Cinematography: Theory and Practice, Second Edition: Image Making for Cinematographers and Directors Review

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Cinematography: Theory and Practice, Second Edition: Image Making for Cinematographers and Directors ReviewHaving been to film school and working in the entertainment industry as first a cameraman and now a director, this book isn't something for me to read as enjoyment or a hobby (although it is a fun read); this is something that could directly affect my livelihood. So it was with a very critical eye that I read through this second edition of CINEMATOGRAPHY. Since leaving film school I've read just about every book on cinematography available. The first issue with books like this is that there is no set rule as to what a book on cinematography should cover. Some will discuss theories, some will talk about physical lighting setups, while others are a collection of thoughts from cinematographers with little-to-no pictures. This book, hands down, is the most complete single source for learning about the art and practice of cinematography.
The first thing to note is that the book contains hundreds of beautiful, full-color (and B&W where they need to be) pictures from some of the most recognized films from all over the world. This is a trademark of Focal Press, one of the best companies at producing books on film production techniques. But the book doesn't stop there. Many original pictures have been created in order to further enhance understanding of the material, from CG images of camera, actor, and lighting placements, to actual lighting set-ups with performers and lighting placements detailed.
This book has achieved a rare feet in being not only wide, but deep. While any one chapter could easily be expanded into its own book, this one covers all the highlights as well as digging into some of the nitty gritty. Inside you'll find all the basics like lighting set-ups, understanding focus, color, and composition. But, while it could have stopped there, it digs so much deeper, actually detailing how cinematography impacts the storytelling process, proper procedures and etiquette for working on a set, a breakdown of some of the most common equipment in usage today, and a huge section on the shooting in HD with a discussion of things like Matrix and Gamma-small things that are often overlooked but can play a large role in deciding the final look of an image. I've personally directed Oscar-winning actors and yet there was plenty in this book that was new to me.
If that wasn't enough, the book comes with a DVD that further details some of the more intricate or important details. It's worth the price alone just for the section on how to properly slate a scene. Anyone who's worked on enough sets will tell you what a nightmare it can be when you have someone who can't slate properly. They clap right in an actor's face or move the slate out of frame, making it incredibly difficult for the editor to track the takes. The DVD is well-produced and very easy to understand. Like the book, everything is explained in plain language that even the greenest amongst us would be able to understand.
This book is a must for anyone who wants to work on a movie set: Directors, DP's, Camera, Grip. If I had to teach a course on film production this would be my primary text book. I would complement it with a few other likeThe Visual Story, Second Edition: Creating the Visual Structure of Film, TV and Digital Media-a book that details the visual approach to filmmaking without all the technical aspects, Strike the Baby and Kill the Blonde: An Insider's Guide to Film Slang-a glossary of film terms used around the industry that has proven invaluable when it comes to communicating effectively on-set, and Screenplay: The Foundations of Screenwriting, the bible for anyone looking to tell a story on the screen. CINEMATOGRAPHY has become the fourth pillar in my film foundation along with these other three books. While there are many more that can prove useful, these are the four I come back to time and again.
There are a few negatives with the book. The index can be unreliable, sending you to the wrong places. There are some copy editing issues with misspelled words and spacing. Neither of these takes away from all the positive. One thing that is a bit frustrating is that there are a few times when a picture or movie is referred to but there is nothing corresponding to it. It's not just that the pic got pushed a page or so, but simply that it just isn't there. Again, while slightly annoying, the book does so much right and includes such a wealth of other stills that I don't feel it detracted from the overall quality of the book. But they are worth a mention in an effort to be objective.
Regardless of a few missteps, I strongly recommend this for those who want to make films as well as those cinephiles looking to enhance their knowledge of how films are made. This should in every film school in the country. This one has taken up a permanent spot in my bag that travels to and from the set as well becoming an indispensable tool while in the creative/visualization process. Highest recommendation.Cinematography: Theory and Practice, Second Edition: Image Making for Cinematographers and Directors Overview

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