Biography Master Shots Ebook


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Advanced Camera Techniques to Get an Expensive Look on Your Low-Budget Movie. Master Shots gives filmmakers the techniques they need to execute complex, original shots on any budget. Master Shots Vol 3: The Director's Vision. Read "Master Shots Vol 2 Shooting Great Dialogue Scenes" by Christopher Kenworthy available from Rakuten Kobo. Sign up today and get $5 off your first. Editorial Reviews. Review. 'THIS BOOK SHOULD BE BANNED! These are the really cool tricks eBook features: Highlight, take notes, and search in the book; In this edition, page numbers are just like the physical edition; Length: pages ; Enhanced.

Master Shots Ebook

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Editorial Reviews. Review. 'You can take ten years to figure out lensing or you can read this . good illustrations set it apart. Op for the printed version since e- books are only giving you so much when it comes to visual information. Read more. Christopher Kenworthy - () - Master shots: Advanced Camera Techniques to Get an Expensive Look on Your Low Budget Movie. Master Shots Ebooks with HD video and Audio - Free download as PDF File .pdf ), Text File .txt) or view presentation slides online. Master Shots Books have.

This works best when the actors are brawling and dragging each other around. As such, it may come later on in a fight, when the characters are tired and struggling. Set up your camera alongside the actors, at about head height. During their struggle, one actor should drag or push the other actor across the room.

Your camera should move with the actors as they go.

To get the strongest feeling of movement, dont change the cameras height, pan angle or distance from the actors as you move. When actors move as a pair, their pace will never be completely even. As such, its easy to fall into the trap of following the two of them as a combined unit, to keep everything in shot. This has the effect of reducing the sense of motion. Instead, focus your cameras attention on one actor, rather than the two as a pair. The difference is subtle, but it is important.

As the actors come to a stop, hitting a wall or falling down, you can then change pan angle, camera height or distance, as this emphasizes that their motion has come to an abrupt end. It tells the audience that things are not going well for the character, and that the fight is being lost. On set, though, this can mean putting your actor in danger, or spending money on a stunt person.

A cheap alternative is to show your actor being punched, then cut to a close-up of the ground as your actor goes down. This tends to feel staged, however, and doesnt have the power of a single shot, taken without cuts. The solution is to combine the Long Lens Stunt with a simple camera move, which hides your actors gentle movement to the ground.

Rather than having your actor fall dangerously to the ground, you can disguise a gentle sit-down on to the floor and make it look like a dramatic moment.

These stills from Patriot Games illustrate the point. Harrison Ford fakes being punched, while the camera remains at head-level. He then gently sits back onto the ground.

Once hes dropped out of sight, the camera moves down to the ground, where Ford acts as though hes just hit the ground hard. Its extremely simple misdirection, but with the right timing and use of sound it looks completely convincing.

Set your camera up at eye level, behind the attacker. As the punch is faked, the victim fakes being punched and lowers gently to the ground and lies down. At the same time, the camera drops down to the victims eye level, with the attacker shielding the victims movement from view.

It helps if the attacker continues to make aggressive movements toward the victim during this camera move, so the audience has something to watch other than the camera move itself. Patriot Games. Directed by Phillip Noyce. Paramount Home Entertainment, In films, kicks can be used throughout a fight, but are especially useful when showing the build-up to a defeat. One character is on the ground, and the other is kicking. This can even occur after the main fight is over, and the winner is enjoying the victory.

How do you shoot this type of kick, without getting involved in complex stunt work? The best way is to shoot with the edit in mind from the outset, getting coverage that will enable the editor to make the kick look effective.

You cut from the shot of the attacker to the shot of the victim, at the exact moment of impact. By planning for this edit, you can get a better result than trying to show the entire kick-and-reaction in a single shot.

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To emphasize that one character has the upper hand, everything should be shot from down low. Point your camera up at the aggressor, who can kick something soft thats out of shot. Dont have your actor kick thin air, as that looks fake. Always put a mattress or some padding in there, to give your actor something to work with.

Your camera should be quite close to the actor, so that the audience really feels the kicks. For the second shot, again position your camera low to the ground, some distance back from the victim of the kicks. Use a long lens, which shortens apparent distance between aggressor and victim.

On action, the aggressor should simulate the end of a kick by pulling his foot upward or backward. At the same moment, the victim should recoil, as though the kick has landed. By itself, this will look terribly fake, but with sharp editing and sound, it will convince. When it comes to editing, let the first shot of the attackers face run for one or two kicks to give the audience the idea whats happening , then at the moment of the third impact, cut to the lower shot and see the victims reaction.

Superman Returns. Directed by Bryan Singer. Warner Home Video, In film, it usually takes a while longer, but characters who fight usually end up scrabbling on the floor after the real punching has been done.

Partly this is clich at work, but it also reflects the paradoxical intimacy of a fight. It shows that your characters arent just thumping each other for the sake of violence, but are involved in a confrontation as personal as a loving embrace. When your characters end up on the floor, the imbalance of power is more obvious. After all, somebody is on top. The same person may not stay on top for long, of course.

Most fights usually end on the floor, because you can see whether one person wins, or whether a truce is reached. Its simple to shoot toward the ground, over the shoulder of the character whos uppermost, but a little more effort is required to see this uppermost characters face in the reverse shot. Placing the camera on the floor, even without a tripod, will put it too close to the actors face. Ed Sikov. Setting Up Your Shots: Jeremy Vineyard.

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Master Shots, Volume 3

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Hans Bacher. Robert K. By hiding their flaws you can make them look better, but only within certain limits. A wooden performance will still look wooden. Ideally, you should rely on your relationship with the actor, rather than on a camera setup.

Sometimes, though, no matter how good you are, the actors come up against the limit of their talent, and then your job is to shoot in a way that makes the scene work.

Brilliant performances are often lost due to poor camera setups, and because of traditional film-making approaches.

Master Shots Ebooks with HD video and Audio

Most of the time people shoot a wide master, then some medium shots and some coverage. By the time you get to the close-ups the actors have burned out or got bored.

It depends on the actor, because some warm up over time, but many lose their energy. The best shots capture the space, the person within it, and let us see their entire performance. This is really what the Master Shots books are trying to show. How to shoot actors in a way that reveals the meaning and emotion of the scene. Q: Alfred Hitchcock is credited as saying that the test of a good film is if you can watch it with the sound off and still be able to figure out the plot and the relationships.

A great example is Children of Men. The same is probably true of Gravity, by the same director. Q: Which do you personally consider more of a challenge: to shoot a commercial, a music video or a full-length film? A: There are always restrictions and there are always opportunities.

The challenge with a feature film is holding an overall image in mind for months. Q: What was the inspiration behind the Master Shots concept and how did it go from one book to a trio? Consciously or not, they were using setups and moves to create feelings. For years I wanted somebody to read a book that decodes these techniques so I could use them. When nobody wrote the book I wanted, I started watching three films a day until I was able to write Master Shots Vol 1.

It was so successful that it was published as a 2nd Edition. Then came Master Shots Vol 2, which looks at dialogue. I really wanted to write that book, because there is so much you can do to make dialogue interesting, to really tell the story and catch the performance.

That book was a passion of mine. I loathe those scenes where actors look at each other and talk their lines out. I wanted to cure directors of that. The popularity of those two books made me wonder if we could create a third, but only if it really went beyond the first two books.

Q: Tell us about the transition you made to an ebook format and how the latter expands on what is already some very comprehensive content. A: The first two books were made available on the Kindle, but that was just a way of reading the same books on a tablet. We wanted to do something much more inventive, using video to illustrate the shots. So we took the best 75 shots from the print books, filmed them, and made three enhanced eBooks: Master Shots: Action, Suspense and Story. Q: Despite the fact that movie cameras continue to come down in price, what would you say to a struggling young filmmaker who laments that you can only craft kick-ass images if you have the most high-tech and expensive equipment?Master Shots has been translated into several languages and is used at film schools around the world.

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To really understand a chapter you need to read the text, study the images, and imagine how you could use the shot yourself. She has to decide whether to take the cure and lose her talent, or remain a depressed genius. Dream Worlds: Or because people think a moving or wobbling camera is somehow more exciting.

Ideally, you should rely on your relationship with the actor, rather than on a camera setup. And if you want your film to look beautiful, why leave that to the cinematographer?