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.

"Lancaster's Cinema Raw provides a great overview and history on the recent but densely complicated process of raw video shooting and capture."- Jon Yi, 16mm and digital cinematography professor at New York University's Tisch School of the Arts, www.jonathanyi.com"Cinema Raw is essential for educators, students, and practitioners who want to understand new technologies and how to harness them for the kind of quality in our filmmaking that, until recently, was just a dream for those without the backing of millions of dollars in production support."-Ellen Spiro, documentary film professor at the University of Texas, Austin; winner, The National Board of Review for Body of War; www.spirofilms.com"Kurt Lancaster gets you where you need to be so you can make this incredible but complicated recording format work for you. He also tells you why it’s not for every job. With the essential knowledge found in Cinema Raw you will save hours, days, and possibly weeks of your time."-Philip Bloom, filmmaker, www.philipbloom.net

• 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-CAMPart 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

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.

"Lancaster's Cinema Raw provides a great overview and history on the recent but densely complicated process of raw video shooting and capture."- Jon Yi, 16mm and digital cinematography professor at New York University's Tisch School of the Arts, www.jonathanyi.com"Cinema Raw is essential for educators, students, and practitioners who want to understand new technologies and how to harness them for the kind of quality in our filmmaking that, until recently, was just a dream for those without the backing of millions of dollars in production support."-Ellen Spiro, documentary film professor at the University of Texas, Austin; winner, The National Board of Review for Body of War; www.spirofilms.com"Kurt Lancaster gets you where you need to be so you can make this incredible but complicated recording format work for you. He also tells you why it’s not for every job. With the essential knowledge found in Cinema Raw you will save hours, days, and possibly weeks of your time."-Philip Bloom, filmmaker, www.philipbloom.net

• 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-CAMPart 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

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.

"Lancaster's Cinema Raw provides a great overview and history on the recent but densely complicated process of raw video shooting and capture."- Jon Yi, 16mm and digital cinematography professor at New York University's Tisch School of the Arts, www.jonathanyi.com"Cinema Raw is essential for educators, students, and practitioners who want to understand new technologies and how to harness them for the kind of quality in our filmmaking that, until recently, was just a dream for those without the backing of millions of dollars in production support."-Ellen Spiro, documentary film professor at the University of Texas, Austin; winner, The National Board of Review for Body of War; www.spirofilms.com"Kurt Lancaster gets you where you need to be so you can make this incredible but complicated recording format work for you. He also tells you why it’s not for every job. With the essential knowledge found in Cinema Raw you will save hours, days, and possibly weeks of your time."-Philip Bloom, filmmaker, www.philipbloom.net

• 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-CAMPart 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