LEADER 05733nam 2200805Ia 450 001 9910827619703321 005 20200520144314.0 010 $a1-136-04505-8 010 $a1-136-04506-6 010 $a1-281-01252-1 010 $a9786611012526 010 $a0-08-049769-1 024 7 $a10.4324/9780080497693 035 $a(CKB)1000000000362743 035 $a(EBL)297073 035 $a(OCoLC)476069950 035 $a(SSID)ssj0000221738 035 $a(PQKBManifestationID)11201830 035 $a(PQKBTitleCode)TC0000221738 035 $a(PQKBWorkID)10162587 035 $a(PQKB)11039264 035 $a(Au-PeEL)EBL297073 035 $a(CaPaEBR)ebr10180422 035 $a(CaONFJC)MIL101252 035 $a(OCoLC)170831199 035 $a(CaSebORM)9780240516813 035 $a(MiAaPQ)EBC297073 035 $a(OCoLC)858460503 035 $a(OCoLC)ocn858460503 035 $a(EXLCZ)991000000000362743 100 $a20020416d2003 uy 0 101 0 $aeng 135 $aur|n|---||||| 181 $ctxt 182 $cc 183 $acr 200 10$aPicture composition for film and television /$fPeter Ward 205 $a2nd ed. 210 $aOxford ;$aBoston $cFocal Press$d2003 215 $a1 online resource (281 p.) 300 $aPrevious ed.: 1996. 311 $a1-138-13274-8 311 $a0-240-51681-8 320 $aIncludes bibliographical references and index. 327 $aPicture Composition for Film and Television; Copyright; Contents; Preface; 1 Invisible technique; Learning the ropes; A moving photograph; Continuity cinema; The shot; The creation of 'invisible' technique; Standard camerwork conventions; Realistic representation; Mechanical reproduction; Framing a shot; Composition; Does the shot work?; Intuition; 'I see what you mean!'; Why composition is important; Control of composition; Visual design techniques; Cultural influences; Changing fashions; Summary; 2 Alternative technique; Jump cuts; Alternatives; It's magic; Realism and imagination 327 $aThe film moment is always nowWhy people dislike the rejection of standard conventions; Storytelling; Don't wake me up; Definition of alternative conventions; Conventions; Summary; 3 The lens, the eye and perception; Introduction; The imprint of the lens; The eye and a lens; Size constancy; How do we understand what we are looking at?; Characteristics of perception; Summary; 4 The lens and perspective; Perception and depth; Depth indicators and their relationship to the lens; Focal length; Angle of view; Depth-of-field; fno; Zoom; Focus; The structural skeleton of a shot 327 $aHorizon line and camera height as a compositional deviceControlling space with choice of lens angle/camera distance; The internal space of a shot; Production style and lens angle; Estimating distance; Accentuating depth; Summary; 5 Visual design; Introduction; Movement; Sound; Controlling composition; Design techniques; Grouping and organization; Balance; Figure and ground; Shape; Line; Rhythm and visual beat; Pattern; Interest; Direction; Colour; Scale; Abstraction; Understanding an image; Summary; 6 Frame; Composition and the frame; Frame - an invisible focus of power; Static viewpoint 327 $aA hard cut-offLimited depth and perspective indicators; Monochrome; The edge of frame as a reference; Frames within frames; A second frame; Frame and divided interest; Summary; 7 The shape of the screen; Aspect ratio; The shape of the screen and composition; Viewfinder as an editing tool; Could it have been different?; The invention of a world format standard; Widescreen returns; Design of the TV aspect ratio; HDTV; The need for a universal video format; 16:9 television widescreen; A reasonable compromise between competing aspect ratios; The divine proportion 327 $aWidescreen - the shape of a banknoteSummary of film and television formats mentioned; 8 Widescreen composition and film; Finding ways to compose for the new shape; Widescreen advantages; Selling off the redundant format; Pan and scan; Cinematographers alarmed; Boom in shot; The growth of multiplexes; Common topline and super 35; Summary; 9 Widescreen composition and TV; Introduction; Letterboxing; Aspect ratio conversion; Protect and save; Shooting for two formats; Composing for 16:9; Fidgety zooms; Transitional period; The viewer takes control; Inserting 4:3 material into a 16:9 production 327 $aCompilation programmes 330 $aBehind each shot there lies an idea or purpose. When setting up a shot, the camera operator can employ a range of visual techniques that will clearly communicate the idea to an audience. Composition is the bedrock of the operator's craft, yet is seldom taught in training courses in the belief that it is an intuitive, personal skill. Peter Ward shows how composition can be learned, to enhance the quality of your work.Based on the author's own practical experience, the book deals with the methods available for resolving practical production questions such as: