Machine generated contents note: Acknowledgments -- Foreword by Robert Zemeckis -- Preface -- How to Use this Book -- PART ONE: WHY TEACH HOW TO DIRECT THE CAMERA? -- Chapter 1: The Importance of Directing the Camera -- PART TWO: SHOOTING DIALOGUE SEQUENCES WITH A MOVING CAMERA -- Chapter 2: Why Move Your Camera? -- Overview -- When Do you Move your Camera?, Bob's rule: The Three Kinds of Camera Movement that Are Invisible, -- Externally Generated Camera Moves, Externally Generated Camera Moves -- Seamlessness and -- Eye Candy, Seamlessness, Eye Candy, Internally Generated Camera Moves, Moving Establishing -- Shots, Those Who Break Bob's rule and Why They Do It, The Rise of the Snoopy Cam, Dogma Picks Up -- the Snoopy Cam, The Snoopy Cam Today, Summary Points, For Teachers -- Chapter 3: The Good Moving Master -- Overview -- A Model Moving Master and Coverage -- Jerry Maguire, Task 1 -- Establishing, Task 2 -- Seamlessness, -- Task 3 -- Eye Candy, Task 4 -- Drama, Task 5 -- Coverage, The Default Pattern for Designing the Best -- Moving Master, The Master for The Mahjong Parlor from Conundrum -- Following the Default Pattern, -- The Master with Warren Feur from What Lies Beneath -- Seamlessness to the Max, -- The Master with Warren Feur -- How Seamlessness to the Max Adds Eye Candy, The Master with -- Warren Feur -- How Seamlessness to the Max Helps reveal "Everything," The Master of norman's -- Confession -- A Unique Master for a Unique Scene, norman's Confession -- opening Beat -- Why Zemeckis Departs from the Default Pattern, norman's Confession -- Middle Beat -- Why -- Zemeckis Departs from the Default Pattern, norman's Confession -- Final Beat --Why -- Zemeckis Departs from the Default Pattern, Where to Design the Best Moving Master, never Settle -- The Key to Designing the Best Moving Master, Summary Points, For Teachers -- Fifteen Walk and Talk Scenes -- PART THREE: DIRECTING ACTION SEQUENCES -- Chapter 4: Directing Action Sequences -- Overview -- How to Put the Camera in the right Place, How to Put the right Lens on the Camera, How to Get the -- Right Number of Pieces, Summary Points -- Chapter 5: Lens Selection -- Why Force Perspective?, Lens Selection as a Joint responsibility Between Director and Cinematographer, -- The Basics of Perspective, Extreme Telephoto and Extreme Wide-Angle Versus normal Perspective, -- Lenses -- Field of Vision and Depth of Field, General Applications of Different Lenses, General -- Applications of Field of Vision and Depth of Field, Wide-Angle Lenses, Telephoto Lenses, General -- Applications of Perspective, How Lenses Affect Movement, Motion to the Lens or Away from the -- Lens -- The Z-Axis, Motion Across the Lens - The X-Axis, Motion Across the Lens - The y-Axis, A -- Good Way to Learn How Lenses Affect Motion, Summary Points, For Teachers -- Chapter 6: Breaking Down Your Action Sequence -- The Theory Behind Storyboarding and Pre-Visualization,The Storyboard in Practice -- The Story in -- the Storyboard, The Storyboards for the Ambush from Never Too Young to Die, What We Actually -- Shot, Summary Points, For Teachers -- Chapter 7: Directing a Chase Sequence -- The Basic rules, Tie-In Shots, The Story of the Chase, Strategy #1 -- Wide-Angle Lenses -- Pogo -- Cams -- narrow Spaces, Strategy #2 -- Long Lenses in Open Spaces = More Eye Candy, -- Geography in Chase Sequences, Humor, Shooting Action/Chases with the Wide Lens Versus Shooting -- Action/Chases with the Long Lens, Summary Points For Teachers -- Chapter 8: Directing a Fight Sequence -- The Basic rules, The Two Setup rule, Segments and Coverage, The Importance of Mastering Fights, -- The Importance of Good operators and Good Assistants, The Joy of Stunts, Summary Points, For Teachers -- Conclusion -- About the Author.

"The first half of this book is devoted to teaching a systemized approach that can be used to design the very best moving shot for any dialogue scene, no matter how complex or long. Bettman's "Five Task" approach enables the aspiring director to quickly grasp this difficult element of directorial craft. In the second half the reader is taught how to shoot action sequences using moving and static cameras and the gamut of lenses to achieve the magic trick essential to shooting action -- making stunts that are highly controlled and neither violent nor dangerous look completely mind-blowing. "-- Provided by publisher.

Imported from: lx2.loc.gov:210/LCDB (Do not remove)