Grammar of the shot
People 'read' pictures as they do words, and pictures, like sentences, have their own grammar. A picture maker must be able to use the grammar correctly so that the visual story to be told will be clear and easily understood by all the audience. Grammar of the Shot is a manual for novice s...
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| Formato: | Libro electrónico |
| Idioma: | Inglés |
| Publicado: |
Burlington, MA :
Focal Press
©2009.
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| Edición: | 2nd ed |
| Materias: | |
| Ver en Biblioteca Universitat Ramon Llull: | https://discovery.url.edu/permalink/34CSUC_URL/1im36ta/alma991009627350906719 |
Tabla de Contenidos:
- Front Cover; Grammar of the Shot; Copyright Page; Contents; Acknowledgments; Introduction; Chapter One - The Shot and How to Frame It; What to Show Your Audience?; Aspect Ratio; The Basic Building Blocks-The Different Shot Type Families; Medium Shot; Close-Up; Long Shot; The Extended Family of Basic Shots; Extreme Long Shot; Very Long Shot; Long Shot/Wide Shot; Medium Long Shot; Medium Shot; Medium Close-Up; Close-Up; Big Close-Up; Extreme Close-Up; End of Chapter One Review; Chapter Two - The Art of Composition; Simple Rules for Framing Human Subjects; Headroom
- Subjective vs Objective Shooting StylesLook Room; The Rule of Thirds; Camera Angle; Horizontal Camera Angles; Vertical Camera Angles; High Angle Shot; Low Angle Shot; The Two-Shot: Frame Composition with Two People; The Profile Two-Shot; The Direct to Camera Two-Shot; The Over-the-Shoulder Two-Shot; Wrapping up the Basics of Composition; End of Chapter Two Review; Chapter Three - Composition-Beyond the Basics; The Third Dimension; The Horizon Line; Dutch Angle; Diagonal Lines; The Depth of Film Space-Foreground/Middle Ground/Background; Foreground; Middle Ground; Background; Depth Cues
- The Camera Lens-The Eye in CompositionThe Zoom Lens; Lens Focus-Directing the Viewer's Eye Around Your Frame; Pulling Focus vs Following Focus; Light in Composition-Now You See It, Now You Don't; Light as Energy; Color Temperature; Natural or Artificial Light; Quantity of Light: Sensitivity and Exposure; Quality of Light: Hard vs Soft; Contrast; Basic Character Lighting: Three Point Method; Set and Location Lighting; End of Chapter Three Review; Chapter Four - Putting Your Shots Together: Prethinking the Editing Process; Matching Your Shots in a Scene; Continuity
- Continuity of Screen DirectionThe Line-Basis for Screen Direction; The Imaginary Line-The 180 Degree Rule; ""Jumping the Line""; The 30 Degree Rule; Reciprocating Imagery; Eye-Line Match; End of Chapter Four Review; Chapter Five - Dynamic Shots-Talent and Camera in Motion; Blocking Talent; Camera in Motion; Handheld; Advantages; Disadvantages; Pan and Tilt; Shooting the Pan and the Tilt; The Start Frame; The Camera Movement; The End Frame; Equipment Used to Move the Camera; Tripod; Dolly; Crab; Truck; Steadicam; Cranes and Such; End of Chapter Five Review
- Chapter Six - Working Practices and General GuidelinesCommunicating with Talent; Shooting a Big Close-Up or Extreme Close-Up; Ensure an Eye Light; Safe Action Line and Domestic Cutoff; Follow Action with Loose Pan and Tilt Tripod Head; Shooting Overlapping Action for the Edit; Continuity of Action; Matching Speed of Action; Overlapping Too Much Action; Shooting Ratio; Storyboards and Shot Lists; Always Have Something in Focus; Frame for Correct ""Look Room"" on Shots That Will Edit Together; Shoot Matching Camera Angles When Covering Dialogue
- Place Important Objects in the Top Half of Your Frame
