By Steven Ascher, Edward Pincus
The authoritative consultant to generating, directing, capturing, modifying, and dispensing your video or film
Widely said because the “bible” of video and picture creation, and utilized in classes worldwide, The Filmmaker’s instruction manual is now up to date with the newest advances in HD and new electronic codecs. for college kids and academics, pros and newbies, this necessary guide covers all elements of motion picture making.
* options for making dramatic beneficial properties, documentaries, company, broadcast, and experimental movies and films
* taking pictures with DSLRs, video, movie, and electronic cinema cameras
* electronic enhancing with the newest video enhancing systems
* In-depth assurance of lenses, lighting fixtures, sound recording, and mixing
* The enterprise elements of investment and generating your project
* Getting your motion picture proven in theaters, on television, and on the internet
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Extra info for The Filmmaker's Handbook: A Comprehensive Guide for the Digital Age (2013 Edition)
Chicken on the dinner table or beef stew? Down and dirty brawl or stylized fight? A thousand extras or isolation? Moody lighting or sunlight? At that first concept meeting, you may not yet have all the answers, and it’s okay to say that. You can say, “I’ll have more specific information about that later, but for now, the general direction we’re heading in is . . ” Nevertheless, at the very beginning of prep, the director provides literal direction; that is, in which direction in the universe of choices do you want your department heads to go?
When you picture a character in your imagination, what do you see? See that image as a title card, or poster, for a movie. If you were the advertising and marketing director for this character, what physicalities would you focus on? Is the character alone or in a crowd? Is it a silhouette or a color close-up? What expression is on her face? What accessories does she have? ’s walking stick as Sherlock Holmes, or the cane that Hugh Laurie uses as Dr. House. Johnson, Reed, “The Unconquered Lions of ‘Invictus,’” Los Angeles Times, December 6, 2009, sec.
15 16 Prep FIGURE 2-1 Mary Lou sets up her COW chart like this. A very easy way to break down each character is to examine the script line by line and outline the information in these categories. You’ll find the information for the first two questions in the dialog and the last question in the stage directions, in which the writer describes the action or describes the state of the character physically and emotionally. The interesting thing you’ll notice is that the first two questions may not always lead to the truth because characters often lie about themselves, and others always have opinions that will color their truth about a character.