| Edition |
2nd ed. |
| Description |
1 online resource (xiv, 261 pages, 4 unnumbered pages of illustrations) : illustrations (some color) |
| Physical Medium |
polychrome |
| Description |
text file |
| Note |
Previous edition: 1996. |
| Bibliography |
Includes bibliographical references (pages 249-250) and index. |
| Contents |
1. Invisible technique -- 2. Alternative technique -- 3. The lens, the eye and perception -- 4. The lens and perspective -- 5. Visual design -- 6. Frame -- 7. The shape of the screen -- 8. Widescreen composition and film -- 9. Widescreen composition and TV -- 10. Past influences -- 11. News and documentary -- 12. Composition styles -- 13. Lighting and composition -- 14. Colour -- 15. Staging -- 16. Movement -- 17. Shooting for editing -- |
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1. Invisible technique -- Learning the ropes -- A moving photograph -- Continuity cinema -- Shot -- Creation of 'invisible' technique -- Standard camerwork conventions -- Realistic representation -- Mechanical reproduction -- Framing a shot -- Composition -- Does the shot work -- Intuition -- 'I see what you mean!' -- Why composition is important -- Control of composition -- Visual design techniques -- Cultural influences -- Changing fashions -- Summary -- 2. Alternative technique -- Jump cuts -- Alternatives -- It's magic -- Realism and imagination |
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Film moment is always nowWhy people dislike the rejection of standard conventions -- Storytelling -- Don't wake me up -- Definition of alternative conventions -- Conventions -- Summary -- 3. Lens, the eye and perception -- Introduction -- Imprint of the lens -- Eye and a lens -- Size constancy -- How do we understand what we are looking at -- Characteristics of perception -- Summary -- 4. Lens and perspective -- Perception and depth -- Depth indicators and their relationship to the lens -- Focal length -- Angle of view -- Depth-of-field -- fno -- Zoom -- Focus -- Structural skeleton of a shot |
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Horizon line and camera height as a compositional deviceControlling space with choice of lens angle/camera distance -- Internal space of a shot -- Production style and lens angle -- Estimating distance -- Accentuating depth -- Summary -- 5. Visual design -- Introduction -- Movement -- Sound -- Controlling composition -- Design techniques -- Grouping and organization -- Balance -- Figure and ground -- Shape -- Line -- Rhythm and visual beat -- Pattern -- Interest -- Direction -- Colour -- Scale -- Abstraction -- Understanding an image -- Summary -- 6. Frame -- Composition and the frame -- Frame -- an invisible focus of power -- Static viewpoint |
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A hard cut-offLimited depth and perspective indicators -- Monochrome -- Edge of frame as a reference -- Frames within frames -- A second frame -- Frame and divided interest -- Summary -- 7. Shape of the screen -- Aspect ratio -- Shape of the screen and composition -- Viewfinder as an editing tool -- Could it have been different -- Invention of a world format standard -- Widescreen returns -- Design of the TV aspect ratio -- HDTV -- Need for a universal video format -- 16. :9 television widescreen -- A reasonable compromise between competing aspect ratios -- Divine proportion |
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Widescreen -- the shape of a banknoteSummary of film and television formats mentioned -- 8. Widescreen composition and film -- Finding ways to compose for the new shape -- Widescreen advantages -- Selling off the redundant format -- Pan and scan -- Cinematographers alarmed -- Boom in shot -- Growth of multiplexes -- Common topline and super 35 -- Summary -- 9. Widescreen composition and TV -- Introduction -- Letterboxing -- Aspect ratio conversion -- Protect and save -- Shooting for two formats -- Composing for 16:9 -- Fidgety zooms -- Transitional period -- Viewer takes control -- Inserting 4:3 material into a 16:9 production |
| Summary |
Behind each shot there lies an idea or purpose. When setting up a shot, the camera operator can employ a range of visual techniques that will clearly communicate the idea to an audience. Composition is the bedrock of the operator's craft, yet is seldom taught in training courses in the belief that it is an intuitive, personal skill. Peter Ward shows how composition can be learned, to enhance the quality of your work.Based on the author's own practical experience, the book deals with the methods available for resolving practical production questions such as: <BR id. |
| Local Note |
eBooks on EBSCOhost EBSCO eBook Subscription Academic Collection - North America |
| Subject |
Cinematography.
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Cinematography. |
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Composition (Photography)
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Composition (Photography) |
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Motion pictures -- Production and direction.
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Motion pictures -- Production and direction. |
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Television -- Production and direction.
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Television -- Production and direction. |
| Genre/Form |
Electronic books.
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Electronic books.
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| Other Form: |
Print version: Ward, Peter, 1936- Picture composition for film and television. 2nd ed. Oxford ; Boston : Focal Press, 2003 0240516818 9780240516813 (DLC) 2005415306 (OCoLC)49906865 |
| ISBN |
9780080497693 (electronic book) |
|
0080497691 (electronic book) |
|
9781136045059 |
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1136045058 |
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9780240516813 |
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0240516818 |
|
