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Picture composition for film and television / / Peter Ward
| Picture composition for film and television / / Peter Ward |
| Autore | Ward Peter <1936-, > |
| Edizione | [2nd ed.] |
| Pubbl/distr/stampa | Oxford ; ; Boston : , : Focal Press, , 2003 |
| Descrizione fisica | 1 online resource (281 p.) |
| Disciplina |
778.53
778.53 21 |
| Soggetto topico |
Cinematography
Motion pictures - Production and direction Television - Production and direction Composition (Photography) |
| Soggetto genere / forma | Electronic books. |
| ISBN |
1-136-04505-8
1-136-04506-6 1-281-01252-1 9786611012526 0-08-049769-1 |
| Formato | Materiale a stampa  |
| Livello bibliografico | Monografia |
| Lingua di pubblicazione | eng |
| Nota di contenuto |
Picture 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
The 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 Horizon 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 A 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 Widescreen - 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 Compilation programmes |
| Record Nr. | UNINA-9910457511003321 |
Ward Peter <1936-, >
|
||
| Oxford ; ; Boston : , : Focal Press, , 2003 | ||
| Materiale a stampa | ||
| Lo trovi qui: Univ. Federico II | ||
| ||
Picture composition for film and television / / Peter Ward
| Picture composition for film and television / / Peter Ward |
| Autore | Ward Peter <1936-, > |
| Edizione | [2nd ed.] |
| Pubbl/distr/stampa | Oxford ; ; Boston : , : Focal Press, , 2003 |
| Descrizione fisica | 1 online resource (281 p.) |
| Disciplina |
778.53
778.53 21 |
| Soggetto topico |
Cinematography
Motion pictures - Production and direction Television - Production and direction Composition (Photography) |
| ISBN |
1-136-04505-8
1-136-04506-6 1-281-01252-1 9786611012526 0-08-049769-1 |
| Formato | Materiale a stampa |
| Livello bibliografico | Monografia |
| Lingua di pubblicazione | eng |
| Nota di contenuto |
Picture 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
The 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 Horizon 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 A 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 Widescreen - 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 Compilation programmes |
| Record Nr. | UNINA-9910784573203321 |
|
Ward Peter <1936-, >
|
||
| Oxford ; ; Boston : , : Focal Press, , 2003 | ||
| Materiale a stampa | ||
| Lo trovi qui: Univ. Federico II | ||
| ||