Directing the camera

Acknowledgments = viii Foreword by Robert Zemeckis = ix Preface = x How to Use this Book = xii PART ONE: WHY TEACH HOW TO DIRECT THE CAMERA? Chapter 1: The Importance of Directing the Camera = 3 PART TWO: SHOOTING DIALOGUE SEQUENCES WITH A MOVING CAMERA Chapter 2: Why Move Your Camera? = 9 Overview = 9 When Do you Move your Camera? = 9 Bob's rule: The Three Kinds of Camera Movement that Are Invisible = 10 Those Who Break Bob's rule and Why They Do It = 20 Summary Points = 30 For Teachers = 31 Chapter 3: The Good Moving Master = 33 Overview = 33 A Model Moving Master and Coverage = 34 The Default Pattern for Designing the Best Moving Master = 50 The Master for The Mahjong Parlor from Conundrum = 51 The Master with Warren Feur from What Lies Beneath = 54 The Master of Norman's Confession = 59 Where to Design the Best Moving Master = 68 never Settle-The Key to Designing the Best Moving Master = 68 Summary Points = 69 For Teachers = 70 Fifteen Walk and Talk Scenes = 72 PART THREE: DIRECTING ACTION SEQUENCES Chapter 4: Directing Action Sequences = 83 Overview = 83 How to Put the Camera in the right Place = 83 How to Put the right Lens on the Camera = 83 How to Get the Right Number of Pieces = 84 Summary Points = 88 Chapter 5: Lens Selection = 89 Why Force Perspective? = 89 Lens Selection as a Joint responsibility Between Director and Cinematographer = 89 The Basics of Perspective = 91 Extreme Telephoto and Extreme Wide-Angle Versus normal Perspective = 92 Lenses - Field of Vision and Depth of Field = 93 General Applications of Different Lenses = 94 How Lenses Affect Movement = 99 A Good Way to Learn How Lenses Affect Motion = 104 Summary Points = 106 For Teachers = 107 Chapter 6: Breaking Down Your Action Sequence = 109 The Theory Behind Storyboarding and Pre-Visualization = 109 The Storyboard in Practice - The Story in the Storyboard = 110 The Storyboards for the Ambush from Never Too Young to Die = 112 What We Actually Shot = 129 Summary Points = 130 For Teachers = 131 Chapter 7: Directing a Chase Sequence = 132 The Basic rules = 132 Tie-In Shots = 132 The Story of the Chase = 135 Strategy #1 -Wide-Angle Lenses - Pogo Cams - narrow Spaces = 137 Strategy #2 -Long Lenses in Open Spaces = More Eye Candy = 138 Geography in Chase Sequences = 142 Humor = 149 Shooting Action/Chases with the Wide Lens Versus Shooting Action/Chases with the Long Lens = 154 Summary Points = 160 For Teachers = 161 Chapter 8: Directing a Fight Sequence = 162 The Basic rules = 162 The Two Setup rule = 164 Segments and Coverage = 175 The Importance of Mastering Fights = 177 The Importance of Good operators and Good Assistants = 177 The Joy of Stunts = 178 Summary Points = 179 For Teachers = 180 Conclusion = 182 About the Author = 184

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