Edward John Moreton Drax Plunkett; 18th Baron of Dunsany was an Anglo-Irish writer and dramatist; notable for his work in fantasy published under the name Lord Dunsany. More than eighty books of his work were published; and his oeuvre includes hundreds of short stories; as well as successful plays; novels and essays. Born to one of the oldest titles in the Irish peerage; he lived much of his life at perhaps Irelands longest-inhabited home; Dunsany Castle near Tara; received an honourary doctorate from Trinity College; and died in Dublin.
#4185094 in eBooks 2010-12-07 2010-12-07File Name: B00KX5IPF4
Review
0 of 1 people found the following review helpful. This is my second book of this kind. I ...By Oddi S. DiazThis is my second book of this kind. I have the previous edition and I just want to be up to date with this new one.0 of 1 people found the following review helpful. Five StarsBy coolerfullofishLike this revision. It was needed.4 of 4 people found the following review helpful. How the Big Boys Do ItBy Conrad J. ObregonIf your goal is to be a member of a large film crew; then "Cinematography Theory and Practice" will give you a solid foundation to understand what to expect as a member of such a crew. On the other hand; if you are a "lone wolf" videographer; this book may exceed your needs.In a well written; if occasionally repetitious exploration; Brown begins by telling how what appears on the screen can be shaped to effectively tell a story. He then turns to explore the tools used to create what goes on screen; including cameras; lighting; camera movement and set operations. His descriptions can be quite detailed; as in the eight pages of the books smallish type explaining how to work the slate used at the beginning of a take.I was pleased by the discussion called "Linear; Gamma; Log" which explained compression systems designed to extend the range of light in capturing video. On the other hand; I wish the author had had more concrete suggestions on the various settings that one can change in a modern digital camera to create the compression schemes. Its also would have helped if there had been a little exploration of the post-processing that goes into decompressing these schemes.One can gather from the book that the set is organized into a very rigid hierarchy; where a grip would never speak directly to a director; and where each person has strictly defined roles. For a person entering into this hierarchy; Brown explains all the dos and donts that a person needs to keep out of trouble.For the "lone wolf" or even small film crew; this book may be overkill. Reading about how a big crew handles things; like the marking of media that has been used and not yet downloaded; can be useful in the translation to smaller operations. On the other hand; exploring the variety of lights that are available on a big production may not be of much use to a filmmaker with a couple of LED panels at his disposal.The book has a companion web site. Readers should not look for an access code on the back cover but just go to the web site and follow the instructions for access. I found the videos there to just repeat what was said in the book; and to be of low quality for book on cinematography.If you want a textbook that tells you about how large production crews work; this book is ideal. For smaller scale operations; you will have to infer a lot.
