Book description
The newly-revised and updated fourth edition of Grammar of the Shot teaches readers the principles behind successful visual communication in motion media through shot composition, screen direction, depth cues, lighting, camera movement, and shooting for editing. Many general practices are suggested that should help to create rich, multi-layered visuals. Designed as an easy-to-use reference, Grammar of the Shot presents each topic succinctly with clear photographs and diagrams illustrating key concepts, practical exercises, and quiz questions, and is a staple of any filmmaker’s library.
New to the fourth edition:
- an expanded companion website at www.routledge.com/cw/Bowen, offering downloadable scenes and editable raw footage so that students can practice the techniques described in the book, and instructional videos showcasing examples of different compositional choices;
- new and expanded quiz questions and practical exercises at the end of each chapter to help test readers on their knowledge using real-world scenarios;
- updated topic discussions, explanations, illustrations, and visual examples.
Together with its companion volume, Grammar of the Edit, the core concepts discussed in these books offer concise and practical resources for both experienced and aspiring filmmakers.
Table of contents
- Cover
- Half Title
- Title Page
- Copyright Page
- Table of Contents
- Introduction
- Acknowledgements
-
Chapter One – The Shots: What, How, and Why?
- What to Show Your Audience?
- Choosing Your Frame
- An Introduction to Shot Types: The Basic Building Blocks of Motion Pictures
- The Extended Family of Basic Shots: The Powers of Proximity
- Why Do We Even Have Different Shot Types?
- Pulling Images from the Written Page
- Phases of Film Production
- Let’s Practice
- Chapter One – Final Thoughts: The Pictures Speak
- Related Material Found in Chapter Seven – Working Practices
- Chapter One – Review
- Chapter One – Exercises
- Chapter One – Quiz Yourself
-
Chapter Two – The Basics of Composition
- Simple Guidelines for Framing Human Subjects
- Camera Angle
- The Two-Shot: Frame Composition with Two People
- The Three-Shot
- Chapter Two – Final Thoughts: Wrapping Up the Basics of Composition
- Related Material Found in Chapter Seven – Working Practices
- Chapter Two – Review
- Chapter Two – Exercises
- Chapter Two – Quiz Yourself
-
Chapter Three – Composition: Beyond the Basics
- The Illusion of the Third Dimension
- The Use of Lines
- The Depth of Film Space: Foreground, Middle Ground, and Background
- Depth Cues
- The Camera Lens: The Observer of Your Film World
- Chapter Three – Final Thoughts: Directing the Viewer’s Eyes Around Your Frame
- Related Material Found in Chapter Seven – Working Practices
- Chapter Three – Review
- Chapter Three – Exercises
- Chapter Three – Quiz Yourself
-
Chapter Four – Lighting Your Shots: Not Just What You See, but How You See It
- Light as an Element of Composition
- Light as Energy
- Color Temperature
- Quantity of Light: Sensitivity
- Quantity of Light: Exposure
- Quality of Light: Hard versus Soft
- Contrast
- Color
- Basic Character Lighting: The Three-Point Lighting Method
- Motivated Lighting: Angle of Incidence
- Set and Location Lighting
- Controlling Light: Basic Tools and Techniques
- Chapter Four – Final Thoughts: Learning to Light … and Lighting to Learn
- Related Material Found in Chapter Seven – Working Practices
- Chapter Four – Review
- Chapter Four – Exercises
- Chapter Four – Quiz Yourself
- Chapter Five – Will It Cut? Shooting for Editing
-
Chapter Six – Dynamic Shots: Subjects and Camera in Motion
- The Illusion of Movement on a Screen
- Presentation Speed: Slow Motion and Fast Motion
- Subjects in Motion: Blocking Talent
- Camera in Motion
- Equipment Used to Move the Camera
- Chapter Six – Final Thoughts: Movies Should Move
- Related Material Found in Chapter Seven – Working Practices
- Chapter Six – Review
- Chapter Six – Exercises
- Chapter Six – Quiz Yourself
-
Chapter Seven – Working Practices
- 1. Storyboards and Shot Lists
- 2. Slate the Head of Your Shots
- 3. Help the Boom Operator to Place the Microphone
- 4. Use of Two of More Cameras
- 5. Be Aware of Reflections
- 6. Communicating with the Talent
- 7. Safe Action/Safe Title Areas
- 8. How to Manually Focus a Zoom Lens
- 9. Always Have Something in Focus
- 10. Control Your Depth of Field
- 11. Be Aware of Headroom
- 12. Shooting Tight Close-Ups
- 13. Beware of Wide Lenses When Shooting Close-Up Shots
- 14. Try to Show Both Eyes of Your Subject
- 15. Be Aware of Eye-Line Directions in Closer Shots
- 16. Place Important Objects in the Top Half of Your Frame
- 17. Keep Distracting Objects out of the Shot
- 18. Use the Depth of the Film Space to Stage Shots with Several People
- 19. Ensure an Eye Light
- 20. Be Aware of Color and Contrast Choices Made Throughout Your Project
- 21. Allow the Camera More Time to Record Each Shot
- 22. Follow Action with a Loose Pan and Tilt Tripod Head
- 23. Shooting Overlapping Action for the Edit
- 24. Frame for Correct Look Room on Shots that Will Edit Together
- 25. Shoot Matching Camera Angles When Covering a Dialogue Scene
- 26. A Three-Person Dialogue Scene: Matching Two-Shots Can Be Problematic for the Editor
- 27. Beware of Continuity Traps While Shooting a Scene
- 28. Ways to Cross the-Degree Line Safely
- 29. The Long Take
- 30. Zooming During a Shot
- 31. Motivate Your Dolly-In and Dolly-Out Camera Moves
- 32. Use Short-Focal-Length Lenses to Reduce Handheld Camera Shake
- 33. Allow Actions to Complete Before Cutting the Camera
- 34. Shooting a Chromakey
- 35. Shooting B-Roll,nd Unit, and Stock Footage
- 36. Shooting a Talking-Head Interview
- 37. During Documentary Filming, Be as Discreet as Possible
- 38. Use Visual Metaphors
- 38. Aim for a Low Shooting Ratio
- Chapter Seven – Review
- Chapter Seven – Exercises
- Chapter Seven – Quiz Yourself
-
Chapter Eight - Concluding Thoughts
- Know the Rules Before You Break the Rules
- The Reason for Shooting Is Editing
- Your Shots Should Enhance the Entire Story
- Involve the Viewer as Much as Possible
- Take Pride in the Quality of Your Work
- Practice Proper Set Etiquette
- Know Your Equipment
- Be Familiar with Your Subject Matter
- Understand Lighting – Both Natural and Artificial
- Study What Has Already Been Done
- Conclusion
- Appendix A – Helpful Resources for the New Filmmaker
- Appendix B – Crew Members Commonly Needed for Motion Picture Production
- Glossary
- Index
Product information
- Title: Grammar of the Shot, 4th Edition
- Author(s):
- Release date: July 2017
- Publisher(s): Routledge
- ISBN: 9781351803519
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