LEADER 00000cam a22006255i 4500 
001    on1285076842 
003    OCoLC 
005    20211224093807.0 
006    m     o  d         
007    cr ||||||||||| 
008    211104s2021    enka    ob    000 0 eng   
010      2020416971 
019    1284988694|a1285166182|a1285370404|a1285780055|a1286427958
020    9781800641969|q(pdf) 
020    1800641966 
035    (OCoLC)1285076842|z(OCoLC)1284988694|z(OCoLC)1285166182
       |z(OCoLC)1285370404|z(OCoLC)1285780055|z(OCoLC)1286427958 
040    DLC|beng|erda|epn|cDLC|dEBLCP|dOCLCF 
042    pcc 
049    RIDW 
050 00 PN1995.9.D6 
090    PN1995.9.D6 
100 1  Reid, Darren R.,|0https://id.loc.gov/authorities/names/
       n2009020088|eauthor. 
245 10 Documentary making for digital humanists /|cDarren R. Reid
       and Brett Sanders. 
264  1 Cambridge, UK :|bOpen Book Publishers,|c2021. 
300    (1 online resource) viii, 283 pages :|bcolor 
       illustrations. 
336    text|btxt|2rdacontent 
337    computer|bc|2rdamedia 
338    online resource|bcr|2rdacarrier 
347    text file|2rdaft 
490 1  Open Field Guides ;|vv.2 
504    Includes bibliographical references (pages 267-276). 
505 0  Introduction -- 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  7. 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  Vulnerability, 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  Clipping -- 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  Plan 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    This 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. 
588    Description based on online resource; title from PDF title
       page (Open Book Publishers website; viewed on 2021-11-04).
590    Open Educational Resources (OER). Open Textbooks 
590    Promoted: Local to Global Cooperative|bOpen Textbook 
       Library 
650  0 Documentary films.|0https://id.loc.gov/authorities/
       subjects/sh85088115 
650  0 Digital humanities.|0https://id.loc.gov/authorities/
       subjects/sh2008122106 
650  7 Documentary films.|2fast|0https://id.worldcat.org/fast/
       896079 
650  7 Digital humanities.|2fast|0https://id.worldcat.org/fast/
       963599 
655  0 Electronic books. 
700 1  Sanders, Brett,|0https://id.loc.gov/authorities/names/
       n2021061571|eauthor. 
776 08 |iHardback version :|z9781800641952 
776 08 |iPaperback version :|z9781800641945 
830  0 Open Field Guides. 
856 40 |uhttps://open.umn.edu/opentextbooks/textbooks/1109
       |zOnline textbook via the Open Textbook Library. 
901    MARCIVE 20231220 
948    |d20221222|cOpenTextbook|tadd 988 July2021-June2022|lridw 
994    92|bRID