The Rest of The Robots

"The Art of Cinematic Storytelling: A Visual Guide to Planning Shots, Cuts and Transitions is a practical introduction to the design of shots, cuts and transitions for film, video, television, animation and game design. The author/illustrator is a storyboard artist who has worked with and learned from over 200 professional directors and cinematographers. This book's clear and concise explanations and vivid examples demystify the visual design choices that are fundamental to directing and editing. Hundreds of illustrations and diagrams support the text. The primary emphasis is on blocking actors and positioning the camera for mood, meaning and continuity editing. This book delves deeply into controlling the audience's understanding and perception of time and space; designing in-camera time transitions; compressing and expanding time; composing creative shots for cinematic storytelling; choosing between objective and subjective storytelling; motivating camera moves; choosing lenses; using screen geography and film grammar for clarity; planning shots with continuity editing in mind; knowing how and when to cut; beginning and ending scenes; and using storyboards for planning and communication. Several chapters are devoted to how to block and shoot action involving travel, pursuits, searches, dialogue, groups and driving. While the approach is based largely on well-established techniques of cinematography and continuity editing, attention is also given to jump cuts, tableau shots and unconventional framing. The topics are covered thoroughly and systematically, and this book serves both as an introductory text and as a reference work for more advanced students of film"-- Provided by publisher Cover The Art of Cinematic Storytelling Copyright Dedication Contents Acknowledgments Introduction The Craft of Visual Storytelling How the Author Learned about Visual Storytelling Camera Positions Make a Dramatic Difference The Best Direction Is Invisible Learning More about Film Storytelling 1. Seven Film Storytelling Essentials Adding Meaning through Juxtaposition Telling the Story in a Series of Beats Putting the Audience Where the Story Is Making Cuts Smoother Using Motivated and Unmotivated Camera Movement Staying on One Side of the Action Starting a New Scene 2. Using Storyboards Shooting on Paper Aspect Ratios Indicating Action Using Arrows Illustrating One Shot in Two Panels Indicating Camera Movement Adding Labels, Dialogue, and Notes Numbering Scenes, Shots, Panels, and Pages Drawing Maps 3. Shot Composition Basics Composition Guidelines Framing People Some Classic Composition Techniques Unconventional Framing 4. Camera Angles, Lenses, and Storytelling Camera Height and Perspective Depth of Field Constant Object Size Normal Lens (50mm) and Storytelling Wide Lenses (under 50mm) and Storytelling Long Lenses (over 50mm) and Storytelling Pans, Tilts, and Lenses Focus and Storytelling Zooming and Storytelling 5. Designing Shots for Storytelling Types of Camera Movement Motivated and Unmotivated Camera Movement Deciding Whose Scene It Is Creating Objective and Subjective Shots Shot Size and Storytelling How the Direction of Movement Affects Storytelling Increasing the Illusion of Depth Shots That Capture Attention Designing Shots That Create Moods 6. Continuity Editing Basics The Importance of Left and Right to Editing Characters, Settings, and Cuts The Beta Effect and Shot Contrast Continuous Time and Space within a Scene Three Kinds of Jump Cuts Avoiding Jump Cuts 7. Storytelling Cuts and Film Grammar Reasons for Cutting Avoiding Beta Effects When Cutting How to Create Shot Contrast The Match Cut The Punch In Reverse Angles Entrances and Exits Cutting When Traveling with Characters Cutting between Stationary and Traveling Shots Motivating and Hiding Cuts Avoiding Cuts 8. 3D Spatial Continuity and 2D Screen Geography Juxtaposition Implies a Context in Space and Time What Is 3D Spatial Continuity? What Is 2D Screen Geography? Keeping Things on Their Side of the Screen Points of View, Eyelines, and Matching Tie-​Up Shots Opposed Looks and Eyeline Match Matching Shots for Dialogue Continuity of Screen Motion Crossing the Axis but Preserving Continuity Screen Geography That Spans Scenes Intentionally Flipping Screen Geography 9. Compressing, Expanding, and Ending Scenes Compressing Time within a Scene Expanding Time within a Scene Signaling the End of a Scene 10. Beginning Scenes and Using Transitions Cuts to the Past, Present, and Future A Jump Cut to a New Scene A Juxtaposition That Links Two Scenes A Hard Cut to a Character’s Action An Establishing Shot A Hard Cut to Close Action A Hard Cut to a Close-​Up of an Object An Off-​Screen Look or a POV An Entrance Using Action or Light to Reveal the Scene An Unmotivated Camera Reveals the Scene Other Ways to Open a Scene Editing-​Room Effects as Transitions 11. Scenes with Stationary Action The Setting and the Mood How to Make a Character Seem Important A Character Looks at Something Nearby A Character Looks at Something in the Distance A Stationary Character Watches Something Pass Using a False POV A Character Stands Up or Sits Down 12. Walking and Running Characters The Camera as an Objective Observer The Camera Travels with the Character The Camera Stops or Starts with a Traveling Character Compressing Travel Time Passing through a Doorway A Character Walks in a Park or a Forest 13. Stories about Searching An Example of a Story about a Search The Search Storyboard Making a Shot List and a Map 14. Stories about Following or Chasing General Considerations Starting a Pursuit from the Follower’s POV Starting a Pursuit from the Target’s POV Tie-​Up Shots during a Pursuit 15. Two-​Character Dialogue The Geometry of Two-​Character Conversations Beginning Dialogue Ending Dialogue 16. Three-​Character Dialogue Three Standing Characters Talk Three Seated Characters Talk Three Characters Walk and Talk 17. Group and Crowd Scenes Four People Seated at a Table A Boardroom Meeting Formal Gatherings Informal Gatherings with a Speaker and a Crowd A Crowd Watches a Fight 18. Shooting Driving Scenes A Car Drives Away A Car Arrives A Car Travels A Driver with No Passengers A Driver and a Front-​Seat Passenger A Driver with One Back-​Seat Passenger A Driver with Passengers in the Front and Back A Driver with Two Back-​Seat Passengers Four Characters in a Car 19. Blocking for Cinematic Storytelling An Overall Plan for the Scene Some Classic Blocking Examples of Storytelling Approaches Glossary of Filmmaking Terms Index To dramatize a story using moving images, a director must have a full understanding of the meaning and emotional effect of all the various types of shots and cuts that are available to advance the story. Drawing upon his extensive experience as a storyboard artist who has worked with over 200 directors and cinematographers on television series and movies, author Kelly Gordon Brine provides a practical and accessible introduction to the design of shots, cuts, and transitions for film, television, animation, video, and game design.With hundreds of illustrations and diagrams, concise explanations of essential storytelling concepts, and vivid examples, The Art of Cinematic Storytelling demystifies the visual design choices that are fundamental to directing and editing. The author delves deeply into the techniques that visual storytellers use to captivate their audience, including blocking, camera positioning, transitions, and planning shots with continuity editing in mind. Practical advice on how to clarify time, space, and motion in many common situations such as dialogue, pursuits, and driving sequences makes this book an invaluable guide for all aspiring filmmakers. To dramatize a story using moving images, a director must have a full understanding of the meaning and emotional effect of all the various types of shots and cuts that are available to advance the story. Drawing upon his extensive experience as a storyboard artist who has worked with over 200 directors and cinematographers on television series and movies, author Kelly Gordon Brine provides a practical and accessible introduction to the design of shots, cuts, and transitions for film, television, animation, video, and game design. With hundreds of illustrations and diagrams, concise explanations of essential storytelling concepts, and vivid examples, The Art of Cinematic Storytelling demystifies the visual design choices that are fundamental to directing and editing. The author delves deeply into the techniques that visual storytellers use to captivate their audience, including blocking, camera positioning, transitions, and planning shots with continuity editing in mind. Practical advice on how to clarify time, space, and motion in many common situations — such as dialogue, pursuits, and driving sequences — makes this book an invaluable guide for all aspiring filmmakers. Seven Film Storytelling Essentials -- Using Storyboards -- Shot Composition Basics -- Camera Angles, Lenses And Storytelling -- Designing Shots For Storytelling -- Continuity Editing Basics -- Storytelling Cuts And Film Grammar -- 3d Spatial Continuity And 2d Screen Geography -- Compressing, Expanding And Ending Scenes -- Beginning Scenes And Using Transitions -- Stories With Stationary Action -- Stories About A Moving Character -- Stories About Searching -- Stories About Following Or Chasing -- Two-character Dialogue -- Three-character Dialogue -- Group And Crowd Scenes -- Shooting Driving Scenes -- Blocking And Cinematic Storytelling. Kelly Gordon Brine. Includes Index. Electronic Reproduction. Oxford Available Via World Wide Web. The Art of Cinematic Storytelling is a practical and accessible introduction to effective design of shots, cuts, and transitions in filmmaking. The author, an experienced storyboard artist who worked on hundreds of television and film projects, invites readers to learn how to tell a story and create emotions through moving images.