Grammar of the shot
"Tell effective visual stories by utilizing the "grammar of film and video with this elegant, modular reference. See what you absolutely need to know to put together your own film or video, shot by shot. Whether you're just learning how to frame a shot or simply looking for a refreshe...
| Otros Autores: | , |
|---|---|
| Formato: | Libro electrónico |
| Idioma: | Inglés |
| Publicado: |
Burlington, Mass. :
Focal Press
2013.
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| Edición: | 3rd ed |
| Materias: | |
| Ver en Biblioteca Universitat Ramon Llull: | https://discovery.url.edu/permalink/34CSUC_URL/1im36ta/alma991009628260406719 |
Tabla de Contenidos:
- Cover; Half Title; Title Page; Copyright; Contents; Acknowledgments; Introduction; Chapter One - The Shots: What, How and Why?; What to Show Your Audience?; Choosing Your Frame; Aspect Ratio; Further Exploration - A Brief History of Aspect Ratios; Further Exploration - Why We Might Like Widescreen so Much; The Basic Cinematic Building Blocks - An Introduction to Shot Types; Long Shot/Wide Shot; Medium Shot; Close-Up; The Extended Family of Basic Shots - The Powers of Proximity; Extreme Long Shot/Extreme Wide Shot; Very Long Shot/Very Wide Shot; Long Shot/Wide Shot/Full Shot
- Medium Long Shot/Knee ShotMedium Shot/Waist Shot/Mid; Medium Close-Up/Bust Shot; Close-Up; Big Close-Up (UK)/Choker (USA); Extreme Close-Up; Why Do We Even Have Different Shot Types?; Chapter One - Review; Chapter One - Exercises & Projects; Chapter One - Quiz Yourself; Pulling Images from the Written Page; Scripts and Script Breakdown; Shot Lists; Storyboards; Phases of Film Production; Let's Practice; Chapter Two - The Basics of Composition; Simple Guidelines For Framing Human Subjects; Headroom; Subjective Versus Objective Shooting Styles; Look Room/Nose Room; The Rule of Thirds
- Camera AngleHorizontal Camera Angles; Vertical Camera Angles; The Two-Shot: Frame Composition with Two People; The Profile Two-Shot; The Direct-to-Camera Two-Shot; The Over-the-Shoulder Two-Shot; The Dirty Single; The Power Dynamic Two-Shot; The Three-Shot; Wrapping up the Basics of Composition; Chapter Two - Review; Chapter Two - Exercises & Projects; Chapter Two - Quiz Yourself; Chapter Three - Composition - Beyond the Basics; The Illusion of the Third Dimension; The Use of Lines; The Horizon Line; Vertical Lines; Dutch Angle; Diagonal Lines; Curved Lines
- The Depth of Film Space - Foreground/Middle Ground/BackgroundForeground; Middle Ground; Background; Depth Cues; Overlapping; Object Size; Atmosphere; The Camera Lens - The Observer of Your Film World; Primes vs Zooms; The Prime Lens; The Zoom Lens; Lens Perspective; Lens Focus - Directing the Viewer's Attention; Pulling Focus or Following Focus; Chapter Three - Review; Chapter Three - Exercises & Projects; Chapter Three - Quiz Yourself; Chapter Four - Lighting Your Shots - Not Just What You See, but How You See It; Light as an Element of Composition; Light as Energy; Color Temperature
- Color Balance of Your CameraNatural and Artificial Light; Correcting or Mixing Colors on Set; Quantity of Light: Sensitivity; Quantity of Light: Exposure; Quality of Light: Hard Versus Soft; Hard Light; Soft Light; Contrast; Low-key Lighting; High-key Lighting; Color; Basic Character Lighting: Three-Point Method; Contrast Ratio or Lighting Ratio; Motivated Lighting - Angle of Incidence; Front Lighting; Side Lighting; Lights from Behind; Lights from Other Places; Set and Location Lighting; Controlling Light - Basic Tools and Techniques; Light ... and the Light Years of Learning
- Chapter Four - Review
