Overview

To dramatize a story using moving images, a director must have a full understanding of the meaning and emotional effect of all the various types of shots and cuts that are available to advance the story. Drawing upon his extensive experience as a storyboard artist who has worked with over 200 directors and cinematographers on television series and movies, author Kelly Gordon Brine provides a practical and accessible introduction to the design of shots, cuts, and transitions for film, television, animation, video, and game design.With hundreds of illustrations and diagrams, concise explanations of essential storytelling concepts, and vivid examples, The Art of Cinematic Storytelling demystifies the visual design choices that are fundamental to directing and editing. The author delves deeply into the techniques that visual storytellers use to captivate their audience, including blocking, camera positioning, transitions, and planning shots with continuity editing in mind. Practical advice on how to clarify time, space, and motion in many common situations DL such as dialogue, pursuits, and driving sequences DL makes this book an invaluable guide for all aspiring filmmakers.

Full Product Details

Author:   Kelly Gordon Brine (Freelance Storyboard Artist, Freelance Storyboard Artist)
Publisher:   Oxford University Press Inc
Imprint:   Oxford University Press Inc
Dimensions:   Width: 18.30cm , Height: 2.40cm , Length: 26.10cm
Weight:   0.852kg
ISBN:  

9780190054328

ISBN 10:   0190054328
Pages:   368
Publication Date:   05 November 2020
Audience:   Professional and scholarly ,  Professional & Vocational
Format:   Hardback
Publisher's Status:   Active
Availability:   Manufactured on demand  
We will order this item for you from a manufactured on demand supplier.

Table of Contents

Introduction Chapter 1: Seven Film Storytelling Essentials Chapter 2: Using Storyboards Chapter 3: Shot Composition Basics Chapter 4: Camera Angles, Lenses and Storytelling Chapter 5: Designing Shots for Storytelling Chapter 6: Continuity Editing Basics Chapter 7: Storytelling Cuts and Film Grammar Chapter 8: 3D Spatial Continuity and 2D Screen Geography Chapter 9: Compressing, Expanding and Ending Scenes Chapter 10: Beginning Scenes and Using Transitions Chapter 11: Stories with Stationary Action Chapter 12: Stories about a Moving Character Chapter 13: Stories about Searching Chapter 14: Stories about Following or Chasing Chapter 15: Two-Character Dialogue Chapter 16: Three-Character Dialogue Chapter 17: Group and Crowd Scenes Chapter 18: Shooting Driving Scenes Chapter 19: Blocking and Cinematic Storytelling Glossary of Filmmaking Terms

Reviews

Mind-blowing visual effects, dangerous stunts, and exhilarating action used to be the sole domain of big-budget film. But with 'peak TV' came the same expectations for the small screen. With less time and less money, the only way for directors and producers to deliver is to storyboard like a pro. The author's easy-to-follow techniques on how to break the most complex scenes into essential shots has been my secret weapon for cinematic television. * Chris Fisher, Producer/Director of Warehouse 13, Person of Interest, The Magicians, and Strange New Worlds. * I've benefited from the author's storyboarding expertise to help me previsualize the shots and cuts on dozens of complex projects. His book shows how directing, cinematography, and editing work together to present the narrative visually. His insights about visual storytelling are like a creative force multiplier and will help aspiring filmmakers achieve their very best. * Stephen D Surjik, television and film director whose many credits include The Witcher, Umbrella Academy, Lost in Space, See, Jessica Jones, and Luke Cage. *

I've benefited from the author's storyboarding expertise to help me previsualize the shots and cuts on dozens of complex projects. His book shows how directing, cinematography, and editing work together to present the narrative visually. His insights about visual storytelling are like a creative force multiplier and will help aspiring filmmakers achieve their very best. * Stephen D Surjik, television and film director whose many credits include The Witcher, Umbrella Academy, Lost in Space, See, Jessica Jones, and Luke Cage. * Mind-blowing visual effects, dangerous stunts, and exhilarating action used to be the sole domain of big-budget film. But with 'peak TV' came the same expectations for the small screen. With less time and less money, the only way for directors and producers to deliver is to storyboard like a pro. The author's easy-to-follow techniques on how to break the most complex scenes into essential shots has been my secret weapon for cinematic television. * Chris Fisher, Producer/Director of Warehouse 13, Person of Interest, The Magicians, and Strange New Worlds. *

Author Information

Kelly Gordon Brine is a storyboard artist. He has worked on dozens of television shows, including The Witcher, Umbrella Academy, Lost in Space, Jessica Jones, and Person of Interest, and has taught drawing as an assistant professor at the University of Toronto. He holds a Bachelor of Mathematics degree.

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