The Resource Picture composition for film and television, Peter Ward, (electronic resource)

Picture composition for film and television, Peter Ward, (electronic resource)

Label
Picture composition for film and television
Title
Picture composition for film and television
Statement of responsibility
Peter Ward
Creator
Subject
Genre
Language
  • eng
  • eng
Summary
Behind each shot there lies an idea or purpose. When setting up a shot, the camera operator can employ a range of visual techniques that will clearly communicate the idea to an audience. Composition is the bedrock of the operator's craft, yet is seldom taught in training courses in the belief that it is an intuitive, personal skill. Peter Ward shows how composition can be learned, to enhance the quality of your work.Based on the author's own practical experience, the book deals with the methods available for resolving practical production questions such as: <BR id
Cataloging source
MiAaPQ
http://library.link/vocab/creatorDate
1936-
http://library.link/vocab/creatorName
Ward, Peter
Dewey number
  • 778.53
  • 778.53 21
Illustrations
  • illustrations
  • plates
Index
index present
Language note
English
LC call number
TR850
LC item number
.W37 2003
Literary form
non fiction
Nature of contents
  • dictionaries
  • bibliography
http://library.link/vocab/subjectName
  • Cinematography
  • Motion pictures
  • Television
  • Composition (Photography)
Label
Picture composition for film and television, Peter Ward, (electronic resource)
Instantiates
Publication
Note
Description based upon print version of record
Bibliography note
Includes bibliographical references and index
Carrier category
online resource
Carrier category code
  • cr
Content category
text
Content type code
  • txt
Contents
  • 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
Dimensions
unknown
Edition
2nd ed.
Extent
1 online resource (281 p.)
Form of item
online
Isbn
9780080497693
Media category
computer
Media type code
  • c
Specific material designation
remote
System control number
  • (CKB)1000000000362743
  • (EBL)297073
  • (OCoLC)476069950
  • (SSID)ssj0000221738
  • (PQKBManifestationID)11201830
  • (PQKBTitleCode)TC0000221738
  • (PQKBWorkID)10162587
  • (PQKB)11039264
  • (MiAaPQ)EBC297073
  • (EXLCZ)991000000000362743
Label
Picture composition for film and television, Peter Ward, (electronic resource)
Publication
Note
Description based upon print version of record
Bibliography note
Includes bibliographical references and index
Carrier category
online resource
Carrier category code
  • cr
Content category
text
Content type code
  • txt
Contents
  • 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
Dimensions
unknown
Edition
2nd ed.
Extent
1 online resource (281 p.)
Form of item
online
Isbn
9780080497693
Media category
computer
Media type code
  • c
Specific material designation
remote
System control number
  • (CKB)1000000000362743
  • (EBL)297073
  • (OCoLC)476069950
  • (SSID)ssj0000221738
  • (PQKBManifestationID)11201830
  • (PQKBTitleCode)TC0000221738
  • (PQKBWorkID)10162587
  • (PQKB)11039264
  • (MiAaPQ)EBC297073
  • (EXLCZ)991000000000362743

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