Directing the Camera

Name: Directing the Camera | How Professional Directors Use a Moving Camera to Energize Their Films
Brand: Michael Wiese Productions
Price: 55.99 EUR
Availability: OnlineOnly

How Professional Directors Use a Moving Camera to Energize Their Films

Gil Bettman(Autor*in)

Michael Wiese Productions (Verlag)

1. Auflage

Erschienen am 30. Oktober 2013

208 Seiten

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978-1-61593-192-7 (ISBN)

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Inhalt

Cover
Title
Copyright
Dedication
Table of Contents
Acknowledgments
Foreword
Preface
How to Use This Book
Part One Why Teach How to Direct the Camera?
Chapter 1 The Importance of Directing the Camera
Part Two Shooting Dialogue Sequences with a Moving Camera
Chapter 2 Why Move Your Camera?
Overview
When Do You Move Your Camera?
Bob's Rule: The Three Kinds of Camera Movement that Are Invisible
Externally Generated Camera Moves
Externally Generated Camera Moves - Seamlessness and Eye Candy
Seamlessness
Eye Candy
Internally Generated Camera Moves
Moving Establishing Shots
Those Who Break Bob's Rule and Why They Do It
The Rise of the Snoopy Cam
Dogma Picks Up the Snoopy Cam
The Snoopy Cam Today
Summary Points
For Teachers
Chapter 3 The Good Moving Master
Overview
A Model Moving Master and Coverage - Jerry Maguire
Task 1 - Establishing
Task 2 - Seamlessness
Task 3 - Eye Candy
Task 4 - Drama
Task 5 - Coverage
The Default Pattern for Designing the Best Moving Master
The Master for The Mahjong Parlor from Conundrum - Following the Default Pattern
The Master with Warren Feur from What Lies Beneath - Seamlessness to the Max
The Master with Warren Feur - How Seamlessness to the Max Adds Eye Candy
The Master with Warren Feur - How Seamlessness to the Max Helps Reveal "Everything"
The Master of Norman's Confession - A Unique Master for a Unique Scene
Norman's Confession - Opening Beat - Why Zemeckis Departs from the Default Pattern
Norman's Confession - Middle Beat - Why Zemeckis Departs from the Default Pattern
Norman's Confession - Final Beat - Why Zemeckis Departs from the Default Pattern
Where to Design the Best Moving Master
Never Settle - The Key to Designing the Best Moving Master
Summary Points
For Teachers
Fifteen Walk and Talk Scenes
Part Three. . . . Directing Action Sequences
Chapter 4 Directing Action Sequences
Overview
How to Put the Camera in the Right Place
How to Put the Right Lens on the Camera
How to Get the Right Number of Pieces
Summary Points
Chapter 5 Lens Selection
Why Force Perspective?
Lens Selection as a Joint Responsibility Between Director and Cinematographer
The Basics of Perspective
Extreme Telephoto and Extreme Wide-Angle Versus Normal Perspective
Lenses - Field of Vision and Depth of Field
General Applications of Different Lenses
General Applications of Field of Vision and Depth of Field
Wide-Angle Lenses
Telephoto Lenses
General Applications of Perspective
How Lenses Affect Movement
Motion to the Lens or Away from the Lens - The Z-Axis
Motion Across the Lens - The X-Axis
Motion Across the Lens - The Y-Axis
A Good Way to Learn How Lenses Affect Motion
Summary Points
For Teachers
Chapter 6 Breaking Down Your Action Sequence
The Theory Behind Storyboarding and Pre-Visualization
The Storyboard in Practice - The Story in the Storyboard
The Storyboards for the Ambush from Never Too Young to Die
What We Actually Shot
Summary Points
For Teachers
Chapter 7 Directing a Chase Sequence
The Basic Rules
Tie-In Shots
The Story of the Chase
Strategy #1 - Wide-Angle Lenses - Pogo Cams - Narrow Spaces
Strategy #2 - Long Lenses in Open Spaces = More Eye Candy
Geography in Chase Sequences
Humor
Shooting Action/Chases with the Wide Lens Versus Shooting Action/Chases with the Long Lens
Summary Points
For Teachers
Chapter 8 Directing a Fight Sequence
The Basic Rules
The Two Setup Rule
Segments and Coverage
The Importance of Mastering Fights
The Importance of Good Operators and Good Assistants
The Joy of Stunts
Summary Points
For Teachers
Conclusion
About the Author

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