Kurt Lancaster, who earned a PhD from New York University, has written several books on filmmaking. His documentaries have screened at national and international film festivals. He teaches filmmaking at Northern Arizona University. His filmmaking clients list includes the Grand Canyon National Park; Timpanogos Caves National Monument for the National Park Service; the American Community School in Amman, Jordan; Ha:san Preparatory and Leadership School in Tucson, Arizona for the National Institute of Health; Altez Ecofarm at Hasta Gard in Stockholm, Sweden; The Law of the Desert Born graphic novel promo for Louis L’Amour Enterprises, Inc; and the Institute of Tribal Environmental Professionals at NAU. kurtlancaster.com

"A huge thank you to Kurt Lancaster for giving a voice to DSLRs in this new trail-blazing book." —Shane Hurlbut, ASC, DP of Terminator Salvation "This book should be in every camera bag. A rich, comprehensive, and poetic examination of how filmmakers and cinematographers are creating stunning moving imagery." —Rodney Charters, ASC, DP of the TV series 24 "Kurt has written a masterpiece in DSLR books—something that everyone starting to make a movie should read." —planetMitch (planet5D.com) "Out of nowhere, two DSLR cameras came out, and over a period of 18 months, they have been embraced by everyone from Lucasfilm to keen enthusiasts. This is easily the most exciting time I have experienced in my 20 or so years in the business." —Philip Bloom, DP, director, filmmaker (philipbloom.net)

• Foreword by Shane Hurlburt, ASCAcknowledgementsAbout the WebsiteIntroduction – The Rise and Fall of the DSLR Cinema RevolutionChapter 1 – Composition, Lenses, Blocking, and Camera MovementChapter 2 – LightingChapter 3 – ExposureChapter 4 – Recording Quality Audio Chapter 5 – Postproduction Workflow Chapter 6 – Telling Better Stories Chapter 7 – Cinematic Gear on a BudgetChapter 8 – David Tembleque: Blackmagic’s Pocket Cinema Camera in Dear Tom Chapter 9 – Joe Simon: Canon’s C100 Mark II in Fragments by Dana BeasleyChapter 10 – Philip Bloom: Canon’s 7D in A Day at the RacesChapter 11 – Kiril Kirkov: Documentary Intimacy with the Canon 5D Mark III in Art of the People Chapter 12 – Po Chan and Shane Hurlbut: Canon’s 5D Mark II in The Last 3 MinutesChapter 13 – J. Van Auken: Filming Action with Panasonic’s GH5 in UnmaskedChapter 14 – Mari Cleven: Filmming Documentaries on the Canon C100 Mark IIChapter 15 – Bibbi Abruzzini: Filmming Documentaries on the Canon 5D Mark IVConclusionIndex

Kurt Lancaster, who earned a PhD from New York University, has written several books on filmmaking. His documentaries have screened at national and international film festivals. He teaches filmmaking at Northern Arizona University. His filmmaking clients list includes the Grand Canyon National Park; Timpanogos Caves National Monument for the National Park Service; the American Community School in Amman, Jordan; Ha:san Preparatory and Leadership School in Tucson, Arizona for the National Institute of Health; Altez Ecofarm at Hasta Gard in Stockholm, Sweden; The Law of the Desert Born graphic novel promo for Louis L’Amour Enterprises, Inc; and the Institute of Tribal Environmental Professionals at NAU. kurtlancaster.com

"A huge thank you to Kurt Lancaster for giving a voice to DSLRs in this new trail-blazing book." —Shane Hurlbut, ASC, DP of Terminator Salvation "This book should be in every camera bag. A rich, comprehensive, and poetic examination of how filmmakers and cinematographers are creating stunning moving imagery." —Rodney Charters, ASC, DP of the TV series 24 "Kurt has written a masterpiece in DSLR books—something that everyone starting to make a movie should read." —planetMitch (planet5D.com) "Out of nowhere, two DSLR cameras came out, and over a period of 18 months, they have been embraced by everyone from Lucasfilm to keen enthusiasts. This is easily the most exciting time I have experienced in my 20 or so years in the business." —Philip Bloom, DP, director, filmmaker (philipbloom.net)

• Foreword by Shane Hurlburt, ASCAcknowledgementsAbout the WebsiteIntroduction – The Rise and Fall of the DSLR Cinema RevolutionChapter 1 – Composition, Lenses, Blocking, and Camera MovementChapter 2 – LightingChapter 3 – ExposureChapter 4 – Recording Quality Audio Chapter 5 – Postproduction Workflow Chapter 6 – Telling Better Stories Chapter 7 – Cinematic Gear on a BudgetChapter 8 – David Tembleque: Blackmagic’s Pocket Cinema Camera in Dear Tom Chapter 9 – Joe Simon: Canon’s C100 Mark II in Fragments by Dana BeasleyChapter 10 – Philip Bloom: Canon’s 7D in A Day at the RacesChapter 11 – Kiril Kirkov: Documentary Intimacy with the Canon 5D Mark III in Art of the People Chapter 12 – Po Chan and Shane Hurlbut: Canon’s 5D Mark II in The Last 3 MinutesChapter 13 – J. Van Auken: Filming Action with Panasonic’s GH5 in UnmaskedChapter 14 – Mari Cleven: Filmming Documentaries on the Canon C100 Mark IIChapter 15 – Bibbi Abruzzini: Filmming Documentaries on the Canon 5D Mark IVConclusionIndex

Kurt Lancaster, who earned a PhD from New York University, has written several books on filmmaking. His documentaries have screened at national and international film festivals. He teaches filmmaking at Northern Arizona University. His filmmaking clients list includes the Grand Canyon National Park; Timpanogos Caves National Monument for the National Park Service; the American Community School in Amman, Jordan; Ha:san Preparatory and Leadership School in Tucson, Arizona for the National Institute of Health; Altez Ecofarm at Hasta Gard in Stockholm, Sweden; The Law of the Desert Born graphic novel promo for Louis L’Amour Enterprises, Inc; and the Institute of Tribal Environmental Professionals at NAU. kurtlancaster.com

"A huge thank you to Kurt Lancaster for giving a voice to DSLRs in this new trail-blazing book." —Shane Hurlbut, ASC, DP of Terminator Salvation "This book should be in every camera bag. A rich, comprehensive, and poetic examination of how filmmakers and cinematographers are creating stunning moving imagery." —Rodney Charters, ASC, DP of the TV series 24 "Kurt has written a masterpiece in DSLR books—something that everyone starting to make a movie should read." —planetMitch (planet5D.com) "Out of nowhere, two DSLR cameras came out, and over a period of 18 months, they have been embraced by everyone from Lucasfilm to keen enthusiasts. This is easily the most exciting time I have experienced in my 20 or so years in the business." —Philip Bloom, DP, director, filmmaker (philipbloom.net)

• Foreword by Shane Hurlburt, ASCAcknowledgementsAbout the WebsiteIntroduction – The Rise and Fall of the DSLR Cinema RevolutionChapter 1 – Composition, Lenses, Blocking, and Camera MovementChapter 2 – LightingChapter 3 – ExposureChapter 4 – Recording Quality Audio Chapter 5 – Postproduction Workflow Chapter 6 – Telling Better Stories Chapter 7 – Cinematic Gear on a BudgetChapter 8 – David Tembleque: Blackmagic’s Pocket Cinema Camera in Dear Tom Chapter 9 – Joe Simon: Canon’s C100 Mark II in Fragments by Dana BeasleyChapter 10 – Philip Bloom: Canon’s 7D in A Day at the RacesChapter 11 – Kiril Kirkov: Documentary Intimacy with the Canon 5D Mark III in Art of the People Chapter 12 – Po Chan and Shane Hurlbut: Canon’s 5D Mark II in The Last 3 MinutesChapter 13 – J. Van Auken: Filming Action with Panasonic’s GH5 in UnmaskedChapter 14 – Mari Cleven: Filmming Documentaries on the Canon C100 Mark IIChapter 15 – Bibbi Abruzzini: Filmming Documentaries on the Canon 5D Mark IVConclusionIndex