{"text_format":"2","workbook":"xls","n_sheets":1,"sheets":["report2"],"not_rendered":{"charts":0,"images":0,"macros":0,"external_links":1,"defined_names":2,"comments":0,"pivot_tables":0},"unopened":[],"bounds":{"document_bytes":16777216,"sheet_cells":100000,"run_cost":"one","rows_first":2000,"rows_last":500,"rows_between":2000,"halvings":0,"cell_chars":16384,"cell_head_chars":4096},"cells_cut":0,"cells_raw":0,"read":"whole","date_system":"1900","formulas":"cached_only"}

{"sheet":"report2","index":0,"n_rows":26,"n_cols":5,"rows_kept":26,"cut":false,"hidden":false,"merged":[[0,2,0,3],[0,4,0,5],[1,2,1,3],[1,4,1,5],[2,2,2,3],[2,4,2,5],[3,2,3,3],[4,2,4,3],[5,2,5,3],[6,2,6,3],[8,2,8,3],[9,2,9,3],[12,2,12,3],[12,4,12,5],[13,2,13,3],[13,4,13,5],[14,2,14,3],[14,4,14,5],[15,2,15,3],[16,2,16,3],[17,2,17,3],[18,2,18,3],[19,2,19,3],[20,2,20,3],[21,2,21,3],[23,2,23,3]],"flags":["formulas_cached_only"]}
[null,"1.","Record Nr.",null,"UNISALENTO991003376309707536"]
[null,null,"Autore",null,"Iordanes : Gothus"]
[null,null,"Titolo",null,"Iordanis Romana et Getica / recensuit Theodorus Mommsen"]
[null,null,"Pubbl/distr/stampa",null,"Berolini : apud Weidmannos, 1961"]
[null,null,"Edizione",null,"[Editio nova]"]
[null,null,"Descrizione fisica",null,"LXXIII, 200 p. ; 30 cm."]
[null,null,"Collana",null,"Monumenta Germaniae historica. Scriptores"]
[{"$nulls":4},"Monumenta Germaniae historica. Auctores antiquissimi ; 5,1"]
[null,null,"Lingua di pubblicazione",null,"Latino"]
[null,null,"Formato",null,"Materiale a stampa"]
[null,null,null,"Livello bibliografico","Monografia"]
[null,null,null,"Note generali","Rist. dell'ed.: Berolini : apud Weidmannos, 1882."]
[null,"2.","Record Nr.",null,"UNINA9910774789803321"]
[null,null,"Autore",null,"Reid Darren R."]
[null,null,"Titolo",null,"Documentary making for digital humanists / / Darren R. Reid, Brett Sanders"]
[null,null,"Pubbl/distr/stampa",null,"Cambridge, UK : , : Open Book Publishers, , 2021"]
[null,null,"Descrizione fisica",null,"1 online resource (viii, 283 pages)"]
[null,null,"Collana",null,"Open field guides series"]
[null,null,"Disciplina",null,"070.18"]
[null,null,"Soggetti",null,"Digital humanities"]
[null,null,"Lingua di pubblicazione",null,"Inglese"]
[null,null,"Formato",null,"Materiale a stampa"]
[null,null,null,"Livello bibliografico","Monografia"]
[null,null,"Nota di contenuto",null,"The humanist auteur -- Learning to love the camera -- The production process -- Concept and planning -- Collaboration -- Precedent -- Choosing your filmmaking equipment -- Core methods -- Settings, lenses, focus, and exposure -- Composing a shot : tips and techniques -- Shots and compositions considered -- The visual language of cinema -- Interviews -- Recording audio and creating soundscapes -- Light -- Camera movement -- The two-page film school -- Post-mortem : making a short documentary about the 2016 presidential election -- Post-production workflow -- The three-act structure -- The protagonist -- Assembly -- Editing workflow in Adobe Premiere Pro -- Distribution and dissemination. 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 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° "]
[{"$nulls":4},"Rules -- Fundamentals -- 11. Shots and Compositions Considered -- 12. The Visual Language of Cinema -- Frame Rate Vulnerability, Strength, and Significance through Camera Angles -- Wide Shots, Close-Ups, Mid-Shots -- Aspect Ratios -- 13. Interviews -- Oral History and Interviewing -- 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 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 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."]
[null,null,null,"Sommario/riassunto","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."]