Electronic Cinematography: Achieving Photographic Control Over the Video Image

Well, most of the predictions in this book have gradually come to light. The main thrust of the argument by Harry Mathias (the main force behind this book) is that video has the creative potential of film and video production should start incorporating film production values to acheieve its maximum potential. Strangely, less than half this book is devoted to how to do that; the rest is a brief outline of the video technology itself (in 1985). Apart from the suggestion that you use a cine light meter to measure the ASA (ISO) rating of your camera chip and use a waveform monitor to better visualise the image, there is little here of practical value. No mention of how to use a vectorscope to monitor the colour (I mean 'color' of course :-) of your signal and how to stay (or not) within "legal" broadcasting limits. Not even much advice on when and how to use the waveform monitor over and above a few pictures showing the obvious overexposure and underexposure results on the waveform monitor screen. There's some detail about configuring and registering a video camera but the distant, black and white photos don't clearly make the point, so it's not much practical help. Nevertheless, in it's time it was that message about video that still makes this book worth reading. More recently (1993) the following book picks up from this one: "Lighting for Film & Electronic Cinematography" by Dave Viera and is worth every penny!

While this book has less of an emphasis on adapting film techniques to video than the title may suggest, its strength is in its coverage of the technical aspects of the video medium with the ideal that once you understand the properties you are working with, you can then begin to exercise creative control. This book is a wonderful introduction to the world of video engineering without all the electrical, technical, and mathematical jargon. As a television production student, I found that it answered many of the questions I had about mystical things such as waveform monitors, vectorscopes, and the elusive "pedestal" setting. Because the book is targeted towards people working in the world of film, it spends time comparing the qualities of latitude, exposure, gamma, and contrast of film with that of video, and how to overcome the limitations that video has in these areas. The 1985 edition that I own is becoming a bit dated with recent advances in technology and the advent of digital television, but because analog NTSC video is nowhere near death I recommend this book to anyone who is starting off in the field of video production.