Download Master Shots Vol 3: The Director’s Vision: 100 Setups, Scenes and Moves for Your Breakthrough Movie PDF

TitleMaster Shots Vol 3: The Director’s Vision: 100 Setups, Scenes and Moves for Your Breakthrough Movie
PublisherMichael Wiese Productions
ISBN 139781615931545
CategoryArts - Film
Author
LanguageEnglish
File Size7.1 MB
Total Pages267
Table of Contents
                            Title
Copyright
Contents
Introduction
How to Use this Book
About the Images
Chapter 1: Advanced Lensing
	1.1 Long Lens Distant
	1.2 Long Lens Close
	1.3 Long Lens Stationary
	1.4 Long Lens in Motion
	1.5 Short Lens Distant
	1.6 Short Lens Close
	1.7 Short Lens Stationary
	1.8 Short Lens in Motion
	1.9 The Medium Lens
	1.10 Cutting the Lens
Chapter 2: Essential Motion
	2.1 Blended Moves
	2.2 Camera in Motion
	2.3 Character Drives Camera
	2.4 Reveal Moves
	2.5 Move with Camera
	2.6 Moving Straight On
	2.7 Moving Sideways
	2.8 Moving at an Angle
	2.9 Short Moves
	2.10 Turns and Curves
Chapter 3: Depth Staging
	3.1 Character Moves
	3.2 Crossing
	3.3 Move to Frame
	3.4 Moving Point of View
	3.5 Move to Reveal
	3.6 Move with Reflection
	3.7 Reversed Push
	3.8 Velocity Dolly
Chapter 4: Expert Framing
	4.1 Line Cross
	4.2 Break Cut
	4.3 Pan Motion
	4.4 Push Through
	4.5 Repeat Angle Push
	4.6 Tilt Reveal
	4.7 Rotate Out
	4.8 Silhouette
Chapter 5: Symbolic Staging
	5.1 Double Push
	5.2 Magnetic Characters
	5.3 Intimacy Break
	5.4 High Drag
	5.5 Power Exchange
	5.6 Indecision
	5.7 Isolating Push
	5.8 Group Break
Chapter 6: Production Design and Location
	6.1 Anti-Establishment Shots
	6.2 Dirty Frame
	6.3 Enrich the Foreground
	6.4 Fake Wall
	6.5 Framing Through
	6.6 Framing Focus
	6.7 Personal Reveal
	6.8 Reflection Establishment
	6.9 Reverse Reflection
Chapter 7: Dynamic Action
	7.1 Action Shift
	7.2 Misdirected Motion
	7.3 Return to Subject
	7.4 Paused Push
	7.5 Push Against Flow
	7.6 Motion Circle
	7.7 Conveying Speed
	7.8 Turn Cut
Chapter 8: Shooting Performance
	8.1 Opening the Scene
	8.2 Body Acting
	8.3 Core Close-Ups
	8.4 Extreme Close-Ups
	8.5 Angled Talk
	8.6 Slide into Scene
	8.7 Owning a Scene
	8.8 Parallel Space
	8.9 Separating Characters
Chapter 9: Camera Height
	9.1 Head Heights
	9.2 Angle Intrusion
	9.3 Angled Heights
	9.4 Down to Camera
	9.5 Flattening the Shot
	9.6 High Angle
	9.7 Motionless Look-Up
	9.8 Unseen Face
	9.9 Low Slide
	9.10 Seated Power
Chapter 10: Complex Camera Moves
	10.1 Complex Spin
	10.2 Actors in Motion
	10.3 Cutting from the Master
	10.4 Diagonal Reveal
	10.5 Long Track
	10.6 Dolly Frame
	10.7 Push to Close-Up
	10.8 Wide to Close
	10.9 Opposing Slide
	10.10 Group in Motion
Chapter 11: The Advanced Director
	11.1 Deep Blocking
	11.2 Motivate the Camera
	11.3 Developing Motion
	11.4 Making Use of Space
	11.5 Lost Geography
	11.6 Character View
	11.7 Story Points
	11.8 Scene Staging
	11.9 Visualizing the Scene
	11.10 Creating On-Set
Conclusion
About the Author
                        
Document Text Contents
Page 2

“Finally! Someone has had the cleverness, initiative, and imagination to set down on paper a film
language that has been passed down and amalgamated only by word of mouth since the days of Méliès
and D. W. Griffith. Like Dr. Johnson’s , Christopher Kenworthy’s

series seeks to make tangible and permanent what otherwise might be gone with the
wind.”

— John Badham, Director,
and Professor of Media Arts, The Dodge School,

Chapman University

“I’ve directed five features and a ton of TV and I wish to God I’d had this book at the beginning of my
career. It’s an unbelievably comprehensive resource for filmmakers. I can’t wait to go back and look at
Volumes 1 and 2.”

— Tom Lazarus, Screenwriter, Director, Educator, Author,

“You can take ten years to figure out lensing or you can read this book and use that ten years to create
your art instead. Your choice.”

— Tony Levelle, Author, ; Co-author,

“The latest installment in Kenworthy’s series lives up to its predecessors and then some,
offering up even more exciting ways to frame and follow your action. All three books
belong on the bookshelf of every serious filmmaker.”

— Troy DeVolld, Author,

“Christopher Kenworthy’s is essential reading for both directors and cameramen,
and helpful to anyone who works in or studies the art of filmmaking. The book is clear and instructive
with great visual samples.”

— Catherine Ann Jones, Author, and ;
Screenwriter and TV Writer, and

“Christopher Kenworthy teaches readers the nouns and verbs and participles and definite articles of the
language of cinema, equipping them to tell stories on the screen with the power that flows from
fluency. Kenworthy understands the interplay between image, character, story, and emotion. He writes
so that his readers will understand, too.”

— Chris Riley, Author,

“ continues this ultimate reference-book series that is a must-have guide for directors
and cinematographers on how to find interesting ways to tell your story visually.”

— Marx H. Pyle, Producer/Co-host, GenreTainment; Director/Creator, Reality On Demand

“A fascinating look at amazingly simple ways to use the camera, making this an essential read for
anyone looking to hone the craft of visual storytelling.”

— Erin Corrado, www.onemoviefiveviews.com

“ offers fabulous insight into the purpose behind each shot. I’m so thankful for this
book — it’s my new secret weapon!”

— Trevor Mayes, Screenwriter/Director

http://www.onemoviefiveviews.com

Page 133

6.2
DIRTY FRAME
To make your shots interesting, consider using a “dirty frame.” Let props,
people, walls, and other intrusions come into the frame, between the camera
and the subject. This adds a visual richness that sets scenes apart from the
ordinary.

It’s easier to dirty the frame when using a long lens, as the foreground objects
get thrown out of focus more easily. In an ideal situation, the framing also
establishes aspects of story or details about the location.

In these frames from , the machine on the table is the most
obvious intrusion, but the table itself has also been included in the frame.
This means that only the character is in focus. We concentrate on him, but are
aware of his surroundings. Also, by seeing the machine on the table, we are
less surprised when it’s featured a few seconds later.

The same machine dirties the next frame, appearing right in the center of the
frame. When you place an intrusion so centrally, you may find that you need
to dirty all the frames in a scene, otherwise it will stand out too much.

Imagine these scenes without the dirty frames. We’d see two people sitting at
a desk, and nothing more. Instead, we see the machine that will soon be part
of the story, and a lush framing.

The third frame shows a candelabrum used to dirty the frame to the extent
that it almost obliterates the subject, William Sanderson. This is an ideal way
to show somebody in hiding, or even trapped.

The next two frames, of Ellen Page in , show a more subtle use
of the technique. The blurred objects, and the other actor’s hand, appear in
both shots, which makes her feel connected to him. This reflects the intense
look we see in her eyes, and there can be no doubt that she’s concentrating on
the character she’s looking at.

The final frames, also from , show an even subtler dirty frame.
As the camera follows the actor to the door, we see parts of the gate and other

Page 266

In a dark time, a light bringer came along, leading the curious and the frustrated to clarity and
empowerment. It took the well-guarded secrets out of the hands of the few and made them available to
all. It spread a spirit of openness and creative freedom, and built a storehouse of knowledge dedicated
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The essence of the Michael Wiese Productions (MWP) is empowering people who have the burning
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hands. We demystify the sometimes secretive worlds of screenwriting, directing, acting, producing,
film financing, and other media crafts.

By doing so, we hope to bring forth a realization of ‘conscious media’ which we define as being
positively charged, emphasizing hope and affirming positive values like trust, cooperation, self-
empowerment, freedom, and love. Grounded in the deep roots of myth, it aims to be healing both for
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Onward and upward,

Michael Wiese
Publisher/Filmmaker

http://www.mwp.com

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