Directing the camera: how professional directors use a moving camera to energize their films

Machine generated contents note: Acknowledgments --
Foreword by Robert Zemeckis --
Preface --
How to Use this Book --
Part one: why teach how to direct the camera? --
Chapter 1: The Importance of Directing the Camera --
Part two: Shooting dialogue sequqnces with a moving camera --
Chapter 2: Why Move Your Camera? --
Overview --
When Do you Move your Camera?, Bob's rule: The Three Kinds of Camera Movement that Are Invisible, --
Externally Generated Camera Moves, Externally Generated Camera Moves --
Seamlessness and --
Eye Candy, Seamlessness, Eye Candy, Internally Generated Camera Moves, Moving Establishing --
Shots, Those Who Break Bob's rule and Why They Do It, The Rise of the Snoopy Cam, Dogma Picks Up --
the Snoopy Cam, The Snoopy Cam Today, Summary Points, For Teachers --
Chapter 3: The Good Moving Master --
Overview --
A Model Moving Master and Coverage --
Jerry Maguire, Task 1 --
Establishing, Task 2 --
Seamlessness, --
Task 3 --
Eye Candy, Task 4 --
Drama, Task 5 --
Coverage, The Default Pattern for Designing the Best --
Moving Master, The Master for The Mahjong Parlor from Conundrum --
Following the Default Pattern, --
The Master with Warren Feur from What Lies Beneath --
Seamlessness to the Max, --
The Master with Warren Feur --
How Seamlessness to the Max Adds Eye Candy, The Master with --
Warren Feur --
How Seamlessness to the Max Helps reveal "Everything," The Master of norman's --
Confession --
A Unique Master for a Unique Scene, norman's Confession --
opening Beat --
Why Zemeckis Departs from the Default Pattern, norman's Confession --
Middle Beat --
Why --
Zemeckis Departs from the Default Pattern, norman's Confession --
Final Beat --
Why --
Zemeckis Departs from the Default Pattern, Where to Design the Best Moving Master, never Settle --
The Key to Designing the Best Moving Master, Summary Points, For Teachers --
Fifteen Walk and Talk Scenes --
Part three : Directing action sequences --
Chapter 4: dirrecting Action Sequences --
Overview --
How to Put the Camera in the right Place, How to Put the right Lens on the Camera, How to Get the --
Right Number of Pieces, Summary Points --
Chapter 5: Lens Selection --
Why Force Perspective?, Lens Selection as a Joint responsibility Between Director and Cinematographer, --
The Basics of Perspective, Extreme Telephoto and Extreme Wide-Angle Versus normal Perspective, --
Lenses --
Field of Vision and Depth of Field, General Applications of Different Lenses, General --
Applications of Field of Vision and Depth of Field, Wide-Angle Lenses, Telephoto Lenses, General --
Applications of Perspective, How Lenses Affect Movement, Motion to the Lens or Away from the --
Lens --
The Z-Axis, Motion Across the Lens --
The X-Axis, Motion Across the Lens --
The y-Axis, A --
Good Way to Learn How Lenses Affect Motion, Summary Points, For Teachers --
Chapter 6: Breaking Down Your Action Sequence --
The Theory Behind Storyboarding and Pre-Visualization, The Storyboard in Practice --
The Story in --
the Storyboard, The Storyboards for the Ambush from Never Too Young to Die, What We Actually --
Shot, Summary Points, For Teachers --
Chapter 7: Directing a Chase Sequence --
The Basic rules, Tie-In Shots, The Story of the Chase, Strategy #1 --
Wide-Angle Lenses --
Pogo --
Cams --
narrow Spaces, Strategy #2 --
Long Lenses in Open Spaces = More Eye Candy, --
Geography in Chase Sequences, Humor, Shooting Action/Chases with the Wide Lens Versus Shooting --
Action/Chases with the Long Lens, Summary Points For Teachers --
Chapter 8: Directing a Fight Sequence --
The Basic rules, The Two Setup rule, Segments and Coverage, The Importance of Mastering Fights, --
The Importance of Good operators and Good Assistants, The Joy of Stunts, Summary Points, For Teachers --
Conclusion --
About the Author.