Book description
Learn how to use the basic “grammar” of making films and videos in Grammar of the Shot! This book shows you in no uncertain terms what you absolutely need to know to put together your own film or video, shot by shot. Whether you are just learning how to frame a shot or if you just need a refresher, this book gives you a basic toolkit of how to build a successful visual story that flows smoothly. Grammar of the Shot begins with an explanation of the essential visual language of filmmaking-the book takes you from the basic shape of a shot, to different types to shots, to composition of visual elements within each frame. You will be given the basic building blocks essential for successful shot lighting, screen direction, 3D elements, camera movement, and many general practices that make for a richer, multi-layered visual presentation. Most importantly, you will be given crucial background information to expand your visual vocabulary and help jumpstart your career in film and video. Designed as an easy-to-use reference, each topic is covered succinctly and is accompanied by clear photographs and diagrams that illustrate the key concepts presented in the book. Simple, elegant, and easy to use, Grammar of the Shot is a staple of any filmmaker’s library.
Don't miss the companion volume, Grammar of the Edit! (9780240521206)
* A simple and clear overview of the principles of shooting...timeless information that will improve your work
* Designed as a quick reference: each topic covered in an illustrated two-page spread
* Together with its companion volume Grammar of the Edit, these little books are all the beginning filmmaker needs
Table of contents
- Cover
- Half Title
- Title
- Copyright
- Contents
- Acknowledgments
- Introduction
- Chapter One – The Shot and How to Frame It
-
Chapter Two – The Art of Composition
- Simple Rules for Framing Human Subjects
- Headroom
- Subjective vs Objective Shooting Styles
- Look 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
- Depth Cues
- The Camera Lens—The Eye in Composition
- The Zoom Lens
- Lens Focus—Directing the Viewer’s Eye Around Your Frame
- 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
- Chapter Five – Dynamic Shots—Talent and Camera in Motion
-
Chapter Six – Working Practices and General Guidelines
- Communicating 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
- 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
- Be Aware of the Color Choices Made Throughout Your Project
- Always Be Aware of Headroom
- Keep Distracting Objects Out of the Shot
- Use the Depth of Your Film Space to Stage Shots with Several People
- In a Three Person Dialogue Scene, Matching Two Shots Can Be Problematic for the Editor
- Try to Always Show Both Eyes of Your Subject
- Be Aware of Eye-Line Directions in Closer Shots
- Understand When and How to Perform a Zoom during a Shot
- Motivate Your Truck In and Truck Out Dolly Moves
- Ways to Cross the 180 Degree Line Safely
- Allow the Camera More Time to Record Each Shot
- Allow All Actions to Complete before Cutting Camera
- During Documentary Shooting Be as Discrete as Possible
- Beware of Continuity Traps While Shooting a Scene
- Use Short Focal Length Lenses to Hide Camera Movement
- Beware of Wide Lenses When Shooting Close-Up Shots
- Control Your Depth of Field
- Slate the Head of Your Shots
- End of Chapter Six Review
-
Chapter Seven-In Conclusion
- Know the Rules Before You Break the Rules
- The Reason for Shooting Is Editing
- Your Shots Should Enhance the Entire Story
- Involve the Viewer as Much as Possible
- Try Hard Not to Be Obtrusive
- Know Your Equipment
- Be Familiar with Your Subject
- Understand Lighting—Both Natural and Artificial
- Study What Has Already Been Done
- In Summation
- Glossary
- Index
Product information
- Title: Grammar of the Shot, 2nd Edition
- Author(s):
- Release date: October 2012
- Publisher(s): Focal Press
- ISBN: 9781136058776
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