Description
Taylor and Francis Guide To Energy Management 8Th Edn 2016 Edition by Barney L. Capehart, Wayne C. Turner, William J. Kennedy
The new edition of a bestseller, this book is one of the leading educational resources for energy manager or energy professional as well as new people enter the field of energy management and energy engineering. It is the most widely used college and university textbook, as well as one of the most widely used books for professional development training. New topics include energy auditing, energy bills, life cycle costing, electrical distribution systems, boilers, steam distribution systems, control systems and computers, energy systems maintenance, insulation, compressed air, renewable energy sources and water management, distributed generation, and creating green buildings. Acknowledgments Introduction Chapter One - The Shots: What, How and Why? What to Show Your Audience? Choosing Your Frame Aspect Ratio A Brief History of Aspect Ratios Further Exploration - Why We Might Like Widescreen so Much An Introduction to Shot Types - The Basic Building Blocks of Motion Pictures Long Shot / Wide Shot Medium Shot Close-Up The Extended Family of Basic Shots - The Powers of Proximity Extreme Long Shot / Extreme Wide Shot Very Long Shot / Very Wide Shot Long Shot / Wide Shot / Full Shot Medium Long Shot / Knee Shot Medium Shot / Waist Shot / Mid Medium Close-Up / Bust Shot Close-Up Big Close-Up (UK) / Choker (USA) Extreme Close-Up Why Do We Even Have Different Shot Types? Pulling Images from the Written Page Script Breakdown for Cinematographers Shot Lists Storyboards Phases of Film Production Let's PracticeChapter One Summation - The Pictures SpeakRelated Material Found in Chapter Seven: Working Practices Chapter One - Review Chapter One - Exercises & Projects Chapter One - Quiz Yourself Chapter Two - The Basics of Composition Simple Guidelines For Framing Human Subjects Headroom Subjective Versus Objective Shooting Styles Look Room / Nose Room The Rule of Thirds Camera Angle Horizontal Camera Angles360 Degrees MethodClock Face MethodCamera Position MethodThe Frontal ViewThe 3/4 ViewThe Profile ViewThe 3/4 Back ViewThe Full Back View Vertical Camera AnglesNeutral Angle ShotHigh Angle ShotHigh Angle of an IndividualHigh Angle as a POVHigh Angle of an EnvironmentLow Angle ShotLow Angle of an IndividualLow Angle as a POVLow Angle of an Environment The Two-Shot: Frame Composition with Two People The Profile Two-Shot The Direct-to-Camera Two-Shot The Over-the-Shoulder Two-Shot The Dirty Single The Power Dynamic Two-Shot The Three-Shot Chapter Two Summation - Wrapping up the Basics of CompositionRelated Material Found in Chapter Seven: Working Practices Chapter Two - Review Chapter Two - Exercises & Projects Chapter Two - Quiz Yourself Chapter Three - Composition - Beyond the Basics The Illusion of the Third Dimension The Use of Lines The Horizon Line Vertical Lines Dutch Angle Diagonal Lines Curved Lines The Depth of Film Space - Foreground / Middle Ground / Background Foreground Middle Ground Background Depth Cues Overlapping Object Size Atmosphere The Camera Lens - The Observer of Your Film World What is a Camera Lens?Primes vs Zooms The Prime Lens The Zoom Lens Lens Perspective Lens Focus - Directing the Viewer's Attention Pulling Focus or Following Focus Chapter Three Summation - Directing the Viewer's Eyes Around Your FrameRelated Material Found in Chapter Seven: Working PracticesChapter Three - Review Chapter Three - Exercises & Projects Chapter Three - Quiz Yourself Chapter Four - Lighting Your Shots - Not Just What You See, but How You See It Light as an Element of Composition Light as Energy Color Temperature Color Balance of Your Camera Natural and Artificial Light Correcting or Mixing Colors on Set Quantity of Light: Sensitivity Quantity of Light: Exposure Quality of Light: Hard Versus Soft Hard Light Soft Light Contrast Low-key Lighting High-key Lighting Color Basic Character Lighting: Three-Point Method Contrast Ratio or Lighting Ratio Motivated Lighting - Angle of Incidence Front Lighting Side Lighting Lights from Behind Lights from Other Places Set and Location Lighting Controlling Light - Basic Tools and Techniques Chapter Four Summation - Learning to Light ... and Lighting to Learn Related Material Found in Chapter Seven: Working PracticesChapter Four - Review Chapter Four - Exercises & Projects Chapter Four - Quiz Yourself Chapter Five - Will it Cut? Shooting for Editing The Chronology of Production Matching Your Shots in a Scene Continuity of Performance Continuity of Screen Direction The Line - Basis for Screen Direction The Imaginary Line - The 180 Degree Rule "Jumping the Line" The 30 Degree Rule Reciprocating Imagery Eye-Line Match Chapter Five Summation - Be Kind to Your EditorRelated Material Found in Chapter Seven: Working PracticesChapter Five - Review Chapter Five - Exercises & Projects Chapter Five - Quiz Yourself Chapter Six - Dynamic Shots - Subjects and Camera in Motion The Illusion of Movement on a Screen Presentation Speed - Slow Motion and Fast Motion Slow Motion - or Overcranking Fast Motion - Undercranking Subjects in Motion - Blocking TalentCamera in Motion Handheld Pan and Tilt Shooting the Pan and the Tilt Equipment Used to Move the Camera Tripod DollyZoom Steadicam (TM) and other such Camera Stabilization Devices Cranes and Such Chapter Six Summation - Movies Should MoveRelated Material Found in Chapter Seven: Working PracticesChapter Six - Review Chapter Six - Exercises & Projects Chapter Six - Quiz Yourself Chapter Seven - Working Practices and General Guidelines Storyboards and Shot ListsSlate the Head of Your Shots Help Boom Operator Place the MircrophoneUse of Two of More CamerasBe Aware of ReflectionsCommunicating with Talent Safe Action / Safe Title Areas How to Manually Focus a Zoom Lens Always Have Something in Focus Control Your Depth of Field Be Aware of Headroom Shooting Tight Close-Ups Beware of Wide Lenses when Shooting Close-Up ShotsTry to Show Both Eyes of Your SubjectBe Aware of Eye-Line Directions in Closer ShotsPlace Important Objects in the Top Half of Your FrameKeep Distracting Objects out of the ShotUse the Depth of Your Film Space to Stage Shots with Several PeopleEnsure an Eye Light Be Aware of the Color and Contrast Choices Made Throughout Your ProjectAllow the Camera More Time to Record Each ShotFollow Action with Loose Pan and Tilt Tripod Head Shooting Overlapping Action for the Edit Continuity of Action Matching Speed of Action Overlapping Too Much Action Frame for Correct "Look Room" on Shots that Will Edit TogetherShoot Matching Camera Angles when Covering a Dialogue Scene In a Three-Person Dialogue Scene, Matching Two-Shots can be Problematic for the EditorBeware of Continuity Traps While Shooting a SceneWays to Cross the 180 Degree Line Safely The Long TakeZooming During a Shot Motivate Your Dolly-In and Dolly-Out Camera Moves Use Short Focal Length Lenses to Reduce Handheld Camera Shake Allow Actions to Complete Before Cutting CameraShooting a Chromakey Shooting B-Roll, 2nd Unit, and Stock Footage Shooting a Talking Head Interview During Documentary Filming, Be as Discreet as PossibleUse Visual MetaphorsAim for a Low Shooting Ratio Chapter Seven - Review Chapter Seven - Exercises & Projects Chapter Seven - Quiz Yourself Chapter Eight - Concluding Thoughts Know the Rules Before You Break the Rules The Reason for Shooting is Editing Your Shots Should Enhance the Entire Story Involve the Viewer as Much as Possible Take Pride in the Quality of your WorkPractice Proper Set Etiquette Know Your Equipment Be Familiar with Your Subject Matter Understand Lighting - Both Natural and Artificial Study What Has Already Been Done In Conclusion Appendix A - Helpful Resources for the New Filmmaker Appendix B - Common Crew Members Needed for Motion Picture Production Glossary Index