Enhanced descriptions from Syndetics:

Learn how to use the basic "grammar" of making films and videos in Grammar of the Shot! This book shows you in no uncertain terms what you absolutely need to know to put together your own film or video, shot by shot. Whether you are just learning how to frame a shot or if you just need a refresher, this book gives you a basic toolkit of how to build a successful visual story that flows smoothly.

Grammar of the Shotbegins with an explanation of the essential visual language of filmmaking-the book takes you from the basic shape of a shot, to different types to shots, to composition of visual elements within each frame. You will be given the basic building blocks essential for successful shot lighting, screen direction, 3D elements, camera movement, and many general practices that make for a richer, multi-layered visual presentation. Most importantly, you will be given crucial background information to expand your visual vocabulary and help jumpstart your career in film and video.

Designed as an easy-to-use reference, each topic is covered succinctly and is accompanied by clear photographs and diagrams that illustrate the key concepts presented in the book. Simple, elegant, and easy to use, Grammar of the Shotis a staple of any filmmaker's library.

Don't miss the companion volume, Grammar of the Edit!(9780240521206)

Table of contents provided by Syndetics

• I Introduction
• A Define the material to be covered
• B Define the Audience for this material
• C Define the Purpose behind covering this material
• D Define what one can expect to learn from this presentation
• II Basics of Film Language
• A Basic Building Blocks
• 1 Shot Types ? As if still pictures a. Wide Shot b. Medium Shot c. Close Up d. ETC
• B Aspect Ratio
• 1 Frame Size a. Brief History b. Technical Explanation (numbers) c. Physical Frame yields aesthetic conventions
• III The Art of Composition
• A Framing
• 1 What Portion of the World do you Frame?
• 2 Simple Rules of Framing People
• a Head Room
• b Look Room
• c No funny objects behind the head
• B Illusion of 3D on a 2D Medium
• 1 Horizon Line
• 2 Parallel Lines / Vanishing Point
• 3 FG / MG / BG ? object size
• 4 Atmosphere to infinity
• C Mise-en-Scene ? Arrangements of Objects in the Frame
• 1 Rule of Thirds
• 2 Objects Size Equates Object Importance
• 3 Object ?Weight? in Frame
• a Higher = Dominant
• b Lower = Submissive
• 4 What?s in Focus?
• a Depth of Field
• b Focus Pulling
• 5 What?s in Light or in Darkness?
• a Chiaroscuro
• b Brightness leads the eye
• c Colors lead the eye, too
• D Camera Angle
• 1 Normal view
• 2 Low Angle view
• 3 High Angle view
• IV Putting it together: Pre-thinking the editing process
• A Shooting-for-Editing: Get the coverage
• 1 Provide New Information / Detail
• 2 Focus Viewer?s Attention on Action in Scene
• B Match Your Shots
• 1 Continuity
• a Screen direction
• b 180 Degree Rule (or Director?s Line)
• c Matching Action across edits
• 2 Reciprocating Imagery
• a Matching Shot-Reverse-Shot: Angles on Action
• b Singles
• c Over-The-Shoulders
• d Eyeline Match
• V Dynamic Images: Talent and camera in motion
• A Moving Talent
• B Moving Camera
• 1 Pan
• 2 Tilt
• 3 Dolly
• 4 Zoom
• 5 Hand-held
• VI General Practices and Good Advice
• A Know the Rules Before You Break the Rules
• B Make Appropriate Choices
• C Enhance the Story
• D Involve the Viewer ? movies as a participatory experience