Read “Narration in the Fiction Film”, by David Bordwell, and maybe “The Way Hollywood Tells It” if you’re in the mood. That’s it.
The Automoderator does not allow me to be concise, so I'll add some stuff.
The first book uses cognitive psychology principles to explain how movies work and how we interact with them. It's one of the best books I've ever read about film — and I'm a film major. David Bordwell is so much better than everyone else it's ridiculous. IT MAKES SENSE, it is accessible and will make you understand film in no time.
The second, by the same author, is a historical view of how American cinema evolved, from the very start to Matrix (I think). It's awesome, straightforward and precise.
Film Art: An Introduction is, in my opinion, a bit too basic for you, but you may use it if you feel overwhelmed.
Bruce Block teaches this at USC and on various weekends at the Production Designer's Guild.
Highly recommend reading his stuff for the science of how to express visual progression through converging lines from shot to shot vs. within the shot or how depth cues of flat and deep is the most basic visual separation but most often used, and much much more on shape, rhythm, and color.
ET is the best I can think of off the top of my head how this whole thing actually works. The scene where Elliot and ET are trying to escape the police. Watch how each frame dances between flat space and deep. It becomes rhythmic. In conjunction with that, Spielberg also has the "lines" of the boys on the bikes in the upper frame while the police cars remain in the lower, creating visual division. The police stay on a rigid singular line that speeds up and slows down while the boys remain small but fluid. It's visually showing the agility vs power of the two. After the boys are almost caught, right after the scary surprise your not safe arm grab, watch how the bike stays center frame in deep space whole police cars intersect the path of left and right frame in a horizontal vs vertical line. That's not even close to describing all the elements going on here. Color, tone and shape have a huge discussion in this moment as well but it's difficult to discuss without visual aids.
Sorry to go off on a tangent, this is something I actually have a strong understanding on and it's not too often that we talk about the visual narration happening to express the films emotional layer. Too bad the medium is only seen with a narrative intent, but if may I recommend films by Stan Brakhage, Maya Deren, Kenneth Anger, and Bruce Conner. Might help to see images/light/sound used holistically in this manner.
Do not edit out the room tone on the dialogue, it is part of the dialogue. You should be looking for clean chunks of tone, using it to fill across unwanted sounds and for smoothing edits. Sounds like you need a good read up on dialogue editing, and it doesn't get better than this book.
He teaches at USC and produced What Women Want, and consulted on films from what I hear from the producing faculty. He wrote a book on visual storytelling and his ideas in the book are the foundation for his class. It's not what's shown in video, those composition guidelines feel so laughably arbitrary. Bruce's idea was moreso here are all the elements at your disposal, pick a few and use them well—like for instance how The Shining is practically entirely shot with one point perspective right smack in the middle of the frame. I swear his class is the most debated class we've all had to take, but I think it's still valuable, and way more applicable than that video. Here's the book in case you wanna check it out. If it helps, woot! If you already known the stuff, wouldn't be surprised. It's just nice to have it all laid out.
https://www.amazon.com/dp/0240807790/ref=cm_sw_r_cp_apa_fabc_jDkUFbYGDMAXM
Well my position is that your lighting fixtures, gels, diffusion tools and rigging knowledge are your creative tools as a dp and a gaffer akin to paintbrushes and different kinds of paint without which there is no art or creativity happening.
But that aside this book is a staple of the industry and will serve you well
https://www.amazon.com/dp/0240810759/ref=cm_sw_r_cp_apa_i_X2wrFbF7ARJGJ
First of all, don't call it "the grip," that's like your mom calling it "the Facebook."
> nothing important only c-stands
Arguably one of the most important stands on a set.
I recommend Set Lighting Technician's Handbook by Harry C. Box. It includes a ton of information about lighting, power, and grip on set.
So they're a little zoomed out due to the confidentiality issue aneks was talking about, but here's two of mine from recently just to show about the level of complexity you'd hit in an 'average' shot: http://imgur.com/a/6NBO2
If you want to learn to comp at a high level, read this: the Art and Science of Digital Compositing by Ron Brinkmann: http://www.amazon.com/Art-Science-Digital-Compositing-Second/dp/0123706386/ref=la_B001IO9KYE_1_1?s=books&ie=UTF8&qid=1423931635&sr=1-1
Page 139-140 of the fourth edition Set Lighting Technicians Handbook.
Using diffusion makes the source larger relative to the subject.
We move lamps to control shadows all the time, at least in Atlanta. I'm sure in other parts of the world optical physics works differently.
LOL -
I light my house however my husband tells me it needs to be lit - which is warm white led bulbs from costco in many desk lamps.
My OFFICE is lit by a 24-inch paper lantern, with a 60w frosted incandescent.
I agree modifiers are a fantastic way to learn to control light of any kind.
If you want to dig in - https://www.amazon.com/Set-Lighting-Technicians-Handbook-Distribution/dp/0240810759
Step one, read Mr. Box.
Maybe not a spot on suggestion, but this book is amazing for understanding how to arrange different shots for different effects and moods, as well as sequencing
See if you can get a hold of a copy of this book:
https://www.amazon.com/Film-Directing-Shot-Visualizing-Productions/dp/0941188108
Your local library might have it, or can get it from interlibrary loan.
Film school is an option, and some smaller state schools have film programs. What that ends up being is making films on a smaller scale and learning to collaborate with other students. Napoleon Dynamite started out as a film school project and the crew that worked on it got funding and expanded it.
You can also get started by working as a production assistant on a film set to get some experience. You can work up, but being a director is only one of the jobs on the set and realistically you'll likely end up doing something else if your plan is just to get on set and work up. A lot of directors come up through cinematography (filming/working the camera).
Good luck.
Seems legit to me. I’d also recommend the book Film Directing Shot by Shot, by Steven Katz which contains a big chunk of knowledge on storyboarding among other things. https://www.amazon.com/Film-Directing-Shot-Visualizing-Productions/dp/0941188108/ref=mp_s_a_1_2?qid=1655945800&refinements=p_27%3ASteven+Katz&s=books&sr=1-2
Books on Cinematography are an excellent resource for understanding the emotional impact of cinematography. Here’s one I loved reading: Cinematography: Theory and Practice: Image Making for Cinematographers and Directors https://www.amazon.com/dp/1138940925/ref=cm_sw_r_cp_api_i_SFKZWR3EHMEZJYE4BFXR
I also highly recommend just reading/listening to the filmmakers themselves talk about the reasons behind their use of certain cinematic techniques. After all, the source is always the best place when looking for answers. You find all kinds of amazing
Listen, I have low-function autism and grew up in bizarre life. I speak in a very odd way non verbally.
I did not mean to attack you. I was trying to use your age to help you realize that you might not see what I do. But it came off as condescending. That is on me, and if you see it in one of my posts, I try to take responsibility for that.
I have studied and worked in film, animation and fine art for over 15 years.
I am basically the kind of person who would write this book: https://www.amazon.ca/Film-Art-Introduction-David-Bordwell/dp/0073535109
But I am an acquired taste and difficult to work with.
A few years ago I had a mental break. Pretty much every night I have night terrors and I'm afraid of my shadow.
I don't want to argue.
But one thing I know is cinema. I am friends with the people and the sort of people who wrote that book. I spend a lot of time listening and studying and practicing film.
I said these guys were pioneers. You said they weren't. The issue is that you are confusing the different types of pioneering.
There are pioneers in things like making cameras and in techniques.
My overall point is to focus on the HOW, and not anything is.
But I just ask you to see past how I told you and consider finding value in what I was saying.
I'm sincerely sorry and wish you all the best. Cheers.
Directing the Story: Professional Storytelling and Storyboarding Techniques for Live Action and Animation by Francis Glebas
This is without a doubt the best resource for learning dialogue editing. Dialogue Editing for Motion Pictures: A Guide to the Invisible Art https://www.amazon.com/dp/0415828171/ref=cm_sw_r_apan_glt_fabc_W14S3G5SR40CN88VGBM6
Acting Classes. Participate in local theater. Then take some night classes in camera ;). The Visual Story by Bruce Block is an essential read that all major film schools make you read. https://www.amazon.com/Visual-Story-Second-Creating-Structure/dp/0240807790
There's a great book chapter that I had to read for my New Queer Cinema class (of all things) that really clarified a lot about cinematography and how it affects you (a lot of it has to do with how the camera mimics and contrasts with actual human sight). Film Crit Hulk also had a nice little technical breakdown of the different kinds of shots and how they affect you.
There's another book that I haven't finished reading yet but which is part of a lot of film school curriculums that includes even more information on how shot composition and editing affect you called The Visual Story: Creating the Visual Structure of Film, TV and Digital Media. Highly recommend giving it a look.
This book by Bruce Block goes into great detail about this.
The Visual Story, Second Edition: Creating the Visual Structure of Film, TV and Digital Media https://www.amazon.com/dp/0240807790/ref=cm_sw_r_cp_api_glt_fabc_VKQ4D63QGZCE3G2JHPBW
Get this book and actually read it to get an understanding of what visual effects is. I keep it under my pillow at night.
Amazon.com: The Art and Science of Digital Compositing: Techniques for Visual Effects, Animation and Motion Graphics (The Morgan Kaufmann Series in Computer Graphics) (9780123706386): Brinkmann, Ron: Books
This is a bit out-there, but "The Visual Story" is a freaking awesome book. It deals a lot with frame composition, though overall a lot of it deals with temporal media (film, video, etc). I've never seen a book that focuses so strongly on how visual elements affect us psychologically - it's a unique book, might hunt for it used. Lots of crazy insights on use of color.
Another one is Mortensen's "The Command to Look" - again, a bit out-there (as was his work) and plenty of ideas to agree or disagree with; but it's somewhat a rarity, he explores what makes us stop in our tracks, though there's more emphasis on portraiture.
Work is just starting to pick up for me. I havent had shit in 6 months then got called 3 times this week :)
If you've been in the military and worked as an industrial electrician, you'd fit right into the grip and electric teams. The grip union is local 80 and the electric union is 728. Grip side deals with constructing rigs for lights and cameras. The electrician side is running the power distro and all the actual lights on set.
If you come onto a set as a PA, meet the key grip and Gaffer and get them your info, then work your ass off. 100% of my work comes from word of mouth. I would also recommend the set lighting technician's handbook, if you are interested in this route. It has a lot of good info for someone new.
Dialogue Editing for Motion Pictures goes over best standard practices, and should be a must read for anyone in both production and post production sound. The author also has a few videos online related to his book.
LinkedIn Learning/Lynda.com has a course under the Pro Tools Audio for Video section that is also super helpful.
Get this book: Film Directing Shot by Shot: Visualizing from Concept to Screen "A complete catalogue of motion picture techniques for filmmakers. It concentrates on the 'storytelling' school of filmmaking, utilizing the work of the great stylists who established the versatile vocabulary of technique that has dominated the movies since 1915. This graphic approach includes comparisons of style by interpreting a 'model script', created for the book, in storyboard form."
Save your money.
Grab the grip and lighting book from Harry Box (yes it’s a terrible name). It’s the book we use on film sets, it’s an easy read and has some awful jokes in it too.
Watch every film you can, and the commentaries.
Watch thing in theaters, Hollywood theater, watch rare things at movie madness.
Get a subscription to American Cinematographers magazine. (Read old articles.)
Buy a camera. 6k blackmagic or canon 5D miv. Have an iPhone (works easily, and easy to edit on.)
Have fun. Be curious. Be a happy puppy, and treat everyone fairly. Punch up, never punch down.
If you want a job in the film business, know that you want to do it for free...for love, if you do it only for money...you will fail.
Well, honestly I'd trust that if he offered you the gig he believes you can do what you need to do. But as always, the Set Lighting Technician's Handbook by Harry Box is a great place to start.
https://www.amazon.com/Set-Lighting-Technicians-Handbook-Distribution/dp/0240810759
for anyone looking to know more on this an many other subjects I highly recommend this book. It's vey informative and I come back to it time and time again throughout my career.
I personally use this book a lot: https://www.amazon.ca/Set-Lighting-Technicians-Handbook-Distribution/dp/0240810759/ref=nodl_
I got in school and refer back to it sometimes. There’s a lot of info about basic lighting skills, colour temperature, techniques and tips and tricks. It also has info about power and distribution of power which isn’t relevant to what you want to learn but nice to know, haha. The newest edition should cover LED too cuz LED lighting has exploded in the last couple years. There’s also a Grip one from the same publishers I own but I rarely even crack that open, haha :)
Perhaps take a look at the Set Lighting Technicians Handbook. https://www.amazon.ca/Set-Lighting-Technicians-Handbook-Distribution/dp/0240810759
Might be more technical than you want.
Pretty much what you're looking for is China Ball. Soft light on a stick, works pretty good for most stuff.