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The authoritative guide to producing, directing, shooting, editing, and distributing your video or film
Widely acknowledged as the “bible” of video and film production, and used in courses around the world, The Filmmaker’s Handbook is now updated with the latest advances in HD and new digital formats. For students and teachers, professionals and novices, this indispensable handbook covers all aspects of movie making.
* Techniques for making dramatic features, documentaries, corporate, broadcast, and experimental videos and films
* Shooting with DSLRs, video, film, and digital cinema cameras
* Digital editing with the latest video editing systems
* In-depth coverage of lenses, lighting, sound recording, and mixing
* The business aspects of funding and producing your project
* Getting your movie shown in theaters, on TV, and on the Web
- Sales Rank: #3668 in Books
- Published on: 2012-11-27
- Released on: 2012-11-27
- Original language: English
- Number of items: 1
- Dimensions: 9.01" h x 1.55" w x 6.03" l, 2.56 pounds
- Binding: Paperback
- 832 pages
Review
“Seminal.”
– New York Times
"Gold-standard technical reference book for filmmakers."
-Boston Globe
“The bible – updated.”
- The Independent
"This is an essential book."
-Self-Reliant Filmmaking
"You need this book. Billed as the authoritative guide to filmmaking from fundraising to distribution, the book achieves this in clear, accessible language using current up-to-date information. It's easy to see why this has become a standard text in many film schools. A gilt-edged investment for aspiring and beginning filmmakers and it would not be out of place in the libraries of experienced professionals either."
-James MacGregor, Netribution.co.uk
"This edition of the book is awesome. I don't know how you managed it. Such a mass of information so expertly organized and so clearly presented! Amazing."
-Alfred Guzzetti, Professor, Harvard University
“Anyone who is serious about learning the language and techniques of this art, whether amateur or professional, must have this comprehensive reference.”
- Bookviews
“Speaking as a member of the 'figure it out yourself' camp, I consider most 'technical' reference books to be nothing more than leisure reading. This one is worth its salt. Every page is relevant and fascinating. When I find a chapter that refers to something we've done, I realize that every mistake we made was covered, if only we'd thought to read up beforehand.”
- Genericfilms.com
"I was thrilled to find your book, which is a gem. No matter what corner of the subject I poked into, looking for cogent explanations, the Handbook passed with flying colors. So please accept my admiration, appreciation and thanks."
-Pat Jackson, Associate Professor, San Francisco State University; Emmy-winning Supervising Sound Editor
About the Author
Steven Ascher is an Oscar-nominated filmmaker who has taught film at Harvard and MIT. His documentary Raising Renee was nominated for an Emmy in 2013.
Edward Pincus taught film courses at both Harvard University and the Massachusetts Institute of Technology.
Most helpful customer reviews
51 of 54 people found the following review helpful.
If you could only buy one book - consider this one first
By Gadget Wisperer
I have an entire library of filmmaking books - this one book (esp. the 2008 update) is fantastic - covering every aspect of filmmaking - and not just the technical stuff - even working with actors, directing and some basics of film theory. Of course it is best at the technical side - including HD production and post production editing. Very few of my collection come close to this one for breadth and depth.
42 of 46 people found the following review helpful.
UNBEATABLE. Perfect in all regards
By Daniel Benson
I've read a lot of books on cinematography, and this is by far the finest I've seen.
This is an extremely well written, comprehensive book on ALL aspects of film making.
The authors have obviously worked very hard on this book, and it shows. For example, there are EXTENSIVE cross references throughout the book like: "before you read this you should read pages 22-25". This kind of cross referencing takes a lot of time to do accurately.
The cost is a real STEAL for the amount of information in it. In my opinion it is the only book you need on cinematography. If you don't think so, at least read this first. I think all your questions will be answered.
I can't recommend it highly enough.
Daniel O. Benson
24 of 25 people found the following review helpful.
Deeper Than The Usual Fare of Still Photography Books
By The Blood of Roses
I would encourage anyone from amateur (photographers committed by passion) to professional (photographers committed by career choice) to include within their ongoing study curriculum source material covering cinematography. And, this book should be first on their reading list! It is a perfect compendium of technique, theory, equipment and practice.
What impresses me is how much more deeply the authors explain basic concepts, beyond what you find in most of the regular digital photography books currently on the market; and, the explanations are so succinct. Take, for instance, when discussing depth of field and distance compression and expansion in perspective, the choice between changing the camera to subject distance or changing focal lenght to control the size of the subject in the frame, pages 142 to 146, makes an enormous difference in the way the image will look. It is explained that,
" ... as the camera is moved closer, the relative size of foreground and background objects increase at different rates. [...] Perspective may be thought of as the rate at which objects become smaller the farther they are from the camera."
This isn't your ususal dslr concept of camera to subject distance and its effect on the still image, but it goes a great deal further to better conceptualize, visualize and help dslr photographers understand how to consciously and intelligently compose scenes to communicate subject character and thematic content. The authors then go on to explicitly demonstrate this concept through comparing and contrasting different photographs, and diagrams.
Another instance of this succint and analytical style of writing is near by, between pgs. 151-153, concerning applying focusing to the image and determining depth of field:
"In the ideal (theoretical) lens, there is only one subject plane in focus-everything in front of or behind this plane is out of focus. In the case of the portrait, if the man's eyes were exactly 10 feet from the camera, his nose and ears would be out of focus. Fortunately, with real lenses the area that looks in focus is more generous. A zone (called the depth of field) extends from in front of the subject to behind the subject, delineatiing the area of acceptable sharpness (see Fig. 4-8). In other words, the depth of field is the zone, measured in terms of near distance and far distance from the camera, where the image appears acceptably sharp."
Illustration follows to assist the visualization. These are just a couple of examples of the analytical and clear vision with which the book in its entirety has been written. These are the kinds of explanations for which I have been searching; and, no doubt, which you would welcome in lieu of sitting in a classroom listening to a professor lecture.
I bought this book after browsing at Borders for something to help me understand how to use cinematography techniques to produce still photos that look more cinematic. I got lucky that night! But you will find even more luck getting it from Amazon, since the price may be about half of what I paid at Borders. It's a great deal to get so much expert guidance for Amazon prices!
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