Picture composition for film and television /:
Behind each shot there lies an idea or purpose. When setting up a shot, the camera operator can employ a range of visual techniques that will clearly communicate the idea to an audience. Composition is the bedrock of the operator's craft, yet is seldom taught in training courses in the belief t...
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Elektronisch E-Book |
| Sprache: | English |
| Veröffentlicht: |
Oxford ; Boston :
Focal Press,
2003.
|
| Ausgabe: | 2nd ed. |
| Schlagworte: | |
| Online-Zugang: | DE-862 DE-863 |
| Zusammenfassung: | Behind each shot there lies an idea or purpose. When setting up a shot, the camera operator can employ a range of visual techniques that will clearly communicate the idea to an audience. Composition is the bedrock of the operator's craft, yet is seldom taught in training courses in the belief that it is an intuitive, personal skill. Peter Ward shows how composition can be learned, to enhance the quality of your work. Based on the author's own practical experience, the book deals with the methods available for resolving practical production questions. |
| Beschreibung: | Previous edition: 1996. |
| Beschreibung: | 1 online resource (xiv, 261 pages, [4] pages of illustrations) :) |
| Bibliographie: | Includes bibliographical references (pages 249-250) and index. |
| ISBN: | 9780080497693 0080497691 9781136045059 1136045058 1136045066 9781136045066 1281012521 9781281012524 9786611012526 6611012524 |
Internformat
MARC
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| 100 | 1 | |a Ward, Peter, |d 1936- |1 https://id.oclc.org/worldcat/entity/E39PCjqFgPkQChPwfxYmGjbpxC |0 http://id.loc.gov/authorities/names/nb91395494 | |
| 245 | 1 | 0 | |a Picture composition for film and television / |c Peter Ward. |
| 250 | |a 2nd ed. | ||
| 260 | |a Oxford ; |a Boston : |b Focal Press, |c 2003. | ||
| 300 | |a 1 online resource (xiv, 261 pages, [4] pages of illustrations) :) | ||
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| 500 | |a Previous edition: 1996. | ||
| 504 | |a Includes bibliographical references (pages 249-250) and index. | ||
| 588 | 0 | |a Print version record. | |
| 505 | 0 | |a 1. Invisible technique -- 2. Alternative technique -- 3. The lens, the eye and perception -- 4. The lens and perspective -- 5. Visual design -- 6. Frame -- 7. The shape of the screen -- 8. Widescreen composition and film -- 9. Widescreen composition and TV -- 10. Past influences -- 11. News and documentary -- 12. Composition styles -- 13. Lighting and composition -- 14. Colour -- 15. Staging -- 16. Movement -- 17. Shooting for editing. | |
| 505 | 0 | 0 | |g 1. |t Invisible technique -- |t Learning the ropes -- |t A moving photograph -- |t Continuity cinema -- |t The shot -- |t The creation of 'invisible' technique -- |t Standard camerwork conventions -- |t Realistic representation -- |t Mechanical reproduction -- |t Framing a shot -- |t Composition -- |t Does the shot work -- |t Intuition -- |t 'I see what you mean!' -- |t Why composition is important -- |t Control of composition -- |t Visual design techniques -- |t Cultural influences -- |t Changing fashions -- |t Summary -- |g 2. |t Alternative technique -- |t Jump cuts -- |t Alternatives -- |t It's magic -- |t Realism and imagination. |
| 505 | 0 | 0 | |t The film moment is always nowWhy people dislike the rejection of standard conventions -- |t Storytelling -- |t Don't wake me up -- |t Definition of alternative conventions -- |t Conventions -- |t Summary -- |g 3. |t The lens, the eye and perception -- |t Introduction -- |t The imprint of the lens -- |t The eye and a lens -- |t Size constancy -- |t How do we understand what we are looking at -- |t Characteristics of perception -- |t Summary -- |g 4. |t The lens and perspective -- |t Perception and depth -- |t Depth indicators and their relationship to the lens -- |t Focal length -- |t Angle of view -- |t Depth-of-field -- |t fno -- |t Zoom -- |t Focus -- |t The structural skeleton of a shot. |
| 505 | 0 | 0 | |t Horizon line and camera height as a compositional deviceControlling space with choice of lens angle/camera distance -- |t The internal space of a shot -- |t Production style and lens angle -- |t Estimating distance -- |t Accentuating depth -- |t Summary -- |g 5. |t Visual design -- |t Introduction -- |t Movement -- |t Sound -- |t Controlling composition -- |t Design techniques -- |t Grouping and organization -- |t Balance -- |t Figure and ground -- |t Shape -- |t Line -- |t Rhythm and visual beat -- |t Pattern -- |t Interest -- |t Direction -- |t Colour -- |t Scale -- |t Abstraction -- |t Understanding an image -- |t Summary -- |g 6. |t Frame -- |t Composition and the frame -- |t Frame -- an invisible focus of power -- |t Static viewpoint. |
| 505 | 0 | 0 | |t A hard cut-offLimited depth and perspective indicators -- |t Monochrome -- |t The edge of frame as a reference -- |t Frames within frames -- |t A second frame -- |t Frame and divided interest -- |t Summary -- |g 7. |t The shape of the screen -- |t Aspect ratio -- |t The shape of the screen and composition -- |t Viewfinder as an editing tool -- |t Could it have been different -- |t The invention of a world format standard -- |t Widescreen returns -- |t Design of the TV aspect ratio -- |t HDTV -- |t The need for a universal video format -- |g 16. |t :9 television widescreen -- |t A reasonable compromise between competing aspect ratios -- |t The divine proportion. |
| 505 | 0 | 0 | |t Widescreen -- the shape of a banknoteSummary of film and television formats mentioned -- |g 8. |t Widescreen composition and film -- |t Finding ways to compose for the new shape -- |t Widescreen advantages -- |t Selling off the redundant format -- |t Pan and scan -- |t Cinematographers alarmed -- |t Boom in shot -- |t The growth of multiplexes -- |t Common topline and super 35 -- |t Summary -- |g 9. |t Widescreen composition and TV -- |t Introduction -- |t Letterboxing -- |t Aspect ratio conversion -- |t Protect and save -- |t Shooting for two formats -- |t Composing for 16:9 -- |t Fidgety zooms -- |t Transitional period -- |t The viewer takes control -- |t Inserting 4:3 material into a 16:9 production. |
| 520 | |a Behind each shot there lies an idea or purpose. When setting up a shot, the camera operator can employ a range of visual techniques that will clearly communicate the idea to an audience. Composition is the bedrock of the operator's craft, yet is seldom taught in training courses in the belief that it is an intuitive, personal skill. Peter Ward shows how composition can be learned, to enhance the quality of your work. Based on the author's own practical experience, the book deals with the methods available for resolving practical production questions. | ||
| 546 | |a English. | ||
| 650 | 0 | |a Cinematography. |0 http://id.loc.gov/authorities/subjects/sh85026014 | |
| 650 | 0 | |a Composition (Photography) |0 http://id.loc.gov/authorities/subjects/sh85029405 | |
| 650 | 0 | |a Motion pictures |x Production and direction. |0 http://id.loc.gov/authorities/subjects/sh85088104 | |
| 650 | 0 | |a Television |x Production and direction. |0 http://id.loc.gov/authorities/subjects/sh85133468 | |
| 650 | 2 | |a Motion Pictures | |
| 650 | 6 | |a Cinéma. | |
| 650 | 6 | |a Composition (Photographie) | |
| 650 | 6 | |a Cinéma |x Production et réalisation. | |
| 650 | 6 | |a Télévision |x Production et réalisation. | |
| 650 | 7 | |a PHOTOGRAPHY |x Techniques |x Cinematography & Videography. |2 bisacsh | |
| 650 | 7 | |a ART |x Film & Video. |2 bisacsh | |
| 650 | 7 | |a Cinematography |2 fast | |
| 650 | 7 | |a Composition (Photography) |2 fast | |
| 650 | 7 | |a Motion pictures |x Production and direction |2 fast | |
| 650 | 7 | |a Television |x Production and direction |2 fast | |
| 650 | 1 | 7 | |a Filmproductie. |2 gtt |
| 650 | 1 | 7 | |a Cameravoering. |2 gtt |
| 650 | 1 | 7 | |a Filmmontage. |2 gtt |
| 758 | |i has work: |a Picture composition for film and television (Text) |1 https://id.oclc.org/worldcat/entity/E39PCGbCMh3jYQW8kQxKtjgPKm |4 https://id.oclc.org/worldcat/ontology/hasWork | ||
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Datensatz im Suchindex
| DE-BY-FWS_katkey | ZDB-4-EBA-ocn170831199 |
|---|---|
| _version_ | 1826941577148235777 |
| adam_text | |
| any_adam_object | |
| author | Ward, Peter, 1936- |
| author_GND | http://id.loc.gov/authorities/names/nb91395494 |
| author_facet | Ward, Peter, 1936- |
| author_role | |
| author_sort | Ward, Peter, 1936- |
| author_variant | p w pw |
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| bvnumber | localFWS |
| callnumber-first | T - Technology |
| callnumber-label | TR850 |
| callnumber-raw | TR850 .W37 2003eb |
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| collection | ZDB-4-EBA |
| contents | 1. Invisible technique -- 2. Alternative technique -- 3. The lens, the eye and perception -- 4. The lens and perspective -- 5. Visual design -- 6. Frame -- 7. The shape of the screen -- 8. Widescreen composition and film -- 9. Widescreen composition and TV -- 10. Past influences -- 11. News and documentary -- 12. Composition styles -- 13. Lighting and composition -- 14. Colour -- 15. Staging -- 16. Movement -- 17. Shooting for editing. Invisible technique -- Learning the ropes -- A moving photograph -- Continuity cinema -- The shot -- The creation of 'invisible' technique -- Standard camerwork conventions -- Realistic representation -- Mechanical reproduction -- Framing a shot -- Composition -- Does the shot work -- Intuition -- 'I see what you mean!' -- Why composition is important -- Control of composition -- Visual design techniques -- Cultural influences -- Changing fashions -- Summary -- Alternative technique -- Jump cuts -- Alternatives -- It's magic -- Realism and imagination. The film moment is always nowWhy people dislike the rejection of standard conventions -- Storytelling -- Don't wake me up -- Definition of alternative conventions -- Conventions -- The lens, the eye and perception -- Introduction -- The imprint of the lens -- The eye and a lens -- Size constancy -- How do we understand what we are looking at -- Characteristics of perception -- The lens and perspective -- Perception and depth -- Depth indicators and their relationship to the lens -- Focal length -- Angle of view -- Depth-of-field -- fno -- Zoom -- Focus -- The structural skeleton of a shot. Horizon line and camera height as a compositional deviceControlling space with choice of lens angle/camera distance -- The internal space of a shot -- Production style and lens angle -- Estimating distance -- Accentuating depth -- Visual design -- Movement -- Sound -- Controlling composition -- Design techniques -- Grouping and organization -- Balance -- Figure and ground -- Shape -- Line -- Rhythm and visual beat -- Pattern -- Interest -- Direction -- Colour -- Scale -- Abstraction -- Understanding an image -- Frame -- Composition and the frame -- Frame -- an invisible focus of power -- Static viewpoint. A hard cut-offLimited depth and perspective indicators -- Monochrome -- The edge of frame as a reference -- Frames within frames -- A second frame -- Frame and divided interest -- The shape of the screen -- Aspect ratio -- The shape of the screen and composition -- Viewfinder as an editing tool -- Could it have been different -- The invention of a world format standard -- Widescreen returns -- Design of the TV aspect ratio -- HDTV -- The need for a universal video format -- :9 television widescreen -- A reasonable compromise between competing aspect ratios -- The divine proportion. Widescreen -- the shape of a banknoteSummary of film and television formats mentioned -- Widescreen composition and film -- Finding ways to compose for the new shape -- Widescreen advantages -- Selling off the redundant format -- Pan and scan -- Cinematographers alarmed -- Boom in shot -- The growth of multiplexes -- Common topline and super 35 -- Widescreen composition and TV -- Letterboxing -- Aspect ratio conversion -- Protect and save -- Shooting for two formats -- Composing for 16:9 -- Fidgety zooms -- Transitional period -- The viewer takes control -- Inserting 4:3 material into a 16:9 production. |
| ctrlnum | (OCoLC)170831199 |
| dewey-full | 778.53 |
| dewey-hundreds | 700 - The arts |
| dewey-ones | 778 - Specific fields & kinds of photography |
| dewey-raw | 778.53 |
| dewey-search | 778.53 |
| dewey-sort | 3778.53 |
| dewey-tens | 770 - Photography, computer art, cinematography |
| discipline | Kunstgeschichte |
| edition | 2nd ed. |
| format | Electronic eBook |
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Invisible technique -- 2. Alternative technique -- 3. The lens, the eye and perception -- 4. The lens and perspective -- 5. Visual design -- 6. Frame -- 7. The shape of the screen -- 8. Widescreen composition and film -- 9. Widescreen composition and TV -- 10. Past influences -- 11. News and documentary -- 12. Composition styles -- 13. Lighting and composition -- 14. Colour -- 15. Staging -- 16. Movement -- 17. 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techniques --</subfield><subfield code="t">Cultural influences --</subfield><subfield code="t">Changing fashions --</subfield><subfield code="t">Summary --</subfield><subfield code="g">2.</subfield><subfield code="t">Alternative technique --</subfield><subfield code="t">Jump cuts --</subfield><subfield code="t">Alternatives --</subfield><subfield code="t">It's magic --</subfield><subfield code="t">Realism and imagination.</subfield></datafield><datafield tag="505" ind1="0" ind2="0"><subfield code="t">The film moment is always nowWhy people dislike the rejection of standard conventions --</subfield><subfield code="t">Storytelling --</subfield><subfield code="t">Don't wake me up --</subfield><subfield code="t">Definition of alternative conventions --</subfield><subfield code="t">Conventions --</subfield><subfield code="t">Summary --</subfield><subfield code="g">3.</subfield><subfield code="t">The lens, the eye and perception --</subfield><subfield code="t">Introduction 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compositional deviceControlling space with choice of lens angle/camera distance --</subfield><subfield code="t">The internal space of a shot --</subfield><subfield code="t">Production style and lens angle --</subfield><subfield code="t">Estimating distance --</subfield><subfield code="t">Accentuating depth --</subfield><subfield code="t">Summary --</subfield><subfield code="g">5.</subfield><subfield code="t">Visual design --</subfield><subfield code="t">Introduction --</subfield><subfield code="t">Movement --</subfield><subfield code="t">Sound --</subfield><subfield code="t">Controlling composition --</subfield><subfield code="t">Design techniques --</subfield><subfield code="t">Grouping and organization --</subfield><subfield code="t">Balance --</subfield><subfield code="t">Figure and ground --</subfield><subfield code="t">Shape --</subfield><subfield code="t">Line --</subfield><subfield code="t">Rhythm and visual beat --</subfield><subfield code="t">Pattern --</subfield><subfield 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--</subfield><subfield code="g">8.</subfield><subfield code="t">Widescreen composition and film --</subfield><subfield code="t">Finding ways to compose for the new shape --</subfield><subfield code="t">Widescreen advantages --</subfield><subfield code="t">Selling off the redundant format --</subfield><subfield code="t">Pan and scan --</subfield><subfield code="t">Cinematographers alarmed --</subfield><subfield code="t">Boom in shot --</subfield><subfield code="t">The growth of multiplexes --</subfield><subfield code="t">Common topline and super 35 --</subfield><subfield code="t">Summary --</subfield><subfield code="g">9.</subfield><subfield code="t">Widescreen composition and TV --</subfield><subfield code="t">Introduction --</subfield><subfield code="t">Letterboxing --</subfield><subfield code="t">Aspect ratio conversion --</subfield><subfield code="t">Protect and save --</subfield><subfield code="t">Shooting for two formats --</subfield><subfield code="t">Composing for 16:9 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| id | ZDB-4-EBA-ocn170831199 |
| illustrated | Illustrated |
| indexdate | 2025-03-18T14:14:19Z |
| institution | BVB |
| isbn | 9780080497693 0080497691 9781136045059 1136045058 1136045066 9781136045066 1281012521 9781281012524 9786611012526 6611012524 |
| language | English |
| oclc_num | 170831199 |
| open_access_boolean | |
| owner | MAIN DE-862 DE-BY-FWS DE-863 DE-BY-FWS |
| owner_facet | MAIN DE-862 DE-BY-FWS DE-863 DE-BY-FWS |
| physical | 1 online resource (xiv, 261 pages, [4] pages of illustrations) :) |
| psigel | ZDB-4-EBA FWS_PDA_EBA ZDB-4-EBA |
| publishDate | 2003 |
| publishDateSearch | 2003 |
| publishDateSort | 2003 |
| publisher | Focal Press, |
| record_format | marc |
| spelling | Ward, Peter, 1936- https://id.oclc.org/worldcat/entity/E39PCjqFgPkQChPwfxYmGjbpxC http://id.loc.gov/authorities/names/nb91395494 Picture composition for film and television / Peter Ward. 2nd ed. Oxford ; Boston : Focal Press, 2003. 1 online resource (xiv, 261 pages, [4] pages of illustrations) :) text txt rdacontent computer c rdamedia online resource cr rdacarrier text file Previous edition: 1996. Includes bibliographical references (pages 249-250) and index. Print version record. 1. Invisible technique -- 2. Alternative technique -- 3. The lens, the eye and perception -- 4. The lens and perspective -- 5. Visual design -- 6. Frame -- 7. The shape of the screen -- 8. Widescreen composition and film -- 9. Widescreen composition and TV -- 10. Past influences -- 11. News and documentary -- 12. Composition styles -- 13. Lighting and composition -- 14. Colour -- 15. Staging -- 16. Movement -- 17. Shooting for editing. 1. Invisible technique -- Learning the ropes -- A moving photograph -- Continuity cinema -- The shot -- The creation of 'invisible' technique -- Standard camerwork conventions -- Realistic representation -- Mechanical reproduction -- Framing a shot -- Composition -- Does the shot work -- Intuition -- 'I see what you mean!' -- Why composition is important -- Control of composition -- Visual design techniques -- Cultural influences -- Changing fashions -- Summary -- 2. Alternative technique -- Jump cuts -- Alternatives -- It's magic -- Realism and imagination. The film moment is always nowWhy people dislike the rejection of standard conventions -- Storytelling -- Don't wake me up -- Definition of alternative conventions -- Conventions -- Summary -- 3. The lens, the eye and perception -- Introduction -- The imprint of the lens -- The eye and a lens -- Size constancy -- How do we understand what we are looking at -- Characteristics of perception -- Summary -- 4. The lens and perspective -- Perception and depth -- Depth indicators and their relationship to the lens -- Focal length -- Angle of view -- Depth-of-field -- fno -- Zoom -- Focus -- The structural skeleton of a shot. Horizon line and camera height as a compositional deviceControlling space with choice of lens angle/camera distance -- The internal space of a shot -- Production style and lens angle -- Estimating distance -- Accentuating depth -- Summary -- 5. Visual design -- Introduction -- Movement -- Sound -- Controlling composition -- Design techniques -- Grouping and organization -- Balance -- Figure and ground -- Shape -- Line -- Rhythm and visual beat -- Pattern -- Interest -- Direction -- Colour -- Scale -- Abstraction -- Understanding an image -- Summary -- 6. Frame -- Composition and the frame -- Frame -- an invisible focus of power -- Static viewpoint. A hard cut-offLimited depth and perspective indicators -- Monochrome -- The edge of frame as a reference -- Frames within frames -- A second frame -- Frame and divided interest -- Summary -- 7. The shape of the screen -- Aspect ratio -- The shape of the screen and composition -- Viewfinder as an editing tool -- Could it have been different -- The invention of a world format standard -- Widescreen returns -- Design of the TV aspect ratio -- HDTV -- The need for a universal video format -- 16. :9 television widescreen -- A reasonable compromise between competing aspect ratios -- The divine proportion. Widescreen -- the shape of a banknoteSummary of film and television formats mentioned -- 8. Widescreen composition and film -- Finding ways to compose for the new shape -- Widescreen advantages -- Selling off the redundant format -- Pan and scan -- Cinematographers alarmed -- Boom in shot -- The growth of multiplexes -- Common topline and super 35 -- Summary -- 9. Widescreen composition and TV -- Introduction -- Letterboxing -- Aspect ratio conversion -- Protect and save -- Shooting for two formats -- Composing for 16:9 -- Fidgety zooms -- Transitional period -- The viewer takes control -- Inserting 4:3 material into a 16:9 production. Behind each shot there lies an idea or purpose. When setting up a shot, the camera operator can employ a range of visual techniques that will clearly communicate the idea to an audience. Composition is the bedrock of the operator's craft, yet is seldom taught in training courses in the belief that it is an intuitive, personal skill. Peter Ward shows how composition can be learned, to enhance the quality of your work. Based on the author's own practical experience, the book deals with the methods available for resolving practical production questions. English. Cinematography. http://id.loc.gov/authorities/subjects/sh85026014 Composition (Photography) http://id.loc.gov/authorities/subjects/sh85029405 Motion pictures Production and direction. http://id.loc.gov/authorities/subjects/sh85088104 Television Production and direction. http://id.loc.gov/authorities/subjects/sh85133468 Motion Pictures Cinéma. Composition (Photographie) Cinéma Production et réalisation. Télévision Production et réalisation. PHOTOGRAPHY Techniques Cinematography & Videography. bisacsh ART Film & Video. bisacsh Cinematography fast Composition (Photography) fast Motion pictures Production and direction fast Television Production and direction fast Filmproductie. gtt Cameravoering. gtt Filmmontage. gtt has work: Picture composition for film and television (Text) https://id.oclc.org/worldcat/entity/E39PCGbCMh3jYQW8kQxKtjgPKm https://id.oclc.org/worldcat/ontology/hasWork Print version: Ward, Peter, 1936- Picture composition for film and television. 2nd ed. Oxford ; Boston : Focal Press, 2003 0240516818 9780240516813 (DLC) 2005415306 (OCoLC)49906865 |
| spellingShingle | Ward, Peter, 1936- Picture composition for film and television / 1. Invisible technique -- 2. Alternative technique -- 3. The lens, the eye and perception -- 4. The lens and perspective -- 5. Visual design -- 6. Frame -- 7. The shape of the screen -- 8. Widescreen composition and film -- 9. Widescreen composition and TV -- 10. Past influences -- 11. News and documentary -- 12. Composition styles -- 13. Lighting and composition -- 14. Colour -- 15. Staging -- 16. Movement -- 17. Shooting for editing. Invisible technique -- Learning the ropes -- A moving photograph -- Continuity cinema -- The shot -- The creation of 'invisible' technique -- Standard camerwork conventions -- Realistic representation -- Mechanical reproduction -- Framing a shot -- Composition -- Does the shot work -- Intuition -- 'I see what you mean!' -- Why composition is important -- Control of composition -- Visual design techniques -- Cultural influences -- Changing fashions -- Summary -- Alternative technique -- Jump cuts -- Alternatives -- It's magic -- Realism and imagination. The film moment is always nowWhy people dislike the rejection of standard conventions -- Storytelling -- Don't wake me up -- Definition of alternative conventions -- Conventions -- The lens, the eye and perception -- Introduction -- The imprint of the lens -- The eye and a lens -- Size constancy -- How do we understand what we are looking at -- Characteristics of perception -- The lens and perspective -- Perception and depth -- Depth indicators and their relationship to the lens -- Focal length -- Angle of view -- Depth-of-field -- fno -- Zoom -- Focus -- The structural skeleton of a shot. Horizon line and camera height as a compositional deviceControlling space with choice of lens angle/camera distance -- The internal space of a shot -- Production style and lens angle -- Estimating distance -- Accentuating depth -- Visual design -- Movement -- Sound -- Controlling composition -- Design techniques -- Grouping and organization -- Balance -- Figure and ground -- Shape -- Line -- Rhythm and visual beat -- Pattern -- Interest -- Direction -- Colour -- Scale -- Abstraction -- Understanding an image -- Frame -- Composition and the frame -- Frame -- an invisible focus of power -- Static viewpoint. A hard cut-offLimited depth and perspective indicators -- Monochrome -- The edge of frame as a reference -- Frames within frames -- A second frame -- Frame and divided interest -- The shape of the screen -- Aspect ratio -- The shape of the screen and composition -- Viewfinder as an editing tool -- Could it have been different -- The invention of a world format standard -- Widescreen returns -- Design of the TV aspect ratio -- HDTV -- The need for a universal video format -- :9 television widescreen -- A reasonable compromise between competing aspect ratios -- The divine proportion. Widescreen -- the shape of a banknoteSummary of film and television formats mentioned -- Widescreen composition and film -- Finding ways to compose for the new shape -- Widescreen advantages -- Selling off the redundant format -- Pan and scan -- Cinematographers alarmed -- Boom in shot -- The growth of multiplexes -- Common topline and super 35 -- Widescreen composition and TV -- Letterboxing -- Aspect ratio conversion -- Protect and save -- Shooting for two formats -- Composing for 16:9 -- Fidgety zooms -- Transitional period -- The viewer takes control -- Inserting 4:3 material into a 16:9 production. Cinematography. http://id.loc.gov/authorities/subjects/sh85026014 Composition (Photography) http://id.loc.gov/authorities/subjects/sh85029405 Motion pictures Production and direction. http://id.loc.gov/authorities/subjects/sh85088104 Television Production and direction. http://id.loc.gov/authorities/subjects/sh85133468 Motion Pictures Cinéma. Composition (Photographie) Cinéma Production et réalisation. Télévision Production et réalisation. PHOTOGRAPHY Techniques Cinematography & Videography. bisacsh ART Film & Video. bisacsh Cinematography fast Composition (Photography) fast Motion pictures Production and direction fast Television Production and direction fast Filmproductie. gtt Cameravoering. gtt Filmmontage. gtt |
| subject_GND | http://id.loc.gov/authorities/subjects/sh85026014 http://id.loc.gov/authorities/subjects/sh85029405 http://id.loc.gov/authorities/subjects/sh85088104 http://id.loc.gov/authorities/subjects/sh85133468 |
| title | Picture composition for film and television / |
| title_alt | Invisible technique -- Learning the ropes -- A moving photograph -- Continuity cinema -- The shot -- The creation of 'invisible' technique -- Standard camerwork conventions -- Realistic representation -- Mechanical reproduction -- Framing a shot -- Composition -- Does the shot work -- Intuition -- 'I see what you mean!' -- Why composition is important -- Control of composition -- Visual design techniques -- Cultural influences -- Changing fashions -- Summary -- Alternative technique -- Jump cuts -- Alternatives -- It's magic -- Realism and imagination. The film moment is always nowWhy people dislike the rejection of standard conventions -- Storytelling -- Don't wake me up -- Definition of alternative conventions -- Conventions -- The lens, the eye and perception -- Introduction -- The imprint of the lens -- The eye and a lens -- Size constancy -- How do we understand what we are looking at -- Characteristics of perception -- The lens and perspective -- Perception and depth -- Depth indicators and their relationship to the lens -- Focal length -- Angle of view -- Depth-of-field -- fno -- Zoom -- Focus -- The structural skeleton of a shot. Horizon line and camera height as a compositional deviceControlling space with choice of lens angle/camera distance -- The internal space of a shot -- Production style and lens angle -- Estimating distance -- Accentuating depth -- Visual design -- Movement -- Sound -- Controlling composition -- Design techniques -- Grouping and organization -- Balance -- Figure and ground -- Shape -- Line -- Rhythm and visual beat -- Pattern -- Interest -- Direction -- Colour -- Scale -- Abstraction -- Understanding an image -- Frame -- Composition and the frame -- Frame -- an invisible focus of power -- Static viewpoint. A hard cut-offLimited depth and perspective indicators -- Monochrome -- The edge of frame as a reference -- Frames within frames -- A second frame -- Frame and divided interest -- The shape of the screen -- Aspect ratio -- The shape of the screen and composition -- Viewfinder as an editing tool -- Could it have been different -- The invention of a world format standard -- Widescreen returns -- Design of the TV aspect ratio -- HDTV -- The need for a universal video format -- :9 television widescreen -- A reasonable compromise between competing aspect ratios -- The divine proportion. Widescreen -- the shape of a banknoteSummary of film and television formats mentioned -- Widescreen composition and film -- Finding ways to compose for the new shape -- Widescreen advantages -- Selling off the redundant format -- Pan and scan -- Cinematographers alarmed -- Boom in shot -- The growth of multiplexes -- Common topline and super 35 -- Widescreen composition and TV -- Letterboxing -- Aspect ratio conversion -- Protect and save -- Shooting for two formats -- Composing for 16:9 -- Fidgety zooms -- Transitional period -- The viewer takes control -- Inserting 4:3 material into a 16:9 production. |
| title_auth | Picture composition for film and television / |
| title_exact_search | Picture composition for film and television / |
| title_full | Picture composition for film and television / Peter Ward. |
| title_fullStr | Picture composition for film and television / Peter Ward. |
| title_full_unstemmed | Picture composition for film and television / Peter Ward. |
| title_short | Picture composition for film and television / |
| title_sort | picture composition for film and television |
| topic | Cinematography. http://id.loc.gov/authorities/subjects/sh85026014 Composition (Photography) http://id.loc.gov/authorities/subjects/sh85029405 Motion pictures Production and direction. http://id.loc.gov/authorities/subjects/sh85088104 Television Production and direction. http://id.loc.gov/authorities/subjects/sh85133468 Motion Pictures Cinéma. Composition (Photographie) Cinéma Production et réalisation. Télévision Production et réalisation. PHOTOGRAPHY Techniques Cinematography & Videography. bisacsh ART Film & Video. bisacsh Cinematography fast Composition (Photography) fast Motion pictures Production and direction fast Television Production and direction fast Filmproductie. gtt Cameravoering. gtt Filmmontage. gtt |
| topic_facet | Cinematography. Composition (Photography) Motion pictures Production and direction. Television Production and direction. Motion Pictures Cinéma. Composition (Photographie) Cinéma Production et réalisation. Télévision Production et réalisation. PHOTOGRAPHY Techniques Cinematography & Videography. ART Film & Video. Cinematography Motion pictures Production and direction Television Production and direction Filmproductie. Cameravoering. Filmmontage. |
| work_keys_str_mv | AT wardpeter picturecompositionforfilmandtelevision |