Total Directing

기본 정보

본제목

Total Directing

부제목

Intergrating Camera And Performance in Film and Television

대등제목

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국가구분

국외

생산일자

2004-**-**

언어

영어

크기(mm)

177 x 254

페이지

561쪽

ISBN/ISSN

1879505711

판차

1st Edition

마스터파일

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생산자

Tom Kingdon (저자), Silman James Press (발행처)

내용

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목차

목차

Contents Introduction xvii Acknowledgments xix PART1 PREPRODUCTION = 1 1. DIRECTOR AND SCRIPT = 3 The playing field = 4 Getting projects off the ground = 5 Subject matter, character, and plot = 8 The first reading = 9 Subsequent readings = 10 Becoming the author = 12 The director and the writer = 14 The script editor = 15 2. RESEARCH AND VISION = 16 Research and creativity = 16 Formulating a director's vision = 18 Research done by others = 20 Production design = 20 Costume and makeup = 21 The director's own research = 23 Choosing locations = 24 Three phases of preproduction and the tech scout = 26 3. THE DIRECTOR'S TEAM AND CONTROLING THE BUDGET = 28 Watching the budget = 31 4. CASTING = 35 Two approaches to casting = 37 Typecasting = 38 The casting director, agents, and headshots = 39 Auditions: an opportunity, not a cattle-call = 41 Two casting scenarios = 44 Conducting an audition = 46 Making the offer = 48 PART 2 PREPARING THE SCRIPT FOR REHEARSAL = 49 5. BASIC STRUCTURES = 51 Subtext = 51 Acts = 53 Scenes = 56 Sequences = 57 Arcs = 57 6. CONNECTING WITH CHARACTERS = 50 Backstory = 50 Connecting with character = 51 Asking questions = 63 Objectives = 66 Resistance = 67 What's the story? = 69 7. BLOCKING AND BEATS = 70 Starting to block = 73 Beats = 75 Writers'beats = 76 Actors'beats = 77 Directors'beats = 77 Scene analysis= 78 8. PUTTING TOGETHER BEATS, OBJECTIVES, ACTIONS, AND TRANSITIONS = 82 Beats and objectives = 82 Actions and objectives = 84 Adjustments = 87 Putting actions and objectives together = 87 Example of a through-line = 88 Transitions = 88 PART 3 TOWARD THE FIRST REHEARSAL = 93 9. WORKING WITH SET AND LOCATION PLANS = 95 Working from a plan = 98 Two places to work on a scene = 99 10. FINDING THE CHARACTERS' OPENING POSITIONS = 101 Stage directions = 102 Opening positions = 103 Visual transitions between scenes = 106 11. MOVEMENT = 108 Actor movement = 109 The psychological level = 109 The physical level = 114 Business = 115 Action and activity = 116 Restricted movement = 117 12. BLOCKING ACTORS TO CAMERA = 720 Some basic concepts = 120 Working with two actors = 122 Working with three actors = 125 Working with four or more actors = 127 13. MARKING THE REHEARSAL SCRIPT (PART 1) = 133 First step = 133 Subsequent steps = 136 14. MARKING THE REHEARSAL SCRIPT (PART 2) = 138 Plan = 141 Marking moves = 141 Add the camera = 143 Noting moves on the script = 144 Props = 147 Blocking during rehearsal = 147 15. IMPROVISATION = 149 Structure and rules = 150 Opportunities to use improvisation = 151 Directing an improv = 157 16. GAUGING A PERFORMANCE = 159 Watching a performance = 160 Directorial adjustments = 162 Choices = 162 Adjusting actor's choices = 163 Playing against = 164 Over-directing = 165 Result-oriented direction = 166 17. CONDUCTING THE FIRST REHEARSAL Preliminary arrangements = 167 The read-through = 169 Scenework = 170 Blocking = 171 Evaluating = 172 PART 4 SOME PRINCIPLES OF SHOOTING = 175 18. THE HOLLYWOOD CONTINUITY STYLE = 177 Shot sizes and their applications = 178 Varieties of wide shot = 179 Tightening the shot = 183 Shot sequence and when to use a closeup = 188 The line of intimacy = 191 19. FRAMING AND LENSES = 193 Composition 193 The rule of thirds = 194 Horizontals, verticals, and diagonals = 195 Analysis of two paintings = 196 Lenses = 202 Different lenses have different effects on the picture = 202 Depth and planes = 205 Separation and distortion = 206 20. AUDIO = 207 Microphone types = 207 Sound perspective = 210 Microphone placement = 210 Recording the best quality audio = 213 Supporting the sound department = 214 Gaps and overlaps = 214 Atmosphere and wild tracks = 215 21. AN INTRODUCTION TO CONTINUITY = 218 The traditional shot sequence = 219 The reverse shot = 220 Indication = 222 Avoiding jump cuts = 223 Movement and screen direction = 225 22. THE 180-DEGREE RULE = 227 The line = 227 One person and vehicles = 229 Movement = 232 Shooting three people and "the line" = 234 Shooting four people = 239 The scene with five or more characters = 242 The 180-degree cut = 243 Do not get obsessed = 244 23. VISUALIZATION & FORMATS = 246 Storyboards = 248 Basic drawing = 249 Types of storyboards = 250 Formats = 251 Shooting considerations = 253 DVD and streaming = 253 24. STYLES OF SHOOTING = 254 The long take = 257 Quick cutting = 259 Moving the camera = 260 Hand-held camera = 262 The Steadicam and moving-camera style = 263 Cutting moving shots together = 265 25. MARKING UP A SHOOTING SCRIPT = 267 The previous shot = 271 Naming and marking the shots = 272 Coverage = 276 Employ the minimum number of camera positions = 279 Marking the camera positions = 279 Technical requirements = 279 Marked-up scene = 282 26. SHOOTING DIFFERENT SCENES = 284 A dramatic two-person scene = 284 My comments = 287 A four-person sitcom scene = 291 My comments continued = 296 PART 5 PRODUCTION = 299 27. PERSONNEL MANAGEMENT AND REHEARSING ACTORS ON THE SET = 301 The tech scout = 302 Crew psychology = 304 Actors on the set = 305 The on-set sequence = 306 Problems of shooting without rehearsal = 307 What to do if no rehearsal time has been allocated = 308 A few performance tips = 309 Extras 310 28. THE EYES = 313 Mutual support = 314 Eyes in lighting and camerawork = 316 Camera placement = 317 Cheating with the eyes, body, and camera = 321 Camera height = 324 Point of view = 326 29. CONTINUITY CONTINUED = 331 Single- and two-camera shooting = 331 Actor continuity = 332 On-set continuity = 335 The script supervisor or continuity person = 335 Shot-to-shot continuity = 336 Scene-to-scene continuity = 339 What to look for in different shots = 340 The wide shot = 341 Full-length and three-quarter shots = 342 Mid-shot = 342 Medium closeup and closeup = 342 Props = 344 30. DIRECTING A SHOT = 347 Procedure for starting a take = 347 What to look for during a take = 348 The video assist = 350 How many takes to take and the pick-up shot = 351 Working with actors on the set = 353 Beyond the shot = 355 31. CHOOSING FILM VERSUS VIDEO = 357 PART 6 POSTPRODUCTION = 361 32. THE STRUCTURE OF THE EDIT = 363 Editing drama and documentary = 364 Film "rushes" or "dailies" = 365 Assembly and rough cuts = 366 An overview of postproduction = 367 Film = 368 Primetime U.S. television shot on film = 370 Single-camera video for television = 371 Multi-camera video for television = 371 33. WORKING WITH THE EDITOR = 372 The editing room = 373 The director/editor relationship = 374 Choosing takes = 375 Time and timecode = 376 The power of juxtaposition = 377 Tempo and rhythm = 379 34. MAKING EDITS = 383 Editing dialogue = 383 Checkerboarding = 386 Overlapping audio = 386 The joy of making cuts = 387 35. THE SOUND EDIT = 391 The audio postproduction sequence = 392 The "soundscape" = 393 Types of sound effects = 395 Creating effects = 397 Walla and wildtracks = 397 Foley = 398 The sound designer = 398 Strategies for placing sound effects = 399 Automatic Dialogue Replacement (ADR) = 401 36. MUSIC = 403 Source music = 403 Copyright = 404 Working with a composer = 406 Discs = 410 Mixing = 410 A note on post-partem depression = 412 PART 7 A BRIEF HISTORY OF AMERICAN SCREEN ACTING = 413 37. THE RUSSIAN CONNECTION = 415 Stanislavski = 415 Stanislavski's successors = 419 Eisenstein = 421 The significance of Eisenstein's work = 425 38. SILENT FILM ACTING = 427 Performance trends in America at the turn of the twentieth century = 437 D.W. Griffith and the rise of Hollywood = 432 39. THE LEGACY OF THE RUSSIANS = 436 The Group Theater = 437 Acting in the early talkies = 438 Lee Strasberg and The Actors Studio = 440 Michael Chekhov = 442 John Cassavetes and Mike Leigh = 443 Screen acting 1990-2000 = 444 PART 8 MULTI-CAMERA PRODUCTION = 447 40. THE STUDIO = 449 Multi-camera television studio performance = 450 Preproduction and the shooting schedule = 450 Limitations of multi-camera studio production = 452 The fourth wall = 452 Audio = 453 41. MULTI-CAMERA STU이O TECHNIQUE = 455 Technical director, director's assistant, and floor manager = 455 Where does the director direct? = 456 Three-camera technique (or I Love Lucy) = 457 Single-camera technique = 459 Two-camera technique = 460 Directing the scene = 461 Blocking studio drama = 462 Rehearsing = 462 Recording = 463 42. THE STUDIO SCRIPT = 464 The last shot = 464 Floor plan = 465 Furniture moves = 465 Camera positions = 466 Cabling = 467 Changing shot = 469 Marking the moves = 470 Cameras and cutting points = 470 Assign a camera to the shot = 470 Describe the shot = 470 Indicate exactly where you want the cut to occur = 471 Number the shots = 471 Information on characters = 472 Timing = 472 PART 9 THE DIRECTOR'S LIFE = 475 43. THREE DIRECTORS = 477 John Schlesinger : the demands of professionalism = 478 Alan Clarke : evolving a personal vision = 481 Roland Joffe : the power of inspiration = 485 44. GETTING STARTED IN THE INDUSTRY: INTERVIEWS WITH DIRECTORS 488 Theodore Witcher = 488 Kasi Lemmons = 489 Steve Carr = 492 Kevin Bright = 495 Jan Egleson = 497 APPENDIX = 501 Storyboards = 501 Academy Aperture (4x3) = 502 Widescreen (HDTV) 1.78:1 = 503 Widescreen (USA) 1.85:1 = 504 BIBLIOGRAPHY = 504 Non-history chapters = 504 History chapters = 507 GLOSSARY = 509 INDEX = 536

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