MARC Record from marc_nuls

LEADER: 03822cam 2200313 a 4500
001 9923949790001661
005 20150423150712.0
008 131106s2012 caua 000 0 eng
010 $a2012002999
020 $a9781615930876
020 $a1615930876
035 $a(OCoLC)775779467
035 $a(OCoLC)ocn775779467
040 $aDLC$beng$cDLC$dBDX$dYDXCP$dCDX$dFTB$dOCLCO$dUKMGB$dOCLCF
042 $apcc
049 $aCNUM
050 00 $aTR850$b.K46 2012
082 00 $a777$223
100 1 $aKenworthy, Christopher.
245 10 $aMaster shots :$b100 advanced camera techniques to get an expensive look on your low-budget movie /$cChristopher Kenworthy.
250 $a2nd ed.
260 $aStudio City, CA :$bMichael Wiese Productions,$cc2012.
300 $ax, 229 p. :$bill. ;$c20 x 29 cm.
505 0 $aChapter 1: Fight Scenes -- 1-1: Long Lens Stunt ; 1-2: Speed punch ; 1-3: Matching motion ; 1-4: Knock down ; 1-5: Cutting for impact ; 1-6: Down on the floor ; 1-7: Off-screen violence ; 1-8: Moment of defeat -- Chapter 2: Chase Scenes -- 2-1: Travel with subject ; 2-2: Long lens pan ; 2-3: Passing through tight spaces ; 2-4: Through open spaces ; 2-5: Surprises along the way ; 2.6: Unseen attacker ; 2-7: Closing attacker ; 2-8: Unfair speed gain ; 2-9: Almost there ; 2-10: Footwork -- Chapter 3: Entrances And Exits -- 3-1: Character switch ; 3-2: Background reveal ; 3-3: Turn in ; 3-4: Object revelation ; 3-5: Window push ; 3-6: Scene swap ; 3-7: Pendulum pan ; 3-8: Direction shift -- Chapter 4: Suspense, Searching & Creeping -- 4-1: Subtle Dolly ; 4-2: Unseen ; 4-3: Anticipating motion ; 4-4: Push on nothing ; 4-5: Widening the space ; 4-6: Two things at once ; 4-7: Traces and clues ; 4-8: Steps to suspense ; 4-9: Visual dangers -- Chapter 5: Dramatic Shift -- 5-1: Focus in ; 5-2: Moment of drama ; 5-3: Pan and slide ; 5-4: Working the background ; 5-5: Pivot on characters ; 5-6: Reverse all directions ; 5-7: Backward Dolly ; 5;8: Underlining stillness ; 5-9: Simultaneous motion -- Chapter 6: Revelations And Discoveries -- 6-1: Mirror door ; 6-2: Separating ; 6-3: Detail in the crowd ; 6-4: Out of the shadows ; 6-5: Pull-out reveal ; 6-6: Parallel track ; 6.7: Moving On ; 6-8: Eyeline change ; 6-9: Eye slide -- Chapter 7: Shock Horror -- 7-1: Building tension ; 7-2: Misdirection for shock ; 7-3: Fearing a character ; 7-4: Fearing a place ; 7-5: Wide spaces ; 7-6: Visual shock ; 7-7: Change of mind ; 7-8: Shielding attacker ; 7-9: Window of fear -- Chapter 8: Directing Attention -- 8-1: Object guide ; 8-2: Handing off motion ; 8-3: Change of direction ; 8- 4: Reflections ; 8-5: Rest point ; 8-6: Color guides ; 8-7: Reverse angles -- Chapter 9: Car Scenes -- 9-1: Front seat shooting ; 9-2: Back seat shooting ; 9-3: Car dialogue ; 9-4: Parked car ; 9-5: Leaving the Car ; 9-6: Car walk ; 9-7: Shooting through windows -- Chapter 10: Dialogue Scenes -- 10-1: Conversation Dolly ; 10-2: Offset background ; 10-3: Shared screen ; 10-4: Side by side ; 10-5: Height changes ; 10-6: Staged glances ; 10-7: Mirror talk ; 10-8: Move with the beats -- Chapter 11: Arguments And Conflict -- 11-1: Circling ; 11.2: Attacking camera ; 11-3: Defensive camera ; 11-4: Lunging at camera ; 11-5: Motion in anger ; 11-6: Body conflict ; 11-7: Back over shoulder ; 11-8: Criss-Crossing -- Chapter 12: Love And Sex Scenes -- 12-1: Eye contact ; 12.2: First contact ; 12-3: Kiss angles ; 12-4: Getting down ; 12-5: Out of body ; 12-6: Facing up ; 12-7: Moments of connection ; 12-8: World of details
650 0 $aCinematography.
650 0 $aMotion pictures$xProduction and direction.
947 $fSETM$hBOOK$p$25.60$q1
949 $aTR850 .K46 2012$i31786102814362
994 $a92$bCNU