Download Directing, Fourth Edition: Film Techniques and Aesthetics by Michael Rabiger PDF

By Michael Rabiger

Directing: movie strategies and Aesthetics is a complete handbook that has encouraged tens of millions of readers all over the world to achieve their inventive imaginative and prescient and convey well-constructed movies. choked with functional suggestion on each degree of construction, this can be the publication you'll go back to all through your occupation. Directing covers the tools, applied sciences, notion approaches, and judgments director needs to use in the course of the interesting means of creating a movie. It emphasizes reasonably cheap electronic know-how, which permits state of the art creativity and professionalism on shoestring budgets. And, spotting that you simply research most sensible through doing, the ebook contains dozens of sensible hands-on tasks and actions that can assist you grasp technical and conceptual skills.Just as vital as surmounting technological hurdles is the conceptual and authorial aspect of filmmaking. This ebook offers an surprisingly transparent view of the inventive strategy, really in operating with actors. It bargains eminently functional instruments and routines that will help you boost credible and compelling tales along with your solid, hone your narrative abilities, and increase your creative identification. This ebook indicates you the way to surpass mere technical skillability and develop into a storyteller with a particular voice and style.This variation has been streamlined and carefully revised for higher ease of use. different updates include:* present details on electronic know-how* an elevated part on directing actors that cross-references thirty routines* new questionnaires that can assist you pinpoint a film's aesthetic wishes and investigate the place your vocational strengths lie; and masses extra. The spouse site contains instructing notes, checklists, and helpful kinds and questionnaires: * accomplished guide at the artistic, technical, and interpersonal facets of directing * contains dozens of functional routines and initiatives that will help you increase your paintings and gauge your growth* lifelike recommendation and encouragement from a very popular filmmaker, mentor, and instructor

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This is a lot of work, but even if you do a third of it, you’ll emerge with skills that take years to acquire by other routes. com/9780240808826). These not only help you rate outcomes, they help focus your work. Figure 6–1 provides a specimen. CHAPTER 4 A DIRECTOR’S SCREEN GRAMMAR Film Language What Works The Need for a Humane Voice Human Vantage Film Language and Human Perception Fixed Camera Position Moving Camera Camera Movements from a Static Position Traveling Camera Movements Shots and Subjects in Juxtaposition Point of View The Concerned Observer and the Storyteller Literary and Film Storytelling Compared 43 43 43 44 44 44 45 46 46 47 47 49 49 49 Scene Axis Essentials Lines of Tension and the Scene Axis Crossing the Line or Scene Axis The Actor and the Acted-Upon Authorship Essentials: Text and Subtext Authorial Point of View Make Metaphors and Symbols Organic Constructing Meaning Screen Direction and Angles Changing Screen Direction Different Angles on the Same Action Abstraction Subjectivity and Objectivity Duration, Rhythm, and Concentration Sequence and Memory Transitions and Transitional Devices Screen Language in Summary 50 50 52 52 53 54 54 54 56 57 57 58 59 59 60 60 61 42 SCREENCRAFT Researching to Be a Storyteller How Making Documentary Can Help You 62 CHAPTER 5 SEEING WITH A MOVIEMAKER’S EYE 64 Projects Project 5-1: Picture Composition Analysis Analysis Format Strategy for Study Static Composition Visual Rhythm: How Duration Affects Perception Dynamic Composition Internal and External Composition Composition, Form, and Function Project 5-2: Editing Analysis First Viewing Analysis Format Making and Using a Floor Plan Strategy for Study Point of View and Blocking Character and Camera Blocking Fiction and Documentary Projects Project 5-3: A Scripted Scene Compared with the Filmed Outcome Strategy for Study Project 5-4: Lighting Analysis Lighting Terminology Types of Lighting Style Contrast Light Quality Names of Lighting Sources Types of Lighting Setup Strategy for Study 61 64 64 64 65 65 67 67 70 71 72 72 73 74 75 78 80 80 80 80 81 82 82 83 83 85 85 86 89 CHAPTER 6 SHOOTING PROJECTS How Best to Explore the Basics Outcomes Assessment Scoring Method On Developing Your Abilities Projects Project 6-1: Basic Techniques—“Going and Returning” 6-1A: Plan, Shoot, and Edit the Long Version 6-1B: Editing a More Compressed Version 6-1C: Setting It to Music Project 6-2: Character Study 6-2A: Plan, Rehearse, and Shoot Long Take of Character-Revealing Action 6-2B: Adding an Interior Monologue 6-2C: Vocal Counterpoint and Point of View Project 6-3: Exploiting a Location 6-3A: Dramatizing an Environment 6-3B: Adding Music Project 6-4: Edited Two-Character Dialogue Scene 6-4A: Multiple Coverage 6-4B: Editing for an Alternative Point of View Project 6-5: Authorship Through Improvisation 6-5A: Developing a Short Scene 6-5B: Editing a Shorter Version 6-5C: From Improv to Script Project 6-6: Parallel Storytelling 6-6A: Seeing the Scenes as Separate Entities 6-6B: Long Intercut Version 6-6C: Short Version 6-6D: Discontinuity and Using Jump Cuts 91 91 92 93 93 94 94 94 98 99 100 100 101 102 103 103 105 106 106 108 108 109 110 111 112 112 112 113 113 CHAPTER 4 A DIRECTOR’S SCREEN GRAMMAR FILM LANGUAGE As children, we learn to speak because language is a tool to accomplish things.

The next beat comes after a brief discussion during which Phil realizes that this plan won’t work either. Q: What he will do? Unit 3 jumps forward in time to show their answer: pushing the heavy car in stages into the gas station, where they can fill it up. Q: Do they even have money to fill the tank? Unit 4 is the answer, or resolution, to the scene as they drive away with the problem solved. Q: What will they do next? Notice how much question-and-answer takes place in the minds of the audience.

Self-affirmation in the guise of art leads down the slippery slope of self-display. Living as we do in a celebrity culture, we have a great need to be special and different. Hindu belief is interesting here, for Self in their philosophy is that which you share with all creation. A Hindu shares his or her identity with a tree, a mountain, a bird, a crippled child. The Western idea of Self is by contrast very isolating. Most people trying to create films actually subscribe to both ends of the spectrum.

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