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What the industry's most succcessful writers and directors have in common is that they have mastered the cinematic conventions specific to the medium.
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Product details
Paperback: 257 pages
Publisher: Michael Wiese Productions; 2nd Edition edition (August 1, 2005)
Language: English
ISBN-10: 193290705X
ISBN-13: 978-1932907056
Product Dimensions:
10.8 x 0.5 x 7.7 inches
Shipping Weight: 1.7 pounds (View shipping rates and policies)
Average Customer Review:
4.2 out of 5 stars
123 customer reviews
Amazon Best Sellers Rank:
#198,808 in Books (See Top 100 in Books)
In general, most of these 'cinematic techniques' are discussed in a very basic fashion. The coverage is cursory at best. What would help it a lot is more 'best practices' kind of discussion, and showing more how to get good results with specific applications of the techniques. This is done to a small extent, but it is way too limited to be very helpful. Many of the 'techniques' are so simplistic, it is like saying 'Well, if the scene is too dark, you can shine a light in there.' If you compare this book to 'Master Shots', you can see my point.
Not at all what I expected. I was looking for a book on how to translate ideas into visual scenes, and this book isn't that. However, it covers lots of things I never would have thought about if I hadn't read it. Just one example that sticks out is the series Helix. I watched many episodes of it without noticing anything different about it until I read this book. Now I know it was mainly shot in shades of green, and the love interest of the main character, and there are two, would always wear red, so you instantly knew which one he was closest to at the moment. Without this book I would have never noticed that.I had no idea that directors and editors looked at the sort of stuff this book talks about. Fascinating. It's like it opened up a whole new world to me.
I can't say I completely recommend it, at least not until after reading more informative books about directing and cinematic composition such as Film Directing Shot by Shot: Visualizing from Concept to Screen (Michael Wiese Productions) and Film Directing: Cinematic Motion, Second Edition, both by Steven D Katz and The Filmmaker's Eye: Learning (and Breaking) the Rules of Cinematic Composition by Gustavo Mercado. I'm actually a little surprised at all the overwhelmingly positive reviews of this book and thought it needed a bit of more critical appraisal.It seems to be part of a series of books all made in the "widescreen" format, I think trying to cash in on the HD craze. The layout of these books is similar to the 16:9 HD aspect ratio, and the books are designed to be visually appealing, but seem to be very sparse on information. There's a lot of blank white space, and what few words there are suffer from a stiffly formulaic presentation loaded with pointless repetition. Each page only features a few brief paragraphs and feels like it could have been developed a lot more. And then to waste more space, each chapter pointlessly lists the credits for each movie mentioned in that chapter - what's the point of that? I wouldn't mind it if it seemed the actual descriptions of the cinematic conventions themselves -- the meat and potatoes of the book - were more fully presented first, but it seems the credits listing eats up valuable space that should have been devoted to more fully developed discussion of those conventions.I'm not completely panning the book... it IS a good brief introduction to "100 cinematic conventions every filmmaker should know". But that's all it is. To make an analogy, it's like a book that lists 100 great ingredients with very brief notes as to how each tastes and what kind of dish it can be used in, but has no recipes in it. The books mentioned above have those recipes... they go into great detail about staging and blocking and how to arrange actors and scene elements for various effects. The information in those books is presented in such a way that you come out with coherent understanding of how to set up certain types of scenes.Once you have a grounding in that kind of detailed info, then a book like Cinematic Storytelling is a good addition... some additional ingredients to add to your dishes once you know how to cook them. But that listing of ingredients does no good until you know some recipes.
I am not all the way through my first reading of this book, but so far I am taking a lot from it! I have just recently taken into creating films and I wanted to learn as much as possible, but starting as a beginner through and through I didn't where to start, I have been reading this book and it sort of reads like a classroom text book (which is good, there's a lot of information packed in, not just pretty pictures) It has tons of real examples to follow along with it so you can really understand what ideas are being presented. I got the E-book (Kindle) version, and it reads/is translated really well into this format, the information is not missed the black and white pictures suffice on my Kindle-Touch, it's a great read, and a lot can be taken from it. If you're trying to learn more about the visual art of storytelling and screenwriting this is a good place to start.
Bought this for my brother-in-law who just graduated film school. He really enjoyed the perspective this book takes and it brought back to the front of his mind some of the more obscure things about framing and shot setup that he had overlooked on a few of his last production jobs. It's a good read, nice illustrations, and a memory jog for anyone interested or working professionally in film.
Very good book. It illustrates really well the contents, the scripts and images help a lot to understand the ideas. Still, I'd like the references to be a little less...old... To illustrate how the principles are applied nowadays. Still, great read and great book.
The Kindle version of Cinematic Storytelling is disappointing. There are still photo screen shots to illustrate the author's points, but the photos are placed several pages away from the text that discusses them. Whoever formatted the Kindle edition does not respect the importance of visual information, which would be ironic in a book about cinema - but I paid good money for this and feel ripped off.The paperback version of this book apparently places the photos alongside the relevant text, so would be better.Still, in either edition, the photos fall far short of the actual moving pictures from the movies discussed. The book relies more on long, detailed, yet vague descriptions of the movie scenes, and this is not the best way to teach the points addressed in this book. I agree with the other reviewer recommending buyers wait for a DVD version.
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