Chapter One – The Shots: What, How and Why?
Further Exploration – A Brief History of Aspect Ratios
Further Exploration – Why We Might Like Widescreen so Much
The Basic Cinematic Building Blocks – An Introduction to Shot Types
The Extended Family of Basic Shots – The Powers of Proximity
Extreme Long Shot/Extreme Wide Shot
Big Close-Up (UK)/Choker (USA)
Why Do We Even Have Different Shot Types?
Pulling Images from the Written Page
Chapter One – Exercises & Projects
Chapter Two – The Basics of Composition
Simple Guidelines For Framing Human Subjects
Subjective Versus Objective Shooting Styles
The Two-Shot: Frame Composition with Two People
The Over-the-Shoulder Two-Shot
Wrapping up the Basics of Composition
Chapter Two – Exercises & Projects
Chapter Three – Composition – Beyond the Basics
The Illusion of the Third Dimension
The Depth of Film Space – Foreground/Middle Ground/Background
The Camera Lens – The Observer of Your Film World
Lens Focus – Directing the Viewer’s Attention
Pulling Focus or Following Focus
Chapter Three – Exercises & Projects
Chapter Four – Lighting Your Shots – Not Just What You See, but How You See It
Light as an Element of Composition
Correcting or Mixing Colors on Set
Quantity of Light: Sensitivity
Quality of Light: Hard Versus Soft
Basic Character Lighting: Three-Point Method
Contrast Ratio or Lighting Ratio
Motivated Lighting – Angle of Incidence
Controlling Light – Basic Tools and Techniques
Light … and the Light Years of Learning
Chapter Four – Exercises & Projects
Chapter Five – Will it Cut? Shooting for Editing
Matching Your Shots in a Scene
Continuity of Screen Direction
The Line – Basis for Screen Direction
The Imaginary Line – The 180 Degree Rule
Chapter Five – Exercises & Projects
Chapter Six – Dynamic Shots – Subjects and Camera in Motion
Subjects in Motion – Blocking Talent
Presentation Speed – Slow Motion and Fast Motion
Equipment Used to Move the Camera
Chapter Six – Exercises & Projects
Chapter Seven – Working Practices and General Guidelines
How to Manually Focus a Zoom Lens
Always Have Something in Focus
Try to Show Both Eyes of Your Subject
Be Aware of Eye-Line Directions in Closer Shots
Follow Action with Loose Pan and Tilt Tripod Head
Shooting Overlapping Action for the Edit
Frame for Correct “Look Room” on Shots that Will Edit Together
Shoot Matching Camera Angles when Covering a Dialogue Scene
Ways to Cross the 180 Degree Line Safely
Place Important Objects in the Top Half of Your Frame
Be Aware of the Color Choices Made Throughout Your Project
Keep Distracting Objects out of the Shot
Beware of Continuity Traps While Shooting a Scene
Use the Depth of Your Film Space to Stage Shots with Several People
In a Three-Person Dialogue Scene, Matching Two-Shots can be Problematic for the Editor
Motivate Your Truck-In and Truck-Out Dolly Moves
Allow the Camera More Time to Record Each Shot
Allow Actions to Complete Before Cutting Camera
Use Short Focal Length Lenses to Reduce Handheld Camera Shake
Beware of Wide Lenses when Shooting Close-Up Shots
Shooting B-Roll, 2nd Unit, and Stock Footage
Shooting a Talking Head Interview
During Documentary Filming, Be as Discreet as Possible
Chapter Seven – Exercises & Projects
Chapter Eight – A Few Words of Advice
Know the Rules Before You Break the Rules
The Reason for Shooting is Editing
Your Shots Should Enhance the Entire Story
Involve the Viewer as Much as Possible
Take Pride in the Quality of your Work and your Set Etiquette
Understand Lighting – Both Natural and Artificial
Study What Has Already Been Done
Appendix A – Helpful Resources for the New Filmmaker
Appendix B – Essential Crew Positions for Motion Picture Production