THE FILMMAKER'S EYE
THE FILMMAKER'S EYE
THE FILMMAKER'S EYE
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<strong>THE</strong> <strong>FILMMAKER'S</strong> <strong>EYE</strong><br />
LEARNING (AND BREAKING) <strong>THE</strong> RULES OF CINEMATIC COMPOSITION<br />
ELSEVIER<br />
GUSTAVO MERCADO<br />
Amsterdam • Boston • Heidelberg • London • New York<br />
Oxford • Paris • San Diego • San Francisco • Singapore<br />
Sydney • Tokyo<br />
Focal Press is an imprint of Elsevier
contents<br />
acknowledgments xi<br />
introduction xiii<br />
finding the frame 1<br />
principles of composition and technical concepts 6<br />
image system 21<br />
extreme close up 29<br />
close up 35<br />
medium close up 41<br />
medium shot 47<br />
medium long shot 53<br />
long shot 59<br />
extreme long shot 65<br />
over the shoulder shot 71
establishing shot<br />
subjective shot<br />
two shot<br />
group shot<br />
canted shot<br />
emblematic shot<br />
abstract shot<br />
macro shot<br />
zoom shot<br />
pan shot<br />
tilt shot<br />
dolly shot<br />
dolly zoom shot<br />
77<br />
83<br />
89<br />
95<br />
101<br />
107<br />
113<br />
119<br />
125<br />
131<br />
137<br />
143<br />
149
tracking shot 1 55<br />
Steadicam® shot* 161<br />
crane shot 1 67<br />
sequence shot 1 73<br />
filmography 179<br />
index 183<br />
'Steadicam® is a registered trademark of the Tiffen Company
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