Underexposed

The untold stories behind the 50 greatest movies never made, illustrated by 50 new and original posters For most films, it’s a long, strange road from concept to screen, and sometimes those roads lead to dead ends. In Underexposed! The 50 Greatest Movies Never Made, screenwriter and filmmaker Joshua Hull guides readers through development hell. With humor and reverence, Hull details the speed bumps and roadblocks that kept these films from ever reaching the silver screen. From the misguided and rejected, like Stanley Kubrick’s Lord of the Rings starring the Beatles; to films that changed hands and pulled a U-turn in development, like Steven Spielberg’s planned Oldboy adaptation starring Will Smith; to would-be masterpieces that might still see the light of day, like Guillermo del Toro’s In the Mountains of Madness, Hull discusses plotlines, rumored casting, and more. To help bring these lost projects to life, 50 artists from around the world, in association with the online art collective PosterSpy, have contributed original posters that accompany each essay and give a glimpse of what might have been.

Produced to demonstrate the existence of censorship as practised by politicians and government officials who control publication of photographs of violent or controversial events.

Today’s successful cinematographer must be equal parts artist, technician, and business-person. The cinematographer needs to master the arts of lighting, composition, framing and other aesthetic considerations, as well as the technology of digital cameras, recorders, and workflows, and must know how to choose the right tools (within their budget) to get the job done. David Stump’s Digital Cinematography focuses on the tools and technology of the trade, looking at how digital cameras work, the ramifications of choosing one camera versus another, and how those choices help creative cinematographers to tell a story. This book empowers the reader to correctly choose the appropriate camera and workflow for their project from today’s incredibly varied options, as well as understand the ins and outs of implementing those options. Veteran ASC cinematographer David Stump has updated this edition with the latest technology for cameras, lenses, and recorders, as well as included a new section on future cinematographic trends. Ideal for advanced cinematography students as well as working professionals looking for a resource to stay on top of the latest trends, this book is a must read.

Crime Scene Photography, Second Edition, offers an introduction to the basic concepts of forensic picture-taking. The forensic photographer, or more specifically the crime scene photographer, must know how to create an acceptable image that is capable of withstanding challenges in court. The photographic theory and principles have to be well grounded in the physics of optics, the how-to recommendations have to work, and the end result must be admissible in court. Based on the author's years of experience in the field at both the Arlington County and Baltimore County Police Departments, this book blends the practical functions of crime scene processing with theories of photography to guide the student in acquiring the skills, knowledge, and ability to render reliable evidence. This text has been carefully constructed for ease of use and effectiveness in training and was class-tested by the author at George Washington University. Beginning August 2008, this book will be required reading by the IAI Crime Scene Certification Board for all levels of certification (through August 2011). Over 600 full color photographs Two new chapters on 'The History of Forensic Photography,' and 'Digital Image Processing of Evidentiary Photography' An essential reference for crime scene photography, including topics such as Composition, the Inverse Square Law, Court Cases affecting photography, Digital Image Processing, and Photogrammetry Required reading by the Crime Scene Certification Board of the International Association for Identification (IAI) for all levels of certification

"This book consists of edited conversations between DPs, Gaffers, their crew and equipment suppliers. ... These pages cover the period November 1996 to November 2001"--p. 1.