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Master Shots Volume 2...Dialogue...Sample PDF

Master Shots Volume 2...Dialogue...Sample PDF

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Published by: Michael Wiese Productions on Jun 03, 2011
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08/10/2013

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CHRISTOPHER KENWORTHY
MASTER SHOTSVOL 2
MICHAEL WIESE PRODUCTIONS
100 WAYS TO SHOOT GREAT DIALOGUE SCENES
 
CONTENTS v
CONTENTS
INTRODUCTION
vi
HOW TO USE THIS BOOK
x 
ABOUT THE IMAGES
  x 
CHAPTER 1: CONFLICT
1.1 Power Move

1.2 Doorway 

1.3 Offset Group

1.4 Crossing Lines

1.5 Barrier .....................
10 
1.6 Side Switch
1
1.7 Snap Turn
  1
1.8 Swing to Cut
1
1.9 Deep Staging
1
1.10 Power Struggle
2
CHAPTER 2: INCREASINGTENSION
2.1 Circling Dialogue
2
2.2 Closing Space
2
2.3 Exaggerated Height
2
2.4 Dramatic Swing
3
2.5 Clandestine
3
2.6 Frame Share
3
2.7 Focus on One
3
2.8 Level Change
3
2.9 Claustrophobic Space
4
2.10 Track Character
4
CHAPTER 3: POWERSTRUGGLES
3.1 Disoriented
4
3.2 Doorway Angles
4
3.3 Angle Exchange
5
3.4 Threshold
5
3.5 Space Reverse
5
3.6 Character Chase
5
3.7 Side On
5
CHAPTER 4: GROUPCONvERSATION
4.1 Angle Anchor
6
4.2 Eyeline Anchor
6
4.3 Group Pivot
6
4.4 Central Character
6
4.5 Along the Line
7
4.6 Line of Three
7
4.7 Central Line
7
4.8 Solid Camera
7
4.9 Round Table
7
4.10 Expanding Group
8
CHAPTER 5: CONNECTINGCHARACTERS
5.1 Long Lens Space

 
84 
5.2 Obstruction
8
5.3 Facing Away 
8
5.4 Angled Push
9
5.5 Back to Character
9
5.6 Dance Moves
9
5.7 Outsider
9
5.8 Playing with Space
9
5.9 Pacing
10
5.10 Parallel Speech
10
 
vI CONTENTS
10.2 Remote Observer
19
10.3 Contrasting Motion
19
10.4 Sense of Location
19
10.5 Wall Turn
19
CHAPTER 11: CREATIvESTAGING
11.1 Reverse Body 
20
11.2 Motion Exchange
20
11.3 Trackback 
20
11.4 Offset Angles
20
11.5 Different Rooms
20
11.6 Distant Slide
21
11.7 Flat Reverse
21
11.8 Move Through Scene
21
11.9 Character Reveal
21
11.10 Push Between
21
11.11 Closing the Gap
22
CONCLUSION
22
AUTHOR BIO
22
CHAPTER 8: INTENSEEMOTIONS
8.1 Argument in Motion
           150 
8.2 Freeze Reveal
15
8.3 Homing In
15
8.4 Mixed Distance
15
8.5 Moving Out
15
8.6 Turn with Move
16
CHAPTER 9: INTIMACY
9.1 Push to Talk 
16
9.2 Close Faces
16
9.3 Head to Head
16
9.4 Raised Camera
17
9.5 Arc and Push
17
9.6 Whispering
17
9.7 Partial Angle
17
9.8 Outer Focus
17
9.9 Low and Close
18
9.10 Coupled Angles
18
9.11 Object Hinge
18
CHAPTER 10: LONGDISTANCE
10.1 Solo Move
18
CHAPTER 6: REvEALING PLOT
6.1 Shifting Levels
10
6.2 Close Cut
10
6.3 Hard Reverse
11
6.4 Face to Face
11
6.5 Face Up
11
6.6 Background Switch
11
6.7 Invisible Barrier
11
6.8 No Contact
12
6.9 Shift to Background
12
6.10 Swing Pan
12
CHAPTER 7: WALKING ANDTALKING
7.1 Spiral Down
12
7.2 Rush Past
13
7.3 Finding the Lens
13
7.4 Back to Camera
                 134 
7.5 Mutual Interest
13
7.6 Open Space
  13
7.7 Following
14
7.8 Offset Walk 
14
7.9 Repeated Swing
14
7.10 Tethered Camera
14

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