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Film Directing: Shot by Shot - 25th Anniversary Edition: Visualizing from Concept to Screen Paperback – April 29, 2019
Purchase options and add-ons
- Print length400 pages
- LanguageEnglish
- PublisherMichael Wiese Productions
- Publication dateApril 29, 2019
- Dimensions7.25 x 1.25 x 10 inches
- ISBN-101615932976
- ISBN-13978-1615932979
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- Publisher : Michael Wiese Productions; Anniversary edition (April 29, 2019)
- Language : English
- Paperback : 400 pages
- ISBN-10 : 1615932976
- ISBN-13 : 978-1615932979
- Item Weight : 1.9 pounds
- Dimensions : 7.25 x 1.25 x 10 inches
- Best Sellers Rank: #36,431 in Books (See Top 100 in Books)
- #7 in Movie Reference
- #12 in Video Direction & Production (Books)
- #21 in Movie Direction & Production
- Customer Reviews:
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I read it a few time since I got it!!! A must have book if you''re into filming -
Pre-production planning is crucial in making movies worth watching. Much of the planning has to do with figuring out how to turn the words of a script into moving pictures. That’s what Katz’s recently revised classic text is all about.
The main topics are Visualization, Continuity, and Moving the Camera. A great deal of the discussion focuses on storyboarding. Bringing in examples from well-known movies, the book covers shot size, angle, pacing, mood, zooming, and every other visual element. The examples--plus behind-the-scenes lore--make this very practical book fun to read.
While the title suggests that Shot by Shot is for directors, the concepts are vital to all members of the creative team. This obviously goes for production designers, cinematographers and editors. But the lessons Katz offers can be transformative for screenwriters, who may be so caught up in plot structure and dialogue that they forget that movies are about moving pictures. As one of those screenwriters, I found that the book has helped me do a better job of imagining scenes and sequences.
Although Film Directing Shot by Shot is rooted in Hollywood, the book is not limited to big-budget productions. Katz’s insights apply equally well to indie moviemaking, where the director might double as the camera operator, props manager, and caterer.
Recognizing that most indie directors don’t have excellent drawing skills and can’t afford to hire professional storyboardists, the author makes the argument that even stick-figure visualization can be powerfully. The examples included—some by famous directors—will encourage drawing-challenged readers to make previsualization sketches, even if they’re ugly works of art.
Of course, we live in the digital age. These days we can find software that assists us in generating storyboard images or “borrowing” layouts from produced movies. Katz analyzes the pros and cons of the most popular visualization apps, including some that are very affordable.
If you’re making a low- or no-budget movie, pre-visualization won’t save you millions of dollars. But the method presented in this book will almost certainly contribute to your making a better quality end product whether it’s a short thriller or a music video, or a feature-length drama.
The craft is taught in the book. The art, Katz says, is up to the reader.
The book is divided into four sections: how production design and storyboards enable the director to visualize shots and sequences; how to use the different kinds of shots to compose; how to use camera angles and staging to to tell the story; and how to move the camera.
If you want to be a director or a cinematographer, or learn any technical craft, Steven Katz's book is up to date and the knowledge contained in it is absolutely necessary.
Most of the books on movie making I've read approach the topic from the angle of screenwriting, where you're advised not to indulge in technical jargon. I expected this book to be interesting but perhaps too technical to actually read.
The book—all nearly four hundred pages—flows smoothly and will profit anyone who is interested in film or television.
Katz divides filmmakers into selectors or directors. The directors work with their colleagues, plan their movies, and can therefore work quickly and more cheaply. The selectors have to try out (or be shown) possibilities and then experiment.
Of course in any art form there are different ways to work—some mystery novelists plan their stories out in detail and others just start writing. I would hazard a guess that the prolific, successful writers plan to some degree. And the same for directors.
One of the most interesting and informative sections of the book is the section where a fictional director in training shadows an experienced one from 7:00 AM to 7:00 PM during a typical day. You may know that a lot of work goes into shooting a small amount of film, but it's fascinating to learn exactly what has to be done.
Steven Katz doesn't only deal with technology. He also explains what actors need to do, and what they need from the director.
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Recomendo demais para ter na sua biblioteca para sempre que tiver uma dúvida!
Very useful for an overview of the pre production knowledge set required
Will definitely guide you