Description
The newly-revised and updated fourth edition of Grammar of the Shot teaches readers the principles behind successful visual communication in motion media through shot composition, screen direction, depth cues, lighting, camera movement, and shooting for editing. Many general practices are suggested that should help to create rich, multi-layered visuals. Designed as an easy-to-use reference, Grammar of the Shot presents each topic succinctly with clear photographs and diagrams illustrating key concepts, practical exercises, and quiz questions, and is a staple of any filmmaker’s library.
New to the fourth edition:
- an expanded companion website at www.routledge.com/cw/Bowen, offering downloadable scenes and editable raw footage so that students can practice the techniques described in the book, and instructional videos showcasing examples of different compositional choices;
- new and expanded quiz questions and practical exercises at the end of each chapter to help test readers on their knowledge using real-world scenarios;
- updated topic discussions, explanations, illustrations, and visual examples.
Together with its companion volume, Grammar of the Edit, the core concepts discussed in these books offer concise and practical resources for both experienced and aspiring filmmakers.
Table of Contents
Acknowledgments
Introduction
Chapter One – The Shots: What, How and Why?
What to Show Your Audience?
Choosing Your Frame
Aspect Ratio
A Brief History of Aspect Ratios
Further Exploration – Why We Might Like Widescreen so Much
An Introduction to Shot Types - The Basic Building Blocks of Motion Pictures
Long Shot / Wide Shot
Medium Shot
Close-Up
The Extended Family of Basic Shots – The Powers of Proximity
Extreme Long Shot / Extreme Wide Shot
Very Long Shot / Very Wide Shot
Long Shot / Wide Shot / Full Shot
Medium Long Shot / Knee Shot
Medium Shot / Waist Shot / Mid
Medium Close-Up / Bust Shot
Close-Up
Big Close-Up (UK) / Choker (USA)
Extreme Close-Up
Why Do We Even Have Different Shot Types?
Pulling Images from the Written Page
Script Breakdown for Cinematographers
Shot Lists
Storyboards
Phases of Film Production
Let’s Practice
Chapter One Summation – The Pictures Speak
Related Material Found in Chapter Seven: Working Practices
Chapter One – Review
Chapter One – Exercises & Projects
Chapter One – Quiz Yourself
Chapter Two – The Basics of Composition
Simple Guidelines For Framing Human Subjects
Headroom
Subjective Versus Objective Shooting Styles
Look Room / Nose Room
The Rule of Thirds
Camera Angle
Horizontal Camera Angles
360 Degrees Method
Clock Face Method
Camera Position Method
The Frontal View
The ¾ View
The Profile View
The ¾ Back View
The Full Back View
Vertical Camera Angles
Neutral Angle Shot
High Angle Shot
High Angle of an Individual
High Angle as a POV
High Angle of an Environment
Low Angle Shot
Low Angle of an Individual
Low Angle as a POV
Low Angle of an Environment
The Two-Shot: Frame Composition with Two People
The Profile Two-Shot
The Direct-to-Camera Two-Shot
The Over-the-Shoulder Two-Shot
The Dirty Single
The Power Dynamic Two-Shot
The Three-Shot
Chapter Two Summation - Wrapping up the Basics of Composition
Related Material Found in Chapter Seven: Working Practices
Chapter Two – Review
Chapter Two – Exercises & Projects
Chapter Two – Quiz Yourself
Chapter Three – Composition – Beyond the Basics
The Illusion of the Third Dimension
The Use of Lines
The Horizon Line
Vertical Lines
Dutch Angle
Diagonal Lines
Curved Lines
The Depth of Film Space – Foreground / Middle Ground / Background
Foreground
Middle Ground
Background
Depth Cues
Overlapping
Object Size
Atmosphere
The Camera Lens – The Observer of Your Film World
What is a Camera Lens?
Primes vs Zooms
The Prime Lens
The Zoom Lens
Lens Perspective
Lens Focus – Directing the Viewer’s Attention
Pulling Focus or Following Focus
Chapter Three Summation – Directing the Viewer’s Eyes Around Your Frame
Related Material Found in Chapter Seven: Working Practices
Chapter Three – Review
Chapter Three – Exercises & Projects
Chapter Three – Quiz Yourself
Chapter Four – Lighting Your Shots – Not Just What You See, but How You See It
Light as an Element of Composition
Light as Energy
Color Temperature
Color Balance of Your Camera
Natural and Artificial Light
Correcting or Mixing Colors on Set
Quantity of Light: Sensitivity
Quantity of Light: Exposure
Quality of Light: Hard Versus Soft
Hard Light
Soft Light
Contrast
Low-key Lighting
High-key Lighting
Color
Basic Character Lighting: Three-Point Method
Contrast Ratio or Lighting Ratio
Motivated Lighting – Angle of Incidence
Front Lighting
Side Lighting
Lights from Behind
Lights from Other Places
Set and Location Lighting
Controlling Light – Basic Tools and Techniques
Chapter Four Summation – Learning to Light … and Lighting to Learn
Related Material Found in Chapter Seven: Working Practices
Chapter Four – Review
Chapter Four – Exercises & Projects
Chapter Four – Quiz Yourself
Chapter Five – Will it Cut? Shooting for Editing
The Chronology of Production
Matching Your Shots in a Scene
Continuity of Performance
Continuity of Screen Direction
The Line – Basis for Screen Direction
The Imaginary Line – The 180 Degree Rule
"Jumping the Line"
The 30 Degree Rule
Reciprocating Imagery
Eye-Line Match
Chapter Five Summation – Be Kind to Your Editor
Related Material Found in Chapter Seven: Working Practices
Chapter Five – Review
Chapter Five – Exercises & Projects
Chapter Five – Quiz Yourself
Chapter Six – Dynamic Shots – Subjects and Camera in Motion
The Illusion of Movement on a Screen
Presentation Speed – Slow Motion and Fast Motion
Slow Motion – or Overcranking
Fast Motion – Undercranking
Subjects in Motion – Blocking Talent
Camera in Motion
Handheld
Pan and Tilt
Shooting the Pan and the Tilt
Equipment Used to Move the Camera
Tripod
Dolly
Zoom
Steadicam™ and other such Camera Stabilization Devices
Cranes and Such
Chapter Six Summation – Movies Should Move
Related Material Found in Chapter Seven: Working Practices
Chapter Six – Review
Chapter Six – Exercises & Projects
Chapter Six – Quiz Yourself
Chapter Seven – Working Practices and General Guidelines
Storyboards and Shot Lists
Slate the Head of Your Shots
Help Boom Operator Place the Mircrophone
Use of Two of More Cameras
Be Aware of Reflections
Communicating with Talent
Safe Action / Safe Title Areas
How to Manually Focus a Zoom Lens
Always Have Something in Focus
Control Your Depth of Field
Be Aware of Headroom
Shooting Tight Close-Ups
Beware of Wide Lenses when Shooting Close-Up Shots
Try to Show Both Eyes of Your Subject
Be Aware of Eye-Line Directions in Closer Shots
Place Important Objects in the Top Half of Your Frame
Keep Distracting Objects out of the Shot
Use the Depth of Your Film Space to Stage Shots with Several People
Ensure an Eye Light
Be Aware of the Color and Contrast Choices Made Throughout Your Project
Allow the Camera More Time to Record Each Shot
Follow Action with Loose Pan and Tilt Tripod Head
Shooting Overlapping Action for the Edit
Continuity of Action
Matching Speed of Action
Overlapping Too Much Action
Frame for Correct "Look Room" on Shots that Will Edit Together
Shoot Matching Camera Angles when Covering a Dialogue Scene
In a Three-Person Dialogue Scene, Matching Two-Shots can be Problematic
for the Editor
Beware of Continuity Traps While Shooting a Scene
Ways to Cross the 180 Degree Line Safely
The Long Take
Zooming During a Shot
Motivate Your Dolly-In and Dolly-Out Camera Moves
Use Short Focal Length Lenses to Reduce Handheld Camera Shake
Allow Actions to Complete Before Cutting Camera
Shooting a Chromakey
Shooting B-Roll, 2nd Unit, and Stock Footage
Shooting a Talking Head Interview
During Documentary Filming, Be as Discreet as Possible
Use Visual Metaphors
Aim for a Low Shooting Ratio
Chapter Seven – Review
Chapter Seven – Exercises & Projects
Chapter Seven – Quiz Yourself
Chapter Eight – Concluding Thoughts
Know the Rules Before You Break the Rules
The Reason for Shooting is Editing
Your Shots Should Enhance the Entire Story
Involve the Viewer as Much as Possible
Take Pride in the Quality of your Work
Practice Proper Set Etiquette
Know Your Equipment
Be Familiar with Your Subject Matter
Understand Lighting – Both Natural and Artificial
Study What Has Already Been Done
In Conclusion
Appendix A – Helpful Resources for the New Filmmaker
Appendix B – Common Crew Members Needed for Motion Picture Production
Glossary
Index
