Calgary Public Library

Storytelling techniques for digital filmmakers, plot structure, camera movement, lens selection, and more, Ross Hockrow

eng

illustrations

no index present

non fiction

Storytelling techniques for digital filmmakers

electronic resource

dictionaries

856869858

Ross Hockrow

plot structure, camera movement, lens selection, and more

The key elements of creating an effective film narrative-which involves a significant shift in mindset from still photography to motion capture-are detailed in this guide to becoming a standout digital videographer. Through teaching classic cinematic techniques for storytelling while addressing contemporary digital equipment and customer standards, the guide instructs such elements of filming as mixing the types of shots used, charting the plot, and introducing characters. Equipment use is also explored through the analysis of gear for camera mo

Front Cover; Copyright Page; Table of Contents; Introduction; Understand the "Why"; People Need Stories; Our Minds Are Wired for Stories; The Path to Successful Filmmaking; 1. The Structure of a Story; Aristotle's Unified Plot; Freytag's Plot Structure; Plot Structure in Practice; Exposition; Characters; Setting; Relationships; The Hook; Rising Action; exposition objectives; Climax; Falling Action; Resolution; Acts 1, 2, and 3; The Nature of Conflict; Relational Conflict; Situational Conflict; Inner Conflict; required viewing; Paranormal/Possibility Conflict; Cosmic Conflict; required viewingSocial ConflictOther Issues of Conflict; Perception of Conflict; Simultaneous Conflicts; No Conflict? No Plot; concept films; 2. Shot Sequencing; Filmmakers Create a Story; Forget About What Happened; The Camera Is the Viewer; Types of Sequences; Wide Shots; Medium Shots; Close-Ups; The B-Roll; The Order of the Shots; Medium, Wide, Close; Close, Close, Wide, Medium, Medium; Close-Ups in Context; Shot Order and Flow; 3. The Art of the Close-Up; Types of Close-Ups; Uses of Close-Ups; Identify the Character; Emphasize Important Lines; Show the Reaction; and how about point of view?As Establishing Elements4. Perspective and Point of View; What to Show; Trust the Viewfinder, Not Your Eyes; The Camera Is the Viewer; What the Character Sees; Camera Angles; High-Angle Shot; Low-Angle Shot; Eye-Level Shot; Point-of-View Shot; Bird's Eye-Angle; Worm's-Eye Angle; An unusual example; Dutch Angle; The 180 Rule; How the Concept Works; Implying Movement; controlling negative space; Cat in the Window; Lens Selection; Sensor Size; Aperture; focusing; 14mm, f/2.8 Lens; 24mm, f/1.4 Lens; 35mm, f/1.4 Lens; 50mm, f/1.2 Lens; 85mm, f/1.2 Lens; 135mm, f/2.0 Lens; 180mm (Macro), f/3.5 Lens5. Camera MovementCamera Movement and the Impact of 3-D; is movement required?; One More Time: The Camera Is the Viewer; Composition; The Rule of Thirds; Filling the Frame; Pan and Tilt; Tripod and Fluid Head; Panning; Follow Movement; Introduce a New Subject; Add Movement; The Quick Pan; Tilting; Follow Movement; Transitional Movement; cranes/jibs; The Fly on the Wall; A Human Feeling; Shoulder Mounts; required viewing; Tracking Shots; The Dolly; Types of Shots; Straight Dolly Shot; Curved Dolly Shot; Dolly In; Dolly Out; Vertigo (Push/Pull) Effect; Telephoto Lens on the DollyTracking Dolly ShotSteadicam; A Final Thought; required viewing; So, What Do I Really Need?; Monopod; Dolly/Slider; Tripod; Shoulder Mount; Steadicam; Car Mount; Crane; 6. Lighting, Color, and Exposure; The Power of Lighting; Camera Controls; ISO Setting; use a light meter; Frame Rate and Shutter Speed; Justify the Light; Find the Light; Enhance the Light Realistically; Consider Showing the Light Source; lighting outdoors; Cheating the Light; Shadows; Shadows on the Subject; Shadows Cast by the Subject; Lighting the Mood; lighting for effect; A Particular Challenge; Lighting Color; Red