Picture Composition for Film and Television, Second Edition by Ward, Peter -- Read -- Imperial Library of Trantor

Index

Picture Composition for Film and Television Copyright Page Contents Preface Chapter 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

Chapter 2. Alternative technique

Jump cuts Alternatives It’s magic Realism and imagination The film moment is always now Why people dislike the rejection of standard conventions Storytelling Don’t wake me up Definition of alternative conventions Conventions Summary

Chapter 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

Chapter 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 device Controlling space with choice of lens angle/camera distance The internal space of a shot Production style and lens angle Estimating distance Accentuating depth Summary

Chapter 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

Chapter 6. Frame

Composition and the frame Frame – an invisible focus of power Static viewpoint A hard cut-off Limited depth and perspective indicators Monochrome The edge of frame as a reference Frames within frames A second frame Frame and divided interest Summary

Chapter 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 banknote Summary of film and television formats mentioned

Chapter 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

Chapter 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 Distortion and definition Widescreen equals spectacle Screen size Endnote, or in a different aspect ratio, NDNOT Summary

Chapter 10. Past influences

Intuition Early influences The Rule of Thirds More recent influences Summary

Chapter 11. News and documentary

Fact and fiction Realism and fantasy Film as illusion Objectivity Record versus comment Operational awareness Realistic camerawork Technology as an aid to ‘realism’ Documentary programmes Professionalism Engaging the attention of the audience Summary

Chapter 12. Composition styles

Visual styles Style and technique Technological development Staging the artistes Studio or location shooting Shot structure and editing Stylistic flourishes Multi-camera live television conventions The introduction of the zoom and television picture composition Portable cameras Customary technique Genre Summary of the history of style

Chapter 13. Lighting and composition

The key pictorial force Gradations of brightness Contrast range Exposure Characteristics of light Lighting technique Past influences Controlled lighting and composition Naturalism and found light Television lighting Any two from cheap, good or fast – but not all three Expressing an idea through an image Decorative lighting Summary

Chapter 14. Colour

How the eye sees colour White balance Colour correction Colour as subject Monochrome Colour and composition Colour symbolism Summary

Chapter 15. Staging

Introduction to staging Where shall I stand? What is staging? Staging people and staging action Figure composition Working at speed Summary

Chapter 16. Movement

Camera movement Invisible movement The development shot Accentuating the effect of camera movement Summary

Chapter 17. Shooting for editing

Invisible stitching Selection and structure Basic editing conventions Selection and editing Telling a story – fact and fiction News – unscripted shot structure Variety of shot Recap on basic advice for shooting for editing Interviews How long should a shot be held? Basic editing principles Types of edit Emphasis, tempo and syntax Multi-camera camerawork Dance and composition Summary

Endnote Bibliography Index Color Plates Section

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