MARC Record from marc_columbia

LEADER: 07943cam a2200889Ia 4500
001 14709304
005 20220528231144.0
006 m o d
007 cr cnu---unuuu
008 070910s2003 enka ob 001 0 eng d
035 $a(OCoLC)ocn170831199
035 $a(NNC)14709304
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020 $a9780080497693$q(electronic bk.)
020 $a0080497691$q(electronic bk.)
020 $a9781136045059
020 $a1136045058
020 $a1136045066
020 $a9781136045066
020 $a1281012521
020 $a9781281012524
020 $a9786611012526
020 $a6611012524
020 $z9780240516813
020 $z0240516818
024 7 $a10.4324/9780080497693$2doi
035 $a(OCoLC)170831199$z(OCoLC)505135476$z(OCoLC)648270196$z(OCoLC)858460503$z(OCoLC)976448370$z(OCoLC)1041493921$z(OCoLC)1044331743$z(OCoLC)1056423459$z(OCoLC)1058174727$z(OCoLC)1060900363$z(OCoLC)1073069371$z(OCoLC)1162012001$z(OCoLC)1241764544$z(OCoLC)1295606264$z(OCoLC)1300609944
037 $aCL0500000285$bSafari Books Online
050 4 $aTR850$b.W37 2003eb
072 7 $aPHO$x022000$2bisacsh
072 7 $aART$x057000$2bisacsh
082 04 $a778.53$222
049 $aZCUA
100 1 $aWard, Peter,$d1936-
245 10 $aPicture composition for film and television /$cPeter Ward.
250 $a2nd ed.
260 $aOxford ;$aBoston :$bFocal Press,$c2003.
300 $a1 online resource (xiv, 261 pages, [4] pages of illustrations) :$billustrations (some color)
336 $atext$btxt$2rdacontent
337 $acomputer$bc$2rdamedia
338 $aonline resource$bcr$2rdacarrier
347 $atext file
500 $aPrevious edition: 1996.
504 $aIncludes bibliographical references (pages 249-250) and index.
588 0 $aPrint version record.
505 0 $a1. 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 00 $g1.$tInvisible technique --$tLearning the ropes --$tA moving photograph --$tContinuity cinema --$tThe shot --$tThe creation of 'invisible' technique --$tStandard camerwork conventions --$tRealistic representation --$tMechanical reproduction --$tFraming a shot --$tComposition --$tDoes the shot work --$tIntuition --$t'I see what you mean!' --$tWhy composition is important --$tControl of composition --$tVisual design techniques --$tCultural influences --$tChanging fashions --$tSummary --$g2.$tAlternative technique --$tJump cuts --$tAlternatives --$tIt's magic --$tRealism and imagination.
505 00 $tThe film moment is always nowWhy people dislike the rejection of standard conventions --$tStorytelling --$tDon't wake me up --$tDefinition of alternative conventions --$tConventions --$tSummary --$g3.$tThe lens, the eye and perception --$tIntroduction --$tThe imprint of the lens --$tThe eye and a lens --$tSize constancy --$tHow do we understand what we are looking at --$tCharacteristics of perception --$tSummary --$g4.$tThe lens and perspective --$tPerception and depth --$tDepth indicators and their relationship to the lens --$tFocal length --$tAngle of view --$tDepth-of-field --$tfno --$tZoom --$tFocus --$tThe structural skeleton of a shot.
505 00 $tHorizon line and camera height as a compositional deviceControlling space with choice of lens angle/camera distance --$tThe internal space of a shot --$tProduction style and lens angle --$tEstimating distance --$tAccentuating depth --$tSummary --$g5.$tVisual design --$tIntroduction --$tMovement --$tSound --$tControlling composition --$tDesign techniques --$tGrouping and organization --$tBalance --$tFigure and ground --$tShape --$tLine --$tRhythm and visual beat --$tPattern --$tInterest --$tDirection --$tColour --$tScale --$tAbstraction --$tUnderstanding an image --$tSummary --$g6.$tFrame --$tComposition and the frame --$tFrame -- an invisible focus of power --$tStatic viewpoint.
505 00 $tA hard cut-offLimited depth and perspective indicators --$tMonochrome --$tThe edge of frame as a reference --$tFrames within frames --$tA second frame --$tFrame and divided interest --$tSummary --$g7.$tThe shape of the screen --$tAspect ratio --$tThe shape of the screen and composition --$tViewfinder as an editing tool --$tCould it have been different --$tThe invention of a world format standard --$tWidescreen returns --$tDesign of the TV aspect ratio --$tHDTV --$tThe need for a universal video format --$g16.$t:9 television widescreen --$tA reasonable compromise between competing aspect ratios --$tThe divine proportion.
505 00 $tWidescreen -- the shape of a banknoteSummary of film and television formats mentioned --$g8.$tWidescreen composition and film --$tFinding ways to compose for the new shape --$tWidescreen advantages --$tSelling off the redundant format --$tPan and scan --$tCinematographers alarmed --$tBoom in shot --$tThe growth of multiplexes --$tCommon topline and super 35 --$tSummary --$g9.$tWidescreen composition and TV --$tIntroduction --$tLetterboxing --$tAspect ratio conversion --$tProtect and save --$tShooting for two formats --$tComposing for 16:9 --$tFidgety zooms --$tTransitional period --$tThe viewer takes control --$tInserting 4:3 material into a 16:9 production.
520 $aBehind 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 $aEnglish.
650 0 $aCinematography.
650 0 $aComposition (Photography)
650 0 $aMotion pictures$xProduction and direction.
650 0 $aTelevision$xProduction and direction.
650 2 $aMotion Pictures
650 6 $aCinéma.
650 6 $aComposition (Photographie)
650 6 $aCinéma$xProduction et réalisation.
650 6 $aTélévision$xProduction et réalisation.
650 7 $aPHOTOGRAPHY$xTechniques$xCinematography & Videography.$2bisacsh
650 7 $aART$xFilm & Video.$2bisacsh
650 7 $aCinematography.$2fast$0(OCoLC)fst00861484
650 7 $aComposition (Photography)$2fast$0(OCoLC)fst00871774
650 7 $aMotion pictures$xProduction and direction.$2fast$0(OCoLC)fst01027357
650 7 $aTelevision$xProduction and direction.$2fast$0(OCoLC)fst01146585
650 17 $aFilmproductie.$2gtt
650 17 $aCameravoering.$2gtt
650 17 $aFilmmontage.$2gtt
655 0 $aElectronic books.
655 4 $aElectronic books.
776 08 $iPrint version:$aWard, Peter, 1936-$tPicture composition for film and television.$b2nd ed.$dOxford ; Boston : Focal Press, 2003$z0240516818$z9780240516813$w(DLC) 2005415306$w(OCoLC)49906865
856 40 $uhttp://www.columbia.edu/cgi-bin/cul/resolve?clio14709304$zTaylor & Francis eBooks
852 8 $blweb$hEBOOKS