Review
"Book outlines the concept of visual presentation as a science, using everything fromt he dynamics of perspective to shape, tone, color and rhythm. A textbook take on what makes visuals work or fall flat." - Variety
Review
"Book outlines the concept of visual presentation as a science, using everything fromt he dynamics of perspective to shape, tone, color and rhythm. A textbook take on what makes visuals work or fall flat." - Variety
Book Description
The Visual Story offers students and professionals in cinematography, production design, directing and screenwriting a clear view of the relationship between the story/script structure and the visual structure of a film or video. An understanding of the visual components will serve as the guide in the selection of locations, set dressing, props, wardrobe, lenses, camera positions, lighting, actor staging, and editorial choices.
The Visual Story divides what is seen on screen into tangible sections: contrast and affinity, space, line and shape, tone, color, movement, and rhythm. The vocabulary as well as the insight is provided to purposefully control the given components to create the ultimate visual story. For example: know that a saturated yellow will always attract a viewer's eye first; decide to avoid abrupt editing by mastering continuum of movement; and benefit from the suggested list of films to study rhythmic control. The Visual Story shatters the wall between theory and practice, bringing these two aspects of the craft together in an essential connection for all those creating visual stories.
*Encourages the filmmaker to develop a "visual vocabulary"
*Shows the filmmaker how to structure visuals, communicating moods and emotions with style and variety
From the Publisher
The Visual Story offers those interested in cinematography, production design, directing and screenwriting a clear view of the relationship between the story/script structure and the visual structure of a film or video. An understanding of the visual components will serve as the guide in the selection of locations, set dressing, props, wardrobe, lenses, camera positions, lighting, actor staging, and editorial choices. The vocabulary as well as the insight is provided to purposefully control the given components to create the ultimate visual story. For example: know that a saturated yellow will always attract a viewer's eye first; decide to avoid abrupt editing by mastering continuum of movement; and benefit from the suggested list of films to study rhythmic control. The Visual Story shatters the wall between theory and practice, bringing these two aspects of the craft together in an essential connection for all those creating visual stories.
About the Author
Bruce Block has worked in a creative capacity on dozens of feature films and television shows. His feature film producing credits include What WomenWant, The Parent Trap, Father of the Bride I & II, and Baby Boom. He served as creative consultant on As Good As It Gets, Stuart Little and many otherfeature films and television productions. He is an adjunct Professor at the USC School of Cinema & Television and teaches classes in visual structure atAFI, the UCLA Performing Arts Extension Program, Walt Disney Feature and Television Animation, Nickelodeon Animation Studios, Dreamworks Animation, PIXAR Studios, Pacific Data Images and other media and advertising companies.
The Visual Story: Seeing the Structure of Film, TV and New Media ANNOTATION
Audience: Working professionals in film and television, web site and video game designers; animators and students of animation Undergraduate and graduate students and professionals in film and video production, and student in film studies courses, particularly visualization and aesthetics This would be Focal Press's first contribution to the film studies area.
FROM THE PUBLISHER
The Visual Story offers students and professionals in cinematography, production design, directing and screenwriting a clear view of the relationship between the story/script structure and the visual structure of a film or video. An understanding of the visual components will serve as the guide in the selection of locations, set dressing, props, wardrobe, lenses, camera positions, lighting, actor staging, and editorial choices.
The Visual Story divides what is seen on screen into tangible sections: contrast and affinity, space, line and shape, tone, color, movement, and rhythm. The vocabulary as well as the insight is provided to purposefully control the given components to create the ultimate visual story. For example: know that a saturated yellow will always attract a viewer's eye first; decide to avoid abrupt editing by mastering continuum of movement; and benefit from the suggested list of films to study rhythmic control. The Visual Story shatters the wall between theory and practice, bringing these two aspects of the craft together in an essential connection for all those creating visual stories.
*Encourages the filmmaker to develop a "visual vocabulary"
*Shows the filmmaker how to structure visuals, communicating moods and emotions with style and variety
SYNOPSIS
* Encourages the student to develop a visual vocabulary
* Shows the student how to structure visuals, communicating moods and emotions with style and variety
* Applicable to all areas of the filmmaking arts - scriptwriting, cinematography, art direction, production
design, & directing
AUTHOR DESCRIPTION
Bruce Block is producer and consultant to feature film and television directors, animation studios, and TV commercial production companies. He is a Professor at the USC School of Cinema and Television and teaches seminars in visual structure at the UCLA Extension Program, as well as corporate seminars for Walt Disney, Dreamworks, Warner Brothers, PIXAR and others. He is a regular contributor to American Cinematographer Magazine. His film credits include What Women Want, Baby Boom, and The Parent Trap (Producer), As Good As It Gets, Stuart Little (Visual Consultant) and many others.
ACCREDITATION
Bruce Block is producer and consultant to feature film and television directors, animation studios, and TV commercial production companies. He is a Professor at the USC School of Cinema and Television and teaches seminars in visual structure at the UCLA Extension Program, as well as corporate seminars for Walt Disney, Dreamworks, Warner Brothers, PIXAR and others. He is a regular contributor to American Cinematographer Magazine. His film credits include What Women Want, Baby Boom, and The Parent Trap (Producer), As Good As It Gets, Stuart Little (Visual Consultant) and many others.
Art & Photography
Book Info
