The first half of this book is devoted to teaching a systemized approach that can be used to design the very best moving shot for any dialogue scene, no matter how complex or long. Bettman's "Five Task” approach enables the aspiring director to quickly grasp this difficult element of directorial craft. In the second half the reader is taught how to shoot action sequences using moving and static cameras and the gamut of lenses to achieve the magic trick essential to shooting action — making stunts that are highly controlled and neither violent nor dangerous look completely mind-blowing.
The first half of this book is devoted to teaching a systemized approach that can be used to design the very best moving shot for any dialogue scene, no matter how complex or long. Bettman's "Five Task” approach enables the aspiring director to quickly grasp this difficult element of directorial craft. In the second half the reader is taught how to shoot action sequences using moving and static cameras and the gamut of lenses to achieve the magic trick essential to shooting action — making stunts that are highly controlled and neither violent nor dangerous look completely mind-blowing.Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
Gil Bettman is a director and a professor. He teaches at Chapman University in the Dodge College of Film and Media Arts. His book, First Time Director, made the Los Angeles Times bestseller list. He recently completed his fifth feature film, Go There Once, Be There Twice, a documentary recap of the life and times of rock star Sammy Hagar. Bettman has also directed numerous rock videos and multiple episodes of primetime television.
Inhaltsangabe
Acknowledgments Foreword by Robert Zemeckis 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
Acknowledgments Foreword by Robert Zemeckis 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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