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A guide to underwater wildlife video & editing

  • 點閱:8
  • 作者:
  • 出版年:c2013
  • 出版社:Bright Pen
  • 出版地:[Sandy, UK]
  • ISBN:0-7552-5044-3 ; 978-0-7552-5044-8

國立金門大學

可借 1

簡介

With this book, Jeff takes the reader through all the basics of film-making and editing underwater wildlife video. How to choose a camera and underwater housing, finding and filming the subject, right through to the editing process on your home computer. Jeff enables the production of a quality video presentation with music and narration.

Throughout the book, Jeff shares some of his more poignant experiences from filming on location. His stories explore our relationships with the natural world and our place within it. His love of the oceans is evident throughout and so encourages any reader to look at the marine environment as a unique and magnificent ecosystem.

章節

  • Cover(p.navPoint-1)
  • FOREWORD by Wildlife & Underwater TV Presenter MIRANDA KRESTOVNIKOFF(p.navPoint-2)
  • Acknowledgments.(p.navPoint-3)
  • Authors Note(p.navPoint-4)
  • Contents(p.navPoint-5)
  • INTRODUCTION(p.navPoint-6)
  • CAMERAS NEW & OLD(p.navPoint-7)
  • WHICH CAMERA?(p.navPoint-8)
  • CAMERA FORMAT - Tape or hard drive?(p.navPoint-9)
  • Which Housing?(p.navPoint-10)
  • Mechanical or Electrical Housings(p.navPoint-10)
  • MONITORS(p.navPoint-12)
  • Leaks and O-rings(p.navPoint-13)
  • Dealing with leaks(p.navPoint-13)
  • TOOL KITS & SPARES(p.navPoint-15)
  • HOUSING BOUYANCY(p.navPoint-16)
  • Salt and Fresh Water Buoyancy(p.navPoint-16)
  • THE PIRANHA(p.navPoint-18)
  • A GENERIC MIDDLE RANGE CAMERA & HOUSING(p.navPoint-19)
  • The Camera.(p.navPoint-19)
  • Resolution(p.navPoint-19)
  • One Chip or Three?(p.navPoint-19)
  • Let’s look at a housing and it’s relation to the camera.(p.navPoint-19)
  • The Quick Menu(p.navPoint-24)
  • Controlling exposure and focus.(p.navPoint-24)
  • FUNCTIONS FOR A GENERIC MIDDLE RANGE CAMERA & HOUSING(p.navPoint-26)
  • FOCUS(p.navPoint-26)
  • Auto focus(p.navPoint-26)
  • LENSES, DEPTH OF FIELD, ANGLE OF COVERAGE AND DOME PORTS(p.navPoint-29)
  • Ports.(p.navPoint-30)
  • Zooming through a dome port.(p.navPoint-30)
  • THE ORCA(p.navPoint-32)
  • Scratched Ports(p.navPoint-33)
  • CONDENSATION(p.navPoint-34)
  • BARS - Monitor set up.(p.navPoint-35)
  • EXPOSURE and Zebras(p.navPoint-36)
  • Zebras(p.navPoint-36)
  • SHUTTER SPEED, APERTURE AND GAIN(p.navPoint-38)
  • FRAMES PER SECOND(p.navPoint-39)
  • WHITE BALANCE(p.navPoint-40)
  • Using Colour Correction Filters.(p.navPoint-41)
  • THE MARLIN(p.navPoint-42)
  • UNDERWATER LIGHTING(p.navPoint-43)
  • Daylight filming with artificial light.(p.navPoint-43)
  • Available natural daylight(p.navPoint-45)
  • A few final thoughts on lights(p.navPoint-45)
  • Filming other Divers with lights.(p.navPoint-45)
  • MACRO AND CLOSE-UPS(p.navPoint-48)
  • BUOYANCY(p.navPoint-49)
  • NIGHT TIME FILMING(p.navPoint-50)
  • TECHNIQUES OF VIDEOING(p.navPoint-51)
  • Looking for things to film(p.navPoint-51)
  • A new way of diving.(p.navPoint-51)
  • CAMOUFLAGE(p.navPoint-54)
  • FILMING IN DRY SUITS(p.navPoint-55)
  • SAVED BY A DRY SUIT(p.navPoint-56)
  • UNDERWATER SCOOTERS(p.navPoint-57)
  • UNDERWATER COMMUNICATIONS(p.navPoint-58)
  • BENDS, EAR PROBLEMS AND AIR CONSUMPTION(p.navPoint-59)
  • PANIC(p.navPoint-60)
  • FREE DIVING(p.navPoint-61)
  • RE-BREATHERS(p.navPoint-62)
  • DIVING WITH DOLPHINS(p.navPoint-63)
  • THE DIFFERENCE BETWEEN TAKING VIDEO AND STILL PHOTOGRAPHS(p.navPoint-64)
  • STEADY SHOTS(p.navPoint-65)
  • SHOT DURATION(p.navPoint-65)
  • 16:9 FRAMING(p.navPoint-67)
  • More on Framing(p.navPoint-67)
  • PERSPECTIVE(p.navPoint-69)
  • HORIZONS(p.navPoint-69)
  • COMPOSITION(p.navPoint-71)
  • WHEN TO FILM AND WHEN TO WAIT(p.navPoint-72)
  • CONTINUITY OF - COLOUR - LIGHTING - EXPOSURE - ACTION - BACKGROUND(p.navPoint-73)
  • Continuity of lighting(p.navPoint-74)
  • Continuity of exposure(p.navPoint-74)
  • Continuity of action.(p.navPoint-74)
  • Continuity of background.(p.navPoint-74)
  • Leaving Frame.(p.navPoint-74)
  • THE GOBIES(p.navPoint-79)
  • STORY BOARDS AND PLANNING(p.navPoint-80)
  • DIVE PLANNING WHEN FILMING(p.navPoint-81)
  • KNOW YOUR AUDIENCE(p.navPoint-82)
  • THE SEAL(p.navPoint-83)
  • Part 2.(p.navPoint-83)
  • BASIC SEQUENCE STUCTURE - Wide angles - Mid shots - Close ups - Extreme close ups(p.navPoint-85)
  • CUT-A-WAYS(p.navPoint-85)
  • BEFORE YOU RUSH OUT TO FILM(p.navPoint-85)
  • (Just one more whale story) GREY WHALES IN HAIDA GWAII(p.navPoint-88)
  • ETHICS OF WILDLIFE FILMING(p.navPoint-89)
  • PROTECTING THE MARINE HABITAT(p.navPoint-89)
  • THE BASKING SHARK(p.navPoint-91)
  • EDITING(p.navPoint-92)
  • EDITING.(p.navPoint-93)
  • Editing with real film.(p.navPoint-94)
  • VIDEO EDITING(p.navPoint-94)
  • CHOOSING YOUR EDIT PROGRAMME(p.navPoint-96)
  • Project Folder(p.navPoint-96)
  • Connect camera to computer(p.navPoint-96)
  • The EDIT Software - Adobe Premiere Elements version 7(p.navPoint-99)
  • Project set-up and downloading video(p.navPoint-99)
  • Loading from Tape(p.navPoint-99)
  • Logging Material(p.navPoint-102)
  • A note on thinking ‘edit’ while filming.(p.navPoint-102)
  • Auto save and preferences(p.navPoint-102)
  • LET’S START TO EDIT(p.navPoint-105)
  • Jump Cut.(p.navPoint-105)
  • Timeline trimming.(p.navPoint-107)
  • Using Effects.(p.navPoint-107)
  • Transitions.(p.navPoint-107)
  • Music(p.navPoint-107)
  • Narration(p.navPoint-107)
  • Sound effects(p.navPoint-107)
  • Sound levels(p.navPoint-107)
  • FINISHING YOUR PROJECT(p.navPoint-114)
  • SAVING YOUR VIDEO TO DVD(p.navPoint-114)
  • NOW WHAT(p.navPoint-114)
  • ARCHIVING YOUR PROJECT(p.navPoint-114)
  • THE FUTURE(p.navPoint-114)
  • A TEAR FOR COMMON SENSE(p.navPoint-119)
  • FOR ROSEY(p.navPoint-120)
  • Photo and Artwork Accreditations(p.navPoint-121)
  • About the author(p.navPoint-122)

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