The Filmmaker's Eye - Download as PDF File .pdf), Text File .txt) or read online. The Filmmaker's Eye. Read Online By Gustavo Mercado: The Filmmaker's Eye: Learnin pdf Mercado: The Filmmaker's Eye: Learning (and Breaking) the Rules of Cinematic . The Filmmaker's Eye: Learning (and Breaking) the Rules of Cinematic Composition by Gustavo Mercado. Read online, or download in secure PDF or secure.
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the filmmaker's eye. Basic Cinematic Composition. Page 2. Page 3. What is Composition? “The artistic arrangement of the parts of a picture”. Page 4. What is . [PDF] The Filmmaker's Eye: Learning (and Breaking) the Rules of Cinematic Composition [EBOOK |EPUB |ONLINE |FREE EBOOK] FOR. THE FILMMAKER'S EYE. LEARNING (AND BREAKING) THE RULES OF CINEMATIC COMPOSITION. GUSTAVO MERCADO.
This preview shows page 1 - 6 out of 13 pages. Want to read all 13 pages? You've reached the end of your free preview. Returning from the theatre, we discussed the movie; some of my friends liked it, some found it a bit slow. At one point, the discussion focused on the Cinematography, and one of my friends recalled how bril— liant the shot shown on the opposite page was.
Learning and Breaking the Rules of Cinematic Composition 2.
Learning and Breaking the Rules of Cinematic Composition 3. This is the only book that combines conceptual and practical instruction on creating polished and eloquent images for film and video with the technical know-how to achieve them.
Loaded with hundreds of full-color examples, The Filmmaker's Eye is a focused, easy-to-reference guide that shows you how to become a strong visual storyteller through smart, effective choices for your shots. After a short introduction to basic principles, a variety of shots are deconstructed in the following format: Why It Works: Breaking the Rules: Helps you make smart visual choices with this quick, focused, and visual guide to cinematic composition.
Shows you how to master the rules, then break them. Includes examples and discussions from a range of international films. Learning and Breaking the Rules of Cinematic Composition 6.
Click here to readmore 7. Book Detail Paperback: Focal Press; 1 edition September 15, Language: English ISBN Read more 9.
Or was there something else that made this shot so memorable? To understand why this shot works so well, we need to know a bit about the context in which it appears.
Natalie [Anna Kendrick], is a corporate up and comer who devises a Way to fire employees remotely using webcams, saving her Company la professional corporate termination service] a lot of money spent flying their specialists to companies who need their services. Ryan [George Clooney], a senior firing Specialist who is dubious of a system that precludes all real hUman contact, questions its soundness.
Their boss prompt— ly puts Ryan in charge of Natalie's education, and the two are sent out as a team, so Natalie can experience firsthand firing Someone face to face. After a heart—wrenching montage of Erriployees reacting to the news of their firing, the film cuts to a shot of Natalie sitting alone in a room full of empty of- fice chairs as she waits for Ryan.
When he arrives to pick her up he asks her if she is OK, but she shrugs off the question, and they leave together. Now that we know the backstory of the shot, we can better understand what makes it work so well.
In terms of its composition, the shot does not appear to be particularly complex. It looks like a simple wide shot of Natalie surrounded by empty office chairs.
The use of a long shot [a shot that includes a sub- jects entire body and a large portion of their surrounding area] allowed the inclusion of a lot of chairs clustered around Natalie, emphasizing the large number of people shefired on that day, and makes her look small and lonely in the frame.
The slight high angle also creates a composition that makes the empty chairs easy to see; if the shot had been taken at her eye level, for instance, most of the chairs would have been blocked from sight by the ones in the foreground.
The high angle also makes Natalie look defeated, vulnerable, and distraught [high angles are often used to convey these emo- tions in characters].
Natalie's placement in the frame fol— lows the rule of thirds, creating a dynamic composition that gives her viewing room on the side of the frame she is facing; more importantly, this placement also makes it look as if the chairs were pushing her into a corner, physically and emo- tionally [placing her at the center of the composition would not have conveyed this idea].
All of these compositional decisions convey a very spe— cific idea regarding how Natalie really feels at that moment. The composition of this shot tells the audience that behind the corporate, no-nonsense exterior she projects, she hides an emotional side of her personality, one that is affected by the real human fallout of her profession.
But the beauty and drae matic weight of this shot is not the result of simply applying the rules of composition; this shot works as well as it does because its technical elements.
The shot made a strong and lasting impression on my friends and me because it was not just visually striking, but more importantly, narratively resonant and eloquent. This book presents an integrated approach to un— derstanding and applying the rules of cinematic composi- tion, one that takes into account the technical and narrative aspects that make shots like the example from Up in the Air so powerful.
By focusing on the rules of cinematic composition as they apply to each of the most widely used shots ofthe cinematic vocabulary, examining the tools and know—how necessary to create them, and analyzing each shot's narrative function within their respective films.
But why focus on the rules of composition as they apply to specific shot types instead of looking at these principles in a broader, more general sense, as they can be applied to any XIV visual composition? The answer is simple. These technical and visual conventions are 'ntricately connected to narrative conventions, which over t'me have linked key moments in a story with the use of part'cular shots.
A detailed analysis of how these visual, technica, and narrative conventions ap— ply to each specific shot type can reveal the mechanics that contributed to their becoming conventions in the first place.
Another concept th's book proposes is that the rules of cinematic composition are not written in stone. For this reason, every shot ana yzed includes an example where the rules were broken. You will find that the old adage "learn the rules so you know how to break them properly" works just as advertised.
The integrated approach of this book and its specific focus on the basic building blocks of the cinematic vocabu— lary preclude a comprehensive discussion of every possible concept and technical aspect related to visual composition.
However, you will find a number of essential terms related to composition and cinematography in bold in most chapters. These frequently used terms are defined in the Principles of Composition and Technical Concepts chapter. If you wish to develop a more encyclopedic understanding of every concept and rule however, you should consider other sources that deal with visual composition as a comprehensive subject.
TV, and Digital Media, also pub- lished by this press; it is a well illustrated. Popular Features.
New in The Filmmaker's Eye: The Language of the Lens: Description The Language of the Lens explores the expressive power of the camera lens and the storytelling contributions that this critical tool can make to a film project.
This book offers a unique approach to learning how lenses can produce aesthetically and narratively compelling images in movies, through a close examination of the various ways lens techniques control the look of space, movement, focus, flares, distortion, and the "optical personality" of your story's visual landscape.
Loaded with vivid examples from commercial, independent, and world cinema, The Language of the Lens presents dozens of insightful case studies examining their conceptual, narrative, and technical approaches to reveal how master filmmakers have harnessed the power of lenses to express the entire range of emotions, themes, tone, atmosphere, subtexts, moods, and abstract concepts. The Language of the Lens provides filmmakers, at any level or experience, with a wealth of knowledge to unleash the full expressive power of any lens at their disposal, whether they are shooting with state-of-the-art cinema lenses or a smartphone, and everything in between.
Product details Format Paperback pages Dimensions Review quote "The Language of the Lens is a truly illuminating book, inspiring for emerging filmmakers as well as veteran directors and cinematographers.