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Film Studies. Ed Sikov. Design for Motion. Austin Shaw. Timing for Animation.
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The Whole Story. Howard Beckerman. Carl Potts. Michael Rizzo. DSLR Cinema. Kurt Lancaster. Rick Schmidt. Michael Rabiger. Animation from Pencils to Pixels.
Tony White. Acting and Performance for Animation. Derek Hayes. Professional Storyboarding. Anson Jew. The Storyboard Artist.
Giuseppe Cristiano. Grammar of the Shot. Christopher J. Josef Steiff. Cinematography for Directors: A Guide for Creative Collaboration. Jacqueline Frost. Storytelling Techniques for Digital Filmmakers. Ross Hockrow.
Layout and Composition for Animation. Ed Ghertner. Grammar of the Edit. How to Make Animated Films. Practical Art of Motion Picture Sound. David Lewis Yewdall. Teaching Motion Design. Michael Dooley. The Filmmaker's Guide to Visual Effects.
Eran Dinur. Video Production Handbook. Jim Owens. Creative Motion Graphic Titling. Bill Byrne. My Happy Days in Hollywood. Garry Marshall.
Cut by Cut. Gael Chandler. The Location Sound Bible: Ric Viers. Animation Unleashed. Ellen Besen. Four Screenplays. Syd Field. Frame by Frame Stop Motion.
Tom Gasek. Joss Whedon. Amy Pascale. The Dictionary of New Media. The Practical Guide to Documentary Editing. Sam Billinge.
Creative Filmmaking from the Inside Out. Jed Dannenbaum. Filming the Fantastic: A Guide to Visual Effects Cinematography. Mark Sawicki. As If! Jen Chaney. Film and Video Editing.
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Directing for Film and Television. Christopher Lukas. Bill Kramer. Designing Sound for Animation. Robin Beauchamp.
Production Management for TV and Film. Linda Stradling. Filmmaking Essentials for Photographers. Eduardo Angel. In Egure 6. The change of size from shot to shot varies but is determined by the limits of identification. As long as we recognize that each shot is an overlapping portion of the wide shot, the change in scale is permissible. Actually, even this definition must take into account the change in editing styles over several decades.
The move from wide shot to close-up was considered too radical a jump for audiences during the first five decades of motion pictures unless a medium shot was used in between.
Hollywood editors were forbidden to juxtapose a wide shot with a close-up lest they confuse the audience as to where the dose-up was taking place. Today, afterseveral decades of familiarity with Hollywood conventions, audiences easily accept extreme changes in scale. If anything, it is likely that the conservative editing rules of the past lagged behind audience understanding. Visual recognition between shots, however, is only half the strategy of the continuity style.
Most often the relationship between shots is one of implication or inference. This is followed by a cut to an extreme dose-up of the man's hand turning the doorknob. Even if the doorknob was too small to attract our attention in the wide shot, we expect that it is connected to the previous shot since it makes logical sense,wen though we could k looking at another doorway in a different place and time.
Narrative logic and the visual connection between shots cooperate to create a In-Depth Frontal Positions In this next series of frames, an in-depth composition is used with a foreground player close to the camera.