By Robert Edgar-Hunt
Fundamentals Film-Making: Directing Fiction may also help you create artistically gratifying brief movies. providing an available advent to the major parts of directing akin to script, casting, position, sound and enhancing, there's additionally recommendation on easy methods to distribute your productions.
Robert Edgar-Hunt deals either a pragmatic method of the self-discipline in addition to a theoretical exploration, explaining why a uncomplicated grounding in movie conception is key for each movie- maker with the intention to tell and improve their paintings. fundamentals Film-Making: Directing Fiction examines vintage video clips to demonstrate key techniques and offers routines designed to check and construct in your knowing of directing. there's additionally an insightful interview with Mark Herman, director of vintage movies comparable to Brassed
Off, Little Voice and The Boy within the Striped Pyjamas.
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Additional info for Basics Film-Making, Volume 3: Directing Fiction
In this scene, the threat of the soldiers is enhanced by the position of the camera at the bottom of the steps. The camera remains static as the soldiers move ever closer. Case study: Peter Hunt > Image composition > Storyboards Battleship Potemkin (dir: Sergei M. Eisenstein 1925) Pre-production Image composition 54–55 This image demonstrates the importance of light and shadow in creating mood. Up to this point the film is light and faces are clearly shown as characters are established. This classic image of the figure in silhouette creates menace and threat.
Working with script The script forms the basis of film. Without it, film does not exist. As a director you need to learn how to work with script. This sounds easier than it is. Not only do you have to learn how it works, you need to interpret it for yourself and communicate this to your cast and crew. You are making visual what is essentially a piece of literature. Breaking down the script When a director initially considers a script, they do so, first and foremost, as an analyst. This initial analysis cannot be conducted quickly or easily.
3. Mid shot A mid shot shows a character’s head and shoulders. Characters are often framed like this when they talk to each other. 4. Close-up A close-up can be used to show a character’s feelings. If they are sad, a close-up will help the audience to feel sad. If they are angry, a close-up could make the audience scared. Case study: Peter Hunt > Image composition > Storyboards Different shots Image composition Considering mood While the individual shots are the bare bones of your composition you also need to consider the impact of light.