Loaded with hundreds of full-color examples, this focused, easy-to-reference guide shows you how to become an eloquent visual storyteller through effective and expressive choices for each and every shot in your film. The second edition of Filmmaker's Eye helps you gain a deeper understanding of the role each shot plays in the larger narrative scheme of your film, and the technical requirements necessary to achieve powerful and memorable images.
After a short introduction to principles, an extensive array of shot types are deconstructed in the following format:
* Why It Works: An introduction to the time-honored and tested traditional use of particular shot types.
* How It Works: Callouts point out exactly how shots work the way the do, revealing the visual rules, technical aspects, and cinematic techniques in action.
* Technical Considerations: The equipment, techniques, and technical variables to consider to get the shot you want.
* Breaking the Rules: Examples where the "rules" are brilliantly subverted for maximum expressive and stylistic impact.
The 2nd edition has been updated with new movie examples of various shots featured, a new chapter on The Overhead Shot, expanded sections on aspect ratios, rule of thirds, shooting formats, and more.
Arvustused
"Mercado's book is a great resource for aspiring cinematographers. Using a brilliant selection of images, both classic and contemporary, he eloquently analyzes the conception and execution of a shot. Most important, he manages to explain how to achieve an aesthetically beautiful image, while giving equal weight to the powerful role of cinematography in portraying the characters and telling the story." Florian Ballhaus, ASC, cinematographer of Flightplan, The Devil Wears Prada, and The Divergent Series: Insurgent
"Gustavo's book explores and details the techniques available with excellent examples of what works, why it works and how one can break with conventions for specific effect. A great resource for all, from students of the filmmaking craft through to seasoned practitioners intersted in contemplating their own instincts and why they do things the way they do." Denson Baker, ACS, NZCS, cinematographer of The Dark Horse, Ophelia and The Luminaries
| Acknowledgments |
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xi | |
| Preface to the second edition |
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xiii | |
| Introduction |
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1 | (42) |
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5 | (6) |
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11 | (10) |
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Rules of cinematic composition & technical concepts |
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21 | (22) |
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43 | (6) |
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49 | (6) |
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55 | (6) |
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61 | (6) |
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67 | (6) |
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73 | (6) |
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79 | (8) |
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87 | (6) |
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93 | (6) |
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99 | (6) |
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105 | (6) |
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111 | (6) |
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117 | (6) |
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123 | (6) |
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129 | (6) |
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135 | (6) |
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141 | (6) |
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147 | (6) |
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153 | (6) |
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159 | (8) |
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167 | (6) |
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173 | (6) |
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179 | (6) |
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185 | (6) |
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191 | (6) |
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197 | (6) |
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203 | (6) |
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209 | (6) |
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215 | (6) |
| Filmography |
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221 | (6) |
| Image credits |
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227 | (2) |
| Index |
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229 | |
Gustavo Mercado is an award-winning independent filmmaker with well over a decade of experience as a writer, director, and cinematographer of narrative films. The first edition of The Filmmakers Eye: Learning (and Breaking) the Rules of Cinematic Composition, was translated into French, Spanish, Chinese, Polish, Turkish, Portuguese, Japanese, and Korean, and is being used by film programs at colleges and universities worldwide. His second title in the Filmmaker's Eye film book series, The Language of the Lens: The Power of Lenses and The Expressive Cinematic Image was translated into Turkish, Spanish, Chinese, Japanese, Korean, and Ukranian. He teaches cinematography, editing, screenwriting, and film production at Hunter Colleges Film & Media Studies Department in New York City.
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