000			05633cam a22006255i 4500
001			on1285076842
003			OCoLC
005			20220517104851.0
006			m d
007			cr |||||||||||
008			211104s2021 enka ob 000 0 eng
010			_a 2020416971
040			_aDLC _beng _erda _epn _cDLC _dEBLCP _dOCLCF _dN$T
019			_a1284988694 _a1285166182 _a1285370404 _a1285780055 _a1286427958
020			_a1800641966
020			_a9781800641969 _q(electronic bk.)
035			_a3095890 _b(N$T)
035			_a(OCoLC)1285076842 _z(OCoLC)1284988694 _z(OCoLC)1285166182 _z(OCoLC)1285370404 _z(OCoLC)1285780055 _z(OCoLC)1286427958
042			_apcc
050	0	0	_aPN1995.9.D6
082	0	4	_a070.18 _223
049			_aMAIN
100	1		_aReid, Darren R., _eauthor. _952529
245	1	0	_aDocumentary making for digital humanists / _cDarren R. Reid and Brett Sanders.
264		1	_aCambridge, UK : _bOpen Book Publishers, _c2021.
300			_a(1 online resource ) viii, 283 pages : _bcolor illustrations
336			_atext _btxt _2rdacontent
337			_acomputer _bc _2rdamedia
338			_aonline resource _bcr _2rdacarrier
490	1		_aOpen Field Guides ; _vv.2
504			_aIncludes bibliographical references (pages 267-276).
588			_aDescription based on online resource; title from PDF title page (Open Book Publishers website; viewed on 2021-11-04).
505	0		_aIntroduction -- 1. The Humanist Auteur -- The Digital Wave (and the Power It Gives Us) -- Film as Scholarly Tool -- The Filmmaker-Scholar -- The Filmmaker-Scholar as Auteur -- Looking for Charlie -- 2. Learning to Love the Camera -- 3. The Production Process -- Pre-Production -- Production -- Post-Production -- 4. Concept and Planning -- Schema One - Essay Films -- Schema Two - Discussion/Interview Films -- Schema Three - Full-Production Films -- Schema Four - Subjective Explorations -- Achievability -- Case Study - Signals -- Planning -- 5. Collaboration -- 6. Precedent
505	8		_a7. Choosing Your Filmmaking Equipment -- Smartphone Kit (100-1,000) -- DSLR Kit (300-5,000) -- 8. Core Methods -- Stabilise your Camera -- Focus your Camera on your Subject -- Compose your Shots -- Plan to Capture Contextual Footage -- Take Control of your Camera's Settings -- 9. Settings, Lenses, Focus, and Exposure -- Camera Settings -- Lenses -- Stylised Focus -- Exposure -- Summary -- 10. Composing a Shot - Tips and Techniques -- Head Room -- Looking Room -- The 30° and 180° Rules -- Fundamentals -- 11. Shots and Compositions Considered -- 12. The Visual Language of Cinema -- Frame Rate
505	8		_aVulnerability, Strength, and Significance through Camera Angles -- Wide Shots, Close-Ups, Mid-Shots -- Aspect Ratios -- 13. Interviews -- Oral History andInterviewing -- Designing an Interview -- Formulating Interview Questions -- The Phrasing of Questions -- The Role of the Interviewer -- The Interviewer/Subject Relationship -- The Ethics of Interviewing -- The Interview Process -- Participant Information Sheet Template -- Informed Consent Form Template -- 14. Recording Audio and Creating Soundscapes -- Recording Sound on Site -- Rough and Ready -- Lavaliere Microphones -- Run and Gun
505	8		_aClipping -- On-Site Tips -- Engineering Ambience -- Voice-Overs and Commentary -- 15. Light -- Core Rules -- Hard Light and Soft Light -- Lights and Lighting -- Lighting Quick-Reference Guide -- 16. Camera Movement -- Going Handheld -- Handheld Tracking -- Camera Pans and Tilts -- Dolly Shot -- Tripod Dolly -- 17. The Two-Page Film School -- 18. Post-Mortem: Making a Short Documentary about the 2016 Presidential Election -- Pre-Production -- Production -- Post-Production -- Aftermath -- 19. Post-Production Workflow -- Review your Footage -- (Re)Consider your Audience's Relationship to the Film
505	8		_aPlan a Working-Structure for your Film -- Begin Creating a Rough Cut -- Step Back -- Critically Review and Reassess -- Post-Mortem -- Refine Your Rough Cut -- Step Back, Review Your Fine Cut and Reassess -- Reflections -- 20. The Three-Act Structure -- 21. The Protagonist -- Harmon's Story Embryo -- Casting the Audience as the Protagonist -- The On-Screen Protagonist - The Journey -- 22. Assembly -- Editing -- Colour-Grading -- Sound-Tracking -- 23. Editing Workflow in Adobe Premiere Pro -- Step One: How to Start a New Project -- Step Two: Get to Know the Premiere Workspace
520			_aThis fluent and comprehensive field guide responds to increased interest, across the humanities, in the ways in which digital technologies can disrupt and open up new research and pedagogical avenues. It is designed to help scholars and students engage with their subjects using an audio-visual grammar, and to allow readers to efficiently gain the technical and theoretical skills necessary to create and disseminate their own trans-media projects.
590			_aAdded to collection customer.56279.3
650		0	_aDocumentary films.
650		0	_aDigital humanities.
650		7	_aDigital humanities. _2fast _0(OCoLC)fst00963599
650		7	_aDocumentary films. _2fast _0(OCoLC)fst00896079
655		4	_aElectronic books.
700	1		_aSanders, Brett, _eauthor. _952530
776	0	8	_iPrint version: _z9781800641952
776	0	8	_iPrint version: _z9781800641945
830		0	_aOpen Field Guides. _933154
856	4	0	_3EBSCOhost _uhttps://search.ebscohost.com/login.aspx?direct=true&scope=site&db=nlebk&db=nlabk&AN=3095890
938			_aProQuest Ebook Central _bEBLB _nEBL6799160
938			_aEBSCOhost _bEBSC _n3095890
942			_cEBK
994			_a92 _bN$T
999			_c8551 _d8551