High definition cinematography:
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
Amsterdam [u.a.]
Elsevier
2009
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| Ausgabe: | 3. ed. |
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis |
| Beschreibung: | XXIV, 294 S. Ill., graph. Darst. |
| ISBN: | 9780240521619 |
Internformat
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| 245 | 1 | 0 | |a High definition cinematography |c Paul Wheeler |
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Datensatz im Suchindex
| _version_ | 1804138929264263168 |
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| adam_text | HIGH DEFINITION CINEMATOGRAPHY THIRD EDITION BY PAUL WHEELER BSC FBKS
CBCT AMSTERDAM * BOSTON * HEIDELBERG * LONDON * NEW YORK * OXFORD PARIS
* SAN DIEGO * SAN FRANCISCO * SINGAPORE * SYDNEY * TOKYO ELSEVIER FOCAL
PRESS IS AN IMPRINT OF ELSEVIER CONTENTS PREFACE XVII ABOUT THE AUTHOR
XIX INTRODUCTION XXI ACKNOWLEDGEMENTS XXIII PART 1 HIGH DEFINITION: A
QUICK OVERVIEW 7 CHAPTER 1: WHY SHOOT ON HD? 3 1.1 WHAT DO WE MEAN BY
HIGH DEFINITION (HD)? : 3 1.1.1 THE KNOWLEDGE BASE 3 1.1.2 WHAT DOES IT
MEAN TO THE PRODUCER - SAVING MONEY! 4 1.1.3 WHAT DOES IT MEAN TO THE
DIRECTOR? 4 1.1.4 WHAT DOES IT MEAN FOR THE DIRECTOR OF PHOTOGRAPHY? 5
1.1.5 WHAT DOES IT MEAN TO THE OTHER CRAFTS? 5 1.1.6 EDITING AND
POST-PRODUCTION 5 1.2 CONTEXT 6 PART 2 PRODUCTION DECISIONS 7 CHAPTER 2:
WHICH FORMATS TO SHOOT ON? 9 2.1 PROGRESSIVE OR INTERLACE? 9 2.2 HOW
MANY PIXELS DO YOU NEED? 9 2.3 RECORDING FORMATS 10 2.4 HDV - CAN YOU
GET AWAY WITH IT? 10 CHAPTER 3: PICTURE QUALITY. 11 3.1 WHAT DOES HD
LOOK LIKE? 11 3.2 HD IMAGES COMPARED WITH 35 MM 12 3.3 ANAMORPHIC 35 MM
12 VI CONTENTS 3.4 COMPARISONS WITH SUPER 16MM 13 3.5 COMPARISON WITH
DIGI BETA 14 CHAPTER 4: DISPLAY QUALITY 75 4.1 HD SHOWN ON TELEVISION 15
4.2 HD WRITTEN TO FILM AND PROJECTED MECHANICALLY 15 4.3 HD SHOWN ON A
STATE-OF-THE-ART DIGITAL PROJECTOR 16 4.4 DIGITAL PROJECTORS 16 CHAPTER
5: HIGH DEFINITION PROJECTION 17 5.1 INTRODUCTION 17 5.2 EXAMPLES OF
VENUES 18 5.2.1 THE BRITISH ACADEMY OF FILM AND TELEVISION ARTS (BAFTA)
18 5.2.1.1 THE VENUE 18 5.2.1.2 THE DIGITAL PROJECTORS 18 5.2.1.3
DIGITAL HANDLING 20 5.2.1.4 WHAT DOES IT ALL GET USED FOR? 20 5.2.2 THE
NATIONAL FILM AND TELEVISION SCHOOL (NFTS) 20 5.2.2.1 THE VENUES : 20
5.2.2.2 THE PROJECTORS 20 5.2.2.3 DIGITAL HANDLING 22 5.2.2.4 WHAT DO
THEY GET USED FOR? 22 5.2.3 THE ODEON LEICESTER SQUARE, LONDON 22
5.2.3.1 THE VENUE 22 5.2.3.2 THE DIGITAL PROJECTOR 22 5.2.3.3 DIGITAL
HANDLING 24 5.2.3.4 WHAT DOES IT ALL GET USED FOR? 24 5.3 HOW HD CINEMA
PROJECTORS WORK 24 5.4 ADDING COLOR 26 5.4.1 SINGLE-CHIP PROJECTORS 26
5.4.2 THREE-CHIP PROJECTORS 27 CHAPTER 6: DELIVERY REQUIREMENTS 29 6.1
FOR DELIVERY ON FILM 29 6.2 HIGHER RESOLUTION IN POST-PRODUCTION 29 6.3
MULTIFORMAT DELIVERY REQUIREMENTS 30 6.4 HD PROJECTION 30 6.5 ENCRYPTION
30 6.6 BROADCAST DELIVERY 31 CONTENTS VII 6.7 CONVERTIBILITY 31 6.7.1
PICTURE 31 6.7.2 SOUND 31 6.7.3 TIME CODE 32 CHAPTER 7: SALES POTENTIAL
33 7.1 MULTIPLE STANDARD SALES 33 7.2 MULTIPLE VENUE SALES 33 7.3
ADDITIONAL SALES TO HD USERS 33 7.4 FUTURE PROOFING 34 CHAPTER 8: COST
IMPLICATIONS 35 8.1 SAVINGS 35 8.1.1 ORIGINATION COSTS - DIFFERENT
FORMATS 35 8.1.1.1 STOCK SAVINGS - FILM TO HDCAM 35 8.1.1.2 INSURANCE
SAVINGS 36 8.1.2 SAVINGS IN PRINT COSTS 36 8.1.3 SHOOTING FOR ANAMORPHIC
RELEASE 37 8.2 ADDED COSTS 38 8.2.1 CAMERA KIT RENTAL 38 8.2.2 EDITING
COSTS 38 8.2.3 WRITING OUT TO FILM 38 8.3 A COST COMPARISON EXAMPLE -
OKLAHOMA! 39 8.3.1 STOCK AND PROCESSING SAVINGS 39 8.3.2 CAMERA RENTAL
40 8.3.3 ADDITIONAL COSTS 40 8.3.3.1 OVERALL SAVINGS 40 8.3.4
COMPETITIVE PRICING 40 CHAPTER 9: CREWING. 43 9.1 SHOULD THE DP OPERATE?
43 9.2 DO YOU NEED A FOCUS PULLER? 44 9.3 DO YOU NEED A LOADER? 44 9.4
NAMING THE CAMERA ASSISTANTS 45 9.5 DO YOU NEED A CLAPPERBOARD? 45 9.6
DO YOU NEED A DOLLY GRIP? 45 9.7 SOUND 46 9.8 ELECTRICIANS 46 9.9 A NEW
MEMBER OF THE CREW - THE DATA WRANGLER OR DOWNLOADER 46 VIII CONTENTS
PART 3 THE TECHNOLOGY 49 CHAPTER 10: DIGITAL IMAGING 5 7 10.1 THE
HISTORY OF DIGITS 51 10.2 DIGITAL TONAL RANGE 51 10.3 LINEAR AND
LOGARITHMIC SAMPLING 53 10.4 IMAGE RESOLUTION: WHY SO MANY PIXELS? 55
10.5 REQUIRED RESOLUTION FOR HD 55 10.6 DATA QUANTITY 59 CHAPTER 11:
SCANNING THE IMAGE 61 11.1 A LITTLE OF THE HISTORY OF TELEVISION 61 11.2
INTERLACE SCANNING 63 11.3 PROGRESSIVE SCANNING 64 11.4 TRADITIONAL
CINEMA FLICKER 64 11.5 HOW ARE IMAGES CAPTURED BY THE TWO SCANNING
FORMATS? 66 11.6 PRINTING OUT TO FILM 71 CHAPTER 12: LINE STANDARDS AND
DEFINITION 75 12.1 LINE SUMMATION 75 12.2 APPARENT PICTURE QUALITY 76
12.3 1080 VERSUS 720 IN TELEVISION 78 12.4 CONCLUSIONS 82 12.5 IS HD
WORTH THE TROUBLE? 82 CHAPTER 13: THREE-CHIP TECHNOLOGY 85 13.1 ADDITIVE
COLOR IMAGERY 85 13.2 THE THREE-CHIP CAMERA S BEAM SPLITTER 85 13.3 THE
IMAGE SENSORS 87 13.4 THE SENSOR CHIP 88 CHAPTER 14: SINGLE-CHIP
TECHNOLOGY 91 14.1 WHAT IS AVAILABLE? 91 14.2 CCD SENSORS 91 14.3 CMOS
SENSORS 91 14.4 CCDS VERSUS CMOS CHIPS 92 14.5 COLOR FILTERING IN SINGLE
SENSORS 93 14.6 BAYER PATTERN FILTERING 93 14.7 SEQUENTIAL FILTERING 94
CONTENTS IX 14.8 COMPARATIVE RESOLUTION 95 14.9 USING SEQUENTIAL PATTERN
FILTERING 96 CHAPTER 15: DATA FILES - A SIMPLIFIED GUIDE 97 15.1 RAW
DATA FILES, ETC 97 15.2 4:4:4, 4:2:2 AND ALL THAT 99 15.3 LOOK-UP TABLES
(LUTS) 100 15.4 DE-BAYERING AN IMAGE 101 CHAPTER 16: THE VIDEO TAPE
RECORDER (VTR) 103 16.1 THE HDCAM FORMAT 103 16.2 HELICAL SCAN RECORDING
103 16.3 MECHANICAL CONSIDERATIONS : 105 16.4 THE DRUM LACING MECHANISM
106 16.5 OPERATIONAL CONSIDERATIONS 106 16.6 A JAMMED MECHANISM 107 PART
4 HIGH DEFINITION CINEMATOGRAPHY 709 CHAPTER 17: LIGHTING AND EXPOSING
FOR HD 777 17.1 AN HD CAMERA S EQUIVALENT ASA SPEED, OR ISO RATING 111
17.2 TONAL RANGE ILL 17.3 LIGHTING RATIOS 113 17.4 LIGHTING TO AMONITOR
114 17.5 HIGHLIGHTS AND SHADOWS , 114 17.6 EXPOSURE 115 17.6.1 USING
AMONITOR 115 17.6.2 USING A METER 115 17.6.3 AUTO EXPOSURE 115 17.6.4
EXPOSING USING A WAVEFORM MONITOR 116 CHAPTER 18: SETTING THE COLOR
BALANCE 7 77 18.1 WHITE BALANCE 117 18.2 WHAT IS WHITE BALANCE? 117 18.3
NEUTRAL DENSITY (ND) FILTERS 118 18.4 AWARNING! 118 18.5 SETTING THE
WHITE BALANCE USING A WHITE CARD 118 18.6 SETTING THE WHITE BALANCE
USING A COLORED CARD 119 18.7 SETTING THE WHITE BALANCE UNDER
FLUORESCENT LIGHTING 119 X CONTENTS 18.8 THE OUTER FILTER WHEEL ON A
SONY HDW CAMERA 120 18.9 BLACK BALANCE 120 CHAPTER 19: CAMERA CHECKS
BEFORE SHOOTING 727 19.1 THE CAMERA BODY 121 19.1.1 MENUS 121 19.2
LENSES 122 19.3 ELECTRONIC CHECKS 122 19.3.1 DEAD PIXELS 123 19.3.2
RINGING - OR WHATEVER THE MANUFACTURER CALLS IT 123 19.4 TEMPERATURE 123
19.5 MATCHING CAMERAS 124 19.6 MATCHING LENSES 125 19.7 LENS VIGNETTING
125 19.8 WHAT DOES IT ALL MEAN? 125 CHAPTER 20: LENSES 727 20.1 HOW TO
CHOOSE A LENS 127 20.1.1 RESOLUTION : 127 20.1.2 CONTRAST 128 20.1.3
PERCEIVED SHARPNESS WITH REGARD TO CONTRAST 128 20.1.4 COLOR RENDITION
130 20.1.4.1 OVERALL COLOR BIAS 130 20.1.4.2 COLOR FRINGING 132 20.1.4.3
WHAT IS FRINGING? 132 20.1.5 BREATHING 132 20.2 SETTING THE BACK FOCUS
132 20.2.1 ZOOM LENSES 133 20.2.2 PRIME LENSES 134 20.3 FOCUSING THE
LENS USING BACK FOCUS CHARTS - BEWARE! 134 20.4 BACK FOCUSING USING THE
OVAL RINGS CHART 135 20.5 COMPARATIVE FOCAL LENGTHS 136 20.6 DEPTH OF
FIELD 137 20.7 CALCULATING DEPTH OF FIELD 138 20.8 NEUTRAL DENSITY (ND)
FILTERS 139 20.9 LIMITING APERTURES 140 20.10 FILTRATION 141 20.10.1
COLOR CORRECTION 141 20.10.2 DIFFUSION 142 CONTENTS XI CHAPTER 21:
MONITORS AND CABLING 743 21.1 WHAT KINDS OF MONITOR ARE AVAILABLE? 143
21.1.1 CATHODE RAY TUBE (CRT) MONITORS 143 21.1.2 LIQUID CRYSTAL DISPLAY
(LCD) MONITORS 143 21.1.3 PLASMA SCREENS 144 21.2 LINING UP YOUR MONITOR
144 21.2.1 AN SMPTE LINE-UP 144 21.2.2 LINING UP USING EBU BARS 146
21.2.3 USING AN EXPOSURE METER 146 21.3 CABLING YOUR MONITOR 147 21.3.1
SINGLE COAXIAL CABLES 147 21.3.2 TRIPLE COAXIAL CABLES 147 21.3.3
TERMINATION 148 21.3.4 SERIAL MONITORS 148 21.4 BEST PRACTICE 148
CHAPTER 22: SHIPPING 749 22.1 IT S NOT ENG! 149 22.2 SHIPPING LENSES 150
22.3 TRANSIT CASES 150 22.4 CAMERA SET-UP WHEN SHIPPING 150 22.5 SIZE
AND WEIGHT 151 22.6 BATTERIES 151 CHAPTER 23: MULTICAMERA SHOOTS 753
23.1 SYNCHRONIZATION 154 23.2 TIME CODE ON LOCATION 154 23.2.1 LOCK-IT
BOXES 155 23.2.2 SCRIPT BOY 155 23.3 TIME CODE IN A STUDIO 155 23.3.1
GENLOCK 156 23.4 MENU SET-UPS 156 23.4.1 THE SONY RMB 150 156 23.4.2
USING MEMORY STICKS 157 23.5 MATCHING LENSES 158 CHAPTER 24: HAZARDOUS
CONDITIONS 767 24.1 RESETTING THE TRIPS 162 24.2 WATER 162 24.3 HEAT 162
X/7 CONTENTS 24.4 COLD 162 24.5 DUST 163 24.6 GAMMA RAYS 163 CHAPTER 25:
CAMERA SUPPORTS 765 25.1 FLUID HEADS 165 25.2 GEARED HEADS 165 25.3
REMOTE HEADS 166 25.4 UNDERWATER 167 25.5 IN THE AIR 167 25.6 MOTION
CONTROL RIGS 167 CHAPTER 26: HOW HD AFFECTS OTHER CRAFTS 769 26.1 ART
AND DESIGN 169 26.2 COSTUME 169 26.3 MAKE-UP AND HAIR 170 26.4 SOUND 170
26.5 SCRIPT SUPERVISION AND CONTINUITY 171 26.6 THE SECOND ASSISTANT
CAMERAPERSON OR EX-CLAPPER BOY 171 CHAPTER 27: TROUBLESHOOTING 773 27.1
STATING THE OBVIOUS 173 27.2 PROBLEMS AND SOLUTIONS 173 PART 5 EXAMPLES
OF SHOOTS 779 CHAPTER 28: BIRTHDAYS 787 28.1 THE STUDIO SHOOT 181 28.2
THE LOCATION SHOOT 182 28.3 EXTERIOR TRACKING SHOTS 183 28.4 INTERIOR
LIGHTING 184 28.5 ADDING GAIN 185 28.6 HAND HOLDING 186 28.7 EDITING
BIRTHDAYS 187 28.8 VIEWINGS 187 CHAPTER 29: KING LEAR 789 29.1 THE
PROJECT 189 29.2 THE SCHEDULE 189 29.3 PREPARATION 190 CONTENTS XIII
29.4 RIGGING AND EQUIPMENT 193 29.5 CAMERA EQUIPMENT 197 29.6 THE SHOOT
198 29.7 PRACTICAL MATTERS 200 29.8 MONITORING, ETC 201 CHAPTER 30: THE
OPTICIAN 203 30.1 HOW IT CAME ABOUT 203 30.2 THE SHOOT 203 30.3 HOW DID
IT COME OUT? 205 30.4 CONCLUSIONS 205 PART 6 CAMERAS 207 CHAPTER 31:
CAMERAS IN GENERAL 209 31.1 THE CHOICE OF CAMERAS 210 31.2 IN THIS
EDITION 211 31.3 MY DISCLAIMER! 211 CHAPTER 32: THE ARRIFLEX D-21 273
32.1 THE CAMERA 213 32.2 SIGNIFICANT IMPROVEMENTS OVER THE D-20 215 32.3
THE CAMERA SENSOR 216 32.4 INTERFACE 217 32.5 LENSES 218 32.6 RECORDERS
218 CHAPTER 33: THE DALSA ORIGIN AND EVOLUTION 227 33.1 THE DALSA ORIGIN
221 33.1.1 THE LOOK-THROUGH 222 33.1.2 THE SENSOR 223 33.1.3 INTERFACES
224 33.1.4 CONCLUSIONS ON THE DALSA ORIGIN 224 33.2 CURRENTLY AVAILABLE
RECORDERS 224 33.3 THE CODEX DIGITAL MEDIA RECORDER 225 33.3.1 THE TOUCH
SCREEN 226 33.3.2 MONITORING VIA THE CODEX 227 33.3.3 CONCLUSIONS ON THE
CODEX 227 33.4 THE DALSA EVOLUTION 227 XIV CONTENTS CHAPTER 34: THE
PANASONIC VARICAM: AJ-HDC27H 229 34.1 THE CAMERA 229 34.2 FRAME RATES
230 34.3 EXPOSURE TIMES 230 34.4 THE CHIPS AND THE PROCESSOR 231 34.5
THE VTR 231 34.6 TIME CODE 231 34.7 AN OVERVIEW 232 CHAPTER 35: THE
PANAVISION GENESIS 233 35.1 THE CAMERA 233 35.2 MENUS 237 35.3 WHITE
BALANCE 237 35.4 THE CAMERA SENSOR 237 35.5 FORMATS, OUTPUTS AND
INTERFACE 238 35.6 SOLID-STATE RECORDING 238 35.7 VIEWING LOGARITHMIC
IMAGES 239 CHAPTER 36: THE RED ONE 247 36.1 A LITTLE BACKGROUND . 241
36.2 FIRST IMPRESSIONS 242 36.3 THE CAMERA 243 36.4 THE MYSTERIUM*
SENSOR 249 36.5 SHOOTING COSTS 250 36.6 RED MARKETING 250 36.7 DESIGN
PHILOSOPHY 251 36.8 RECORDING MEDIA 251 36.9 WHICH DRIVE TO CHOOSE? 252
36.10 BASIC CAMERA SPECIFICATION 253 36.10.1 THE MYSTERIUM* SENSOR 253
36.10.2 IMAGE PROCESSING 253 36.11 CONCLUSIONS 253 CHAPTER 37: THE SONY
HDW F790, F750 AND F730 HD CAMERAS 255 37.1 FRAME RATES 255 37.2 THE
CAMERA BODY 256 37.3 ADD-IN BOARDS, ETC 258 37.4 IMAGE CONTROL VIA THE
MENUS 259 37.4.1 MULTI MATRIX 259 37.4.2 AUTO TRACING WHITE BALANCE 259
CONTENTS XV 37 .4.3 COLOR TEMPERATURE CONTROL 260 37.4.4 SELECTABLE
GAMMA CURVES 260 37.4.5 RGB GAMMA BALANCE 260 37.4.6 VARIABLE BLACK
GAMMA RANGE 260 37.4.7 BLACK STRETCH 260 37.4.8 ADAPTIVE HIGHLIGHT
CONTROL (AUTO KNEE MODE) 261 37.4.9 KNEE SATURATION FUNCTION 261 37.4.10
THE TRIPLE SKIN TONE DETAIL CONTROL 261 37.4.11 LEVEL DEPEND DETAIL 261
37.5 METADATA HANDLING 261 37.6 THE SONY TELE-FILE SYSTEM 261 37.7 THE
OPTIONAL HDSDI ADAPTER 262 37.8 AN OVERVIEW 262 CHAPTER 38: THE SONY HDW
F900R 263 38.1 THE CAMERA 263 38.2 THE CHIPS 264 38.3 THE PROCESSOR 265
38.4 ADDITIONAL FACILITIES ; 265 38.5 MENUS 265 38.6 OVERALL IMPRESSIONS
266 CHAPTER 39: THE SONY F23 AND F35 267 39.1 SOME BACKGROUND 267 39.2
BASIC SPECIFICATIONS 267 39.3 WHY INTRODUCE THESE CAMERAS? 268 CHAPTER
40: THE THOMSON VIPER 269 40.1 THE CAMERA BODY 269 40.2 OUTPUTS FROM THE
CAMERA 271 40.3 THE HARD DRIVE RECORDER 271 40.4 THE BEAM SPLITTER 271
40.5 THE VIPER S CCD ARRAY 271 40.6 THE MECHANICAL SHUTTER 273 40.7
FRAME RATES 273 40.8 RESOLUTION 273 40.9 THE CAMERA S PROCESSOR
CONFIGURATION 273 40.10 THE CAMERA BACK 274 40.11 THE ARGUMENTS FOR A
LOGARITHMIC RECORDING FORMAT 274 40.12 LENSES FOR THE VIPER 276 XVI
CONTENTS 40.13 MONITORS FOR THE VIPER 276 40.14 CAMERA ACCESSORIES 276
40.15 SHIPPING THE VIPER 276 40.16 CONCLUSIONS 277 PART 7 STAR GAZING
279 CHAPTER 41: WHERE DO WE GO FROM HERE? 287 41.1 HD CAMERAS 281 41.1.1
BROADCAST CAMERAS 281 41.1.2 CAMERAS THAT REALLY EMULATE 35 MM FILM 282
41.2 RECORDING FORMATS 283 41.3 ENTERTAINING OUR AUDIENCE 284 INDEX 285
|
| any_adam_object | 1 |
| author | Wheeler, Paul |
| author_facet | Wheeler, Paul |
| author_role | aut |
| author_sort | Wheeler, Paul |
| author_variant | p w pw |
| building | Verbundindex |
| bvnumber | BV035470472 |
| callnumber-first | T - Technology |
| callnumber-label | TR860 |
| callnumber-raw | TR860 |
| callnumber-search | TR860 |
| callnumber-sort | TR 3860 |
| callnumber-subject | TR - Photography |
| classification_rvk | AP 56400 |
| ctrlnum | (OCoLC)288985308 (DE-599)BVBBV035470472 |
| dewey-full | 778.53 |
| dewey-hundreds | 700 - The arts |
| dewey-ones | 778 - Specific fields & kinds of photography |
| dewey-raw | 778.53 |
| dewey-search | 778.53 |
| dewey-sort | 3778.53 |
| dewey-tens | 770 - Photography, computer art, cinematography |
| discipline | Kunstgeschichte Allgemeines |
| edition | 3. ed. |
| format | Book |
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| id | DE-604.BV035470472 |
| illustrated | Illustrated |
| indexdate | 2024-07-09T21:36:00Z |
| institution | BVB |
| isbn | 9780240521619 |
| language | English |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-017390139 |
| oclc_num | 288985308 |
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| physical | XXIV, 294 S. Ill., graph. Darst. |
| publishDate | 2009 |
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| publishDateSort | 2009 |
| publisher | Elsevier |
| record_format | marc |
| spelling | Wheeler, Paul Verfasser aut High definition cinematography Paul Wheeler 3. ed. Amsterdam [u.a.] Elsevier 2009 XXIV, 294 S. Ill., graph. Darst. txt rdacontent n rdamedia nc rdacarrier Digital cinematography Digitale Filmtechnik (DE-588)4763566-6 gnd rswk-swf Digitale Filmtechnik (DE-588)4763566-6 s DE-604 HEBIS Datenaustausch application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=017390139&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
| spellingShingle | Wheeler, Paul High definition cinematography Digital cinematography Digitale Filmtechnik (DE-588)4763566-6 gnd |
| subject_GND | (DE-588)4763566-6 |
| title | High definition cinematography |
| title_auth | High definition cinematography |
| title_exact_search | High definition cinematography |
| title_full | High definition cinematography Paul Wheeler |
| title_fullStr | High definition cinematography Paul Wheeler |
| title_full_unstemmed | High definition cinematography Paul Wheeler |
| title_short | High definition cinematography |
| title_sort | high definition cinematography |
| topic | Digital cinematography Digitale Filmtechnik (DE-588)4763566-6 gnd |
| topic_facet | Digital cinematography Digitale Filmtechnik |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=017390139&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA |
| work_keys_str_mv | AT wheelerpaul highdefinitioncinematography |