How to shoot a motion picture

INTRODUCTION = 1 1. Do This—And Put Life Into Your Movies = 3 What a motion picture really is Every film should tell a story The ABC of film language Breaking down the action into related shots How to achieve economy Controlled action and 'staging' Golden Rule Number One 2. How To Build A Sequence = 9 The fundamental unit The basic elements of continuity Long shot, medium shot and closeup The eye of the audience The way we see Shooting by numbers The establishing shot How to link sequences together The re-establishing shot Methods of re-establishing Extreme close-ups and inserts Focus on movement Creating the illusion of movement Golden Rule Number Two Golden Rule Number Three 3. The Golden Rule For Smooth Continuity = 19 Jump-cuts and how they happen How to take evasive action The one rule a cameraman should never break Golden Rule Number Four Why it is so important Another technique for outwitting jump-cuts Cut-aways The Versatile cut-in Head-on and tail-away shots Adding variety and interest 4. How To Choose The Right Angle = 29 This puts you ahead of the game Audience viewpoint Objective, subjective and point-of-view shots When and how to use them How to put depth into your pictures Other methods of creating the illusion of depth Golden Rule Number Five Camera height Level angles High-angle shots Low-angle shots Dramatic perpectives 5. How To Maintain Directional Continuity = 41 Understanding the action line Establishing direction Matching movement and looks Static direction Matching alternating point-of-view close-ups Golden Rule Number Six How to avoid problems about matching the look Outwitting the rule with distraction shots Entrances and exits Golden Rule Number Seven 6. When To Use Camera Movement = 50 The mobile camera Dollying, tracking and panning Where camera movement helps Walking or dead space Live space Essential equipment Panning to increase suspense Alerting the audience Panning with a purpose Essential camera movement Golden Rule Number Eight Cutting on action The multi-camera and overlap methods Movement over a matched closeup 7. Sharper Pictures—This Way = 61 The physical problems of small formats Film emulsion Resolving power Choosing a lens The importance of contrast Zoom or prime lens? Flare or ghosting How to keep moving subjects in sharp focus Depth of field How to set the viewfinder eyepiece for your own eyesight The limitations of automatic exposure The f／stop freeze control Spot metering Why you really do need a tripod The last link in the chain is your projector lens 8. How To Use Light = 74 Daylight, artificial and available light Filters Low-light cameras How to use natural light effectively Watching the weather and the time of day Reducing the intensity of sunlight Reflected colour Fill-in light outdoors Artificial light How to use bounce light Lighting to set the mood Day-for-night techniques The basic lighting set-up Key light, fill light and back light Golden Rule Number Nine 9. How To Compose A Dynamic Picture = 83 The vital element Motivating an audience and concentrating attention Mood and atmosphere What composition is all about Rules to obey whenever possible Parallel, horizontal and vertical lines The formal rules of composition How to move players away or towards the camera Watch the frame line The illusion of depth Centres of dominant interest Avoiding symmetry How and when to compose Golden Rule Number Ten 10. Manipulating Time and Space = 92 How to heighten audience interest and create more suspense How to expand real time Keeping the audience guessing Other reasons for expanding time Slow motion The passing of time Cross-cutting The cut-away used for Expanding time Lap dissolves The fade Wipes How to use a zoom lens Manipulating space Golden Rule Number Eleven 11. How To Shoot With Live Sound = 102 The need to modify shooting techniques The double system Single-system sound Which method will best suit you? The problem of sound displacement in single-system shooting A foolproof way to overcome the problem Simple ancillary equipment Overlap and level-sync systems are not necessary Other ways to avoid the gap The noise problem Disadvantages of automatic gain control Avoiding over-amplification of background effects Suppressing camera noise Blimps and microphones 12. How To Be A Better-Than-Average Cameraman = 112 Equipment is not as important as know-how Impressive results from simple cameras Learning by watching Knowing what to look for The cameraman's contribution Look before you shoot Establishing mood Learning from experience Rain, snow, mist and night exteriors The art of 'cheating' Scale models When to break the rules Golden Rule Number Twelve The Twelve Golden Rules, for easy reference

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