The Filmmaker's Eye

出版者:Routledge

作者:Gustavo Mercado

页数:208

出版时间:2010-9-10

价格:GBP 22.99

装帧:Paperback

isbn号码:9780240812175

具体描述

This is the only book that combines conceptual and practical instruction on creating polished and eloquent images for film and video with the technical know-how to achieve them. Loaded with hundreds of full-color examples, The Filmmaker's Eye is a focused, easy-to-reference guide that shows you how to become a strong visual storyteller through smart, effective choices for your shots. After a short introduction to basic principles, a variety of shots are deconstructed in the following format: Why It Works: an introduction to a particular type of shot How It Works: callouts point out exactly how the shot works the way it does--the visual rules and technical aspects in action Technical Considerations: the equipment and techniques needed to get the shot. Breaking the Rules: examples where the "rules" are brilliant subverted This book: Helps you make smart visual choices with this quick, focused, and visual guide to cinematic composition. Shows you how to master the rules, then break them. Includes examples and discussions from a range of international films.

Amazon Exclusive: A Letter from Gustavo Mercado on The Filmmaker’s Eye: Learning (and Breaking) the Rules of Cinematic Composition

Dear Amazon Readers, Although there are other books out there that deal with the principles of visual composition, I always wanted to have a guide that specialized in the specific requirements that are inherent to the composition of shots intended for telling stories with moving images, also known as cinematic composition. The reason for the differentiation is simple: the composition of shots for movies has developed its own set of conventions, sometimes appropriating concepts from other art forms (like painting or still photography), but also creating its own aesthetic principles and visual language because of its unique characteristics (the fixed size of the frame, the movement of the subject and/or camera, the technology used to capture images, the way images are shown in conjunction with other images, etc.). As you can probably guess, I never found such a guide, so I decided to write The Filmmaker’s Eye: Learning (and Breaking) the Rules of Cinematic Composition to fill the gap in this critical area of filmmaking. This book combines, for the first time, a specialized, focused guide to the most common and basic shots of the film vocabulary, from the extreme close up to the extreme long shot (also including chapters on the over the shoulder, macro, establishing, and moving camera shots). The Filmmaker’s Eye examines the main aspects that make these shots work: the rules of cinematic composition used in their creation, the techniques and equipment necessary to implement them, and their most common narrative function as shown in examples from mainstream, independent, and world cinema. This approach allows you to understand not only why a particular shot type is usually composed in a certain way, but also how it is used to convey meaning and how to shoot it whether you are working on film or HD video. It is my sincerest wish that this book will help deepen your understanding of cinematic composition, whether you are on a film shoot setting up your next shot, or just enjoying one of your favorite movies. Have fun! --Gustavo Mercado

Amazon Exclusive: Top Ten Tips from Gustavo Mercado to Improve Your Cinematic Compositions

Use a director’s viewfinder, a still camera, or any other instrument that allows you to create a frame to see the world around you. Good compositions work not only because of what is included in the frame, but also because of what is left out of it. Using any device (even your hands) to create a frame will allow you to train your eye and better understand the visual relationships of the elements contained within it. Know what your lenses can and cannot do. The lens you choose can radically alter the visual relationships between elements in your frame; understanding how different lenses affect space, the look of your subjects, and the amount of light you can work with is fundamental if you want to have complete control over your images. Use depth of field as a creative element of your composition. Choosing what is in and out of focus is one of the most powerful ways to control the information contained in your frame, and therefore shape what an audience gets out of your compositions. Have a clear understanding behind the narrative function of your composition. A good storyteller knows how to emphasize certain moments in a story and details in a frame. It is imperative that you understand the dramatic purpose behind the moment you are capturing so that you can arrange the visual elements within the frame accordingly. Ask yourself: what do I want the audience to get out of this particular shot and how can I make it express that? Know the basic rules of composition and why they work. While this might seem obvious at first, the key here is not only to be familiar with the rules, but also to understand how and why they function, in essence, why did they become rules in the first place? Only when you know the concept behind the rule can you apply it in an expressive way. Learn how to break the rules. Every rule was created by individuals not following the rules; somebody decided to place a camera really close to a subject one day and gave birth to the close up. Of course, breaking the rules intelligently only works after you learn them (see previous tip)! Be familiar with the limitations and advantages of all your equipment. Creating visually compelling compositions requires not only your artistic insight, but also your technical skills. You may have an amazing composition in your mind’s eye that gets completely undone by the time you shoot it because you were unaware your camera could not run at a particular frame rate, or you did not have enough lights to get the look you wanted. Keep in mind how each individual composition will function when juxtaposed with the rest of the images in your film, and be aware of how their interaction adds meaning as a whole. Whether you intend to or not, your story will have an image system at work, so you should have a plan for how every composition you create fits within this framework. Make it a habit to scan the entire frame before you roll camera. Even experienced directors of photography fall into the trap of getting so caught up by a single aspect of a composition that they forget to look at every visual element in the frame, often ruining what would have been beautiful shots. Do your research. I find it extremely helpful to create a portfolio of images in preparation for a project. It can include pictures taken from magazines, examples from still photography books, paintings, other films, and any other image that you feel captures the tone, mood, and visual palette you want to implement for your film.

读后感

在讲述特写镜头的章节中引用的文献细读的方法。在一张画面上指出很多看点，比如第37页中三只猴子说特写镜头中眼睛里必须有闪光，否则就是死的。或者是43页香水，说必须考虑一与多，救世主与万众之间的关系，在广角镜头当中要把背景的750多名群众演员尽可能拍进画面，以强调主人...

在讲述特写镜头的章节中引用的文献细读的方法。在一张画面上指出很多看点，比如第37页中三只猴子说特写镜头中眼睛里必须有闪光，否则就是死的。或者是43页香水，说必须考虑一与多，救世主与万众之间的关系，在广角镜头当中要把背景的750多名群众演员尽可能拍进画面，以强调主人...

在讲述特写镜头的章节中引用的文献细读的方法。在一张画面上指出很多看点，比如第37页中三只猴子说特写镜头中眼睛里必须有闪光，否则就是死的。或者是43页香水，说必须考虑一与多，救世主与万众之间的关系，在广角镜头当中要把背景的750多名群众演员尽可能拍进画面，以强调主人...

在讲述特写镜头的章节中引用的文献细读的方法。在一张画面上指出很多看点，比如第37页中三只猴子说特写镜头中眼睛里必须有闪光，否则就是死的。或者是43页香水，说必须考虑一与多，救世主与万众之间的关系，在广角镜头当中要把背景的750多名群众演员尽可能拍进画面，以强调主人...

在讲述特写镜头的章节中引用的文献细读的方法。在一张画面上指出很多看点，比如第37页中三只猴子说特写镜头中眼睛里必须有闪光，否则就是死的。或者是43页香水，说必须考虑一与多，救世主与万众之间的关系，在广角镜头当中要把背景的750多名群众演员尽可能拍进画面，以强调主人...

用户评价

我个人是那种对技术层面的讨论不太耐烦的读者，我更偏爱那些关于“意图”和“感受”的探讨。幸运的是，这本书在这方面做得极其出色，它成功地在冰冷的技术解析和炙热的艺术表达之间搭建了一座完美的桥梁。作者在讨论“光线与色彩的心理暗示”时，完全没有陷入到色彩光谱的枯燥分析中去，而是结合具体的角色动机和场景情绪，来解释为什么选择高调的暖光会减弱角色的权威性，而低调的冷光又能制造出压抑的史诗感。这种基于人本体验的分析，让整个阅读过程充满了代入感和共鸣。对我来说，它最大的价值在于，它提供了一种“提问”的方式，而不是直接给出“答案”。它引导你去质疑每一个被认为是理所当然的镜头选择，去探究导演的内心世界。这本书的文字功底也十分扎实，逻辑清晰，论据充分，没有一句废话。如果你已经厌倦了那些只会堆砌术语和炫耀经验的入门指南，那么这本书将是你提升审美层次、重塑影像观的关键一步。它不仅仅是一本关于电影的书，它更像是一本关于如何更深刻地观察世界的指南。

说实话，我本来对这种“大师语录式”的书籍抱持着一种谨慎的态度，总觉得它们要么过于玄乎，要么就是故弄玄虚。但这本书，却以一种令人信服的、近乎科学的严谨性，将那些原本感觉很“玄”的视觉语言，拆解成了可理解、可操作的模块。我特别欣赏作者对“叙事空间”的处理方式，他没有停留在固定机位和摇臂这些硬件层面，而是深入挖掘了空间本身如何成为角色的一部分。比如书中分析某个特定场景时，提到如何利用前景的遮挡物来暗示角色的心理隔阂，以及如何通过镜头的推拉来制造观众的代入感与疏离感的平衡。这种细腻的观察力，让我开始重新审视我自己的拍摄习惯。我过去总觉得，情绪的到位了，画面自然就好。现在我明白，情绪的构建，是建立在一系列精心计算的视觉决策之上的。阅读体验上，这本书的节奏把握得极好，它不会让你因为信息量太大而感到疲惫，相反，每一次的知识点输入都像是一次精神上的“刷新”。我建议所有想从“会拍”晋升到“会讲故事”的影像工作者，都应该把这本书当成一本训练心智的工具。它不仅仅是教你如何看电影，更是教你如何用眼睛说话。

这部厚重的书，光是掂在手里那份沉甸甸的分量，就让人对其中蕴含的知识充满敬意。我一直以为自己对摄影的理解还算不错，毕竟摸爬滚打了好几年，也看过不少经典电影的幕后花絮。然而，这本书的内容，完全颠覆了我原有的认知框架。它不像那些教你“如何设置光圈、快门”的工具书那样直白，它更像是一本深入到导演内心世界的哲学探讨。每一章的论述都极其严谨，作者似乎不是在简单地描述“镜头如何运动”，而是在剖析“为什么在这个情境下，镜头必须以这样的速度、这样的角度切入，才能达到最大的情感冲击”。读到关于景深和焦点处理的部分时，我感觉自己仿佛站在一个大师的肩膀上，看到了普通观众轻易忽略掉的，那些隐藏在画面深处的叙事线索。作者引用了大量的古典艺术和现代绘画理论来佐证他的观点，使得整个阅读过程充满了智力上的愉悦感，那种感觉就像是解开了一个又一个视觉密码。这本书的排版也相当考究，黑白照片的运用达到了教科书级别的精准，每一张图例都完美地支撑了紧随其后的理论分析，让人忍不住停下来，反复揣摩那些光影的微妙变化。坦白说，读完前三分之一，我就决定以后每次进入片场，都必须带着它，它已经从一本参考书，变成了一种新的思考习惯。

这本书的深度远超出了我对一本关于“视觉表达”书籍的预期。我原本以为它会集中在好莱坞黄金时代的经典手法上，但它更像是一部横跨百年电影史的视觉语言进化论。作者对于新浪潮电影，尤其是欧洲艺术电影中那些反传统的镜头使用方式，进行了非常深入且富有洞察力的分析。他巧妙地将早期的默片时代的蒙太奇理论，与现代数字电影的碎片化叙事进行了对比，揭示出视觉语言的连续性与断裂性。阅读过程中，我频繁地暂停下来，上网去重温那些被引用的冷门影片，那种将理论与实践瞬间打通的感觉，真是无与伦比的体验。这本书的知识密度非常高，我必须承认，我不是一次性读完的，而是断断续续地花了近两个月的时间，期间做了大量的笔记，甚至在书页边缘画满了箭头和问号。这恰恰说明了它的价值所在——它不是一本可以快速消费的作品，而是一部需要投入时间去消化的思想盛宴。对于那些想挑战自我、真正理解视觉叙事的深度爱好者来说，这绝对是案头必备的案卷。

对于长期从事纪录片创作的人来说，捕捉“决定性瞬间”是永恒的课题，而这本书提供的视角，无疑为我们在混乱的现场捕捉到秩序提供了理论基石。我最感兴趣的是其中关于“非对称构图的心理学效应”那一章。作者详细阐述了为什么在某些文化背景下，画面中的重量失衡会引发观众的焦虑感，以及如何利用这种焦虑感来推动情节发展。这对于我这种经常需要在高压、不可控的拍摄环境下工作的制片人来说，简直是醍醐灌顶。以前我们更多依赖直觉，但这本书提供了一套可以被检验和复用的逻辑模型。它的语言风格非常平实，没有太多华丽的辞藻，就是那种老派学者特有的，将复杂问题层层剥开的清晰感。我尤其欣赏作者对“留白”的处理，他不是强迫你接受他的所有观点，而是提供了一个坚固的论证结构，让读者自己去填补和延伸。每次合上书，我都会立刻打开电脑，尝试用书里提到的几种构图原则去套用我手头素材的分析，效果立竿见影。它让我明白，那些看似随性的抓拍，背后往往隐藏着深刻的视觉逻辑。

在库布里克跳着看的。。。288的售价，好贵。。。

穷人下的pdf看完的。对于新手的教育意义很大。基础入门类非常可读

终于啃完了，头要炸了T______T

This book elaborates the motivation for shots, offering me a fresh start to enjoy movies from a photographic point of view. It is always delighted to see things from a different angle. So, why not read it if you consider yourself a film aficionado?

穷人下的pdf看完的。对于新手的教育意义很大。基础入门类非常可读