The newly-revised and updated fourth edition of Grammar of the Shot teaches readers the principles behind successful visual communication in motion media through shot composition, screen direction, depth cues, lighting, camera movement, and shooting for editing. Many general practices are suggested that should help to create rich, multi-layered visuals. Designed as an easy-to-use reference, Grammar of the Shot presents each topic succinctly with clear photographs and diagrams illustrating key concepts, practical exercises, and quiz questions, and is a staple of any filmmaker's library.
New to the fourth edition:
an expanded companion website at www.routledge.com/cw/Bowen, offering downloadable scenes and editable raw footage so that students can practice the techniques described in the book, and instructional videos showcasing examples of different compositional choices;
new and expanded quiz questions and practical exercises at the end of each chapter to help test readers on their knowledge using real-world scenarios;
updated topic discussions, explanations, illustrations, and visual examples.
Together with its companion volume, Grammar of the Edit, the core concepts discussed in these books offer concise and practical resources for both experienced and aspiring filmmakers.
Auflage
Sprache
Verlagsort
Verlagsgruppe
Zielgruppe
Für höhere Schule und Studium
Für Beruf und Forschung
Further/Vocational Education, Postgraduate, Professional, and Undergraduate
Illustrationen
200 s/w Abbildungen, 3 s/w Tabellen
3 Tables, black and white; 200 Illustrations, black and white
Maße
Höhe: 229 mm
Breite: 152 mm
Gewicht
ISBN-13
978-1-138-63221-9 (9781138632219)
Copyright in bibliographic data and cover images is held by Nielsen Book Services Limited or by the publishers or by their respective licensors: all rights reserved.
Schweitzer Klassifikation
Christopher J. Bowen has worked within the motion media industries for over 18 years as a cinematographer, editor, director, and educator. Currently, he is an Associate Professor of Film Production and Visual Media Writing at Framingham State University. He is also an Avid Certified Instructor, Creative Director of his own media production company, Fellsway Creatives, and author of the companion text, Grammar of the Edit.
Autor*in
Framingham State University, USA
Acknowledgments Introduction Chapter One aEUR" The Shots: What, How and Why? What to Show Your Audience? Choosing Your Frame Aspect Ratio A Brief History of Aspect Ratios Further Exploration aEUR" Why We Might Like Widescreen so Much An Introduction to Shot Types - The Basic Building Blocks of Motion Pictures Long Shot / Wide Shot Medium Shot Close-Up The Extended Family of Basic Shots aEUR" 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 Shot Medium 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? Pulling Images from the Written Page Script Breakdown for Cinematographers Shot Lists Storyboards Phases of Film Production LetaEUR (TM)s PracticeChapter One Summation aEUR" The Pictures SpeakRelated Material Found in Chapter Seven: Working Practices Chapter One aEUR" Review Chapter One aEUR" Exercises & Projects Chapter One aEUR" Quiz Yourself Chapter Two aEUR" 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 Angle Horizontal Camera Angles360 Degrees MethodClock Face MethodCamera Position MethodThe Frontal ViewThe A3/4 ViewThe Profile ViewThe A3/4 Back ViewThe Full Back View Vertical Camera AnglesNeutral Angle ShotHigh Angle ShotHigh Angle of an IndividualHigh Angle as a POVHigh Angle of an EnvironmentLow Angle ShotLow Angle of
