Cinema Raw

Kurt Lancaster earned his PhD from New York University and has shot documentaries that have screened nationally and internationally. He is the author of DSLR Cinema and has consulted for the Pulitzer Prize winning newspaper, The Christian Science Monitor, training their print journalists in video journalism, and he has shot and edited documentary journalism pieces. He is an associate professor of digital filmmaking in the School of Communication at Northern Arizona University, where he teaches courses on documentary and multimedia journalism.

Part I: Getting the Raw Deal








Introduction: What Camera to Choose? What Story To Tell?—DSLRs, RED, Sony, and the Promise of Cinema Raw With the Next Generation of Low Budget Cinema Cameras



Creating a New Paradigm: Behind the Scenes in Creating Low Budget Cinema Cameras



Is There Really a Difference When Shooting Raw? A Case Study in Shooting Compressed versus Shooting Raw



Film Gear for Raw Filmmakers: A Low-Budget List



Part II: Raw Production Case Studies [drawn from on-set observations and/or interviews of the filmmakers from existing films]








On-camera Features and Menu Selections of Raw Cinema Cameras



One Small Step: Shooting with the Digital Bolex D16



Shooting with Blackmagic’s Digital Cinema Camera



Shooting with Ikonoskop’s A-Cam dII



Shooting with Weisscam’s T-CAM

Part III Raw Postproduction



Postproduction Workflow—Getting the Footage onto the Computer and Editing with raw



Color Correcting and Color Grading with Raw



Conclusion—The Future of Low Budget Digital Filmmaking