)
• Analog and digital colorspace (p. 203)
• Digital video encoding (p. 204)
• Is it broadcast quality? (p. 205)
• Timecode and edgecode (p. 205)
• Video frame rate (p. 205)
• Drop-frame and non drop-frame (p. 206)
• Shooting High Def video (p. 208)
• 10 things to remember when shooting High Def (p. 210)
• Lighting for High Def video (p. 210)
• Shooting digital video (p. 211)
• Transferring video to film (p. 212)
• NTSC and 3:2 pulldown (p. 212)
• Prepping for telecine (p. 212)
• Image control (p. 219)
• Color printing (p. 220)
• Controlling color and contrast (p. 221)
• How flashing works (p. 221)
• Varicon (p. 222)
• Bleach bypass and other processes (p. 225)
• Skip bleach (p. 228)
• Exposure compensation in bleach-bypass (p. 228)
• Other techniques (p. 228)
• Cross processing (p. 228)
• Printing negative as interpositive (p. 229)
• Transfer from print (p. 229)
• Filter types (p. 231)
• Diffusion and effects filters (p. 231)
• Nets (p. 232)
• Contrast filters (p. 233)
• Conversion filters (p. 236)
• Using filters in black-and-white photography (p. 238)
• Polarizers (p. 238)
• Density filters (p. 238)
• Set operations (p. 241)
• The shot list (p. 243)
• The Director of Photography (p. 244)
• The team (p. 245)
• Camera crew (p. 245)
• Electricians (p. 251)
• Grips (p. 251)
• Set procedures (p. 254)
• Technical issues (p. 257)
• Sun location with a compass (p. 258)
• Flicker (p. 260)
• Filming practical monitors (p. 263)
• Chroma key and Ultimatte (p. 265)
• Lighting for bluescreen/greenscreen (p. 266)
• Dimmers (p. 268)
• Working with strobes (p. 270)
• High speed photography (p. 272)
• Lighting for extreme close-up (p. 272)
• Underwater filming (p. 273)
• Effects (p. 275)
• Professional formats (p. 283)
• Acknowledgments (p. 289)
• Bibliography (p. 290)
• Filmography (p. 292)
• Index (p. 293)

Author notes provided by Syndetics