Boy, this is gonna sound like an after midnight infomercial but here goes...
Do you have no money to attend a prestigious film school for cinematography?
Do you consider all filmmakers to be "touched by God" to be talented?
Have you always wondered how to truly shoot a scene, a music video, a film but didn't know where to start?
If you answered YES to all three questions the answer is: GET THIS BOOK. I kid you not.
I read a lot of cinema books, especially on film theory and on cinematography they're essentially the only thing you need, and don't let 'em ever tell you that you NEED film school. I fell into that trap for a long time, a mind trap. Thinking I needed film school to "KNOW" or "grasp" how to make any kind of cinematic art. It's all BS and I'll tell you why. Sure, you can blow off a 100K+ on a film school where you WILL indeed learn from the masters - and that's something you have to decide for yourself if that's the path you want to take. You'll make connections and gain a networking of peers, though it doesn't always mean you'll get a "job" anywhere - whether it's a professional set or a TV station. The reason is that a BODY OF WORK is what matters. The sooner you can create it, the better your chances are at being noticed and taken seriously anywhere.
This book - is FILLED with information that essentially breaks down CINEMATOGRAPHY to its fundamentals.
Think of cinematography as a LANGUAGE. Afterall, it is a language - cinematic language. One must know the alphabet and understand the syntax of any language in order to properly speak it. Cinematography is NO DIFFERENT than learning a new language. It's only a 100 years old and it has an alphabet and a syntax which is LEARNABLE to anyone seriously considering learning it.
I'll give you an example of one of my favorite passages out of the book right now.
"The camera angle chosen for each shot is determined by how the players and the action should be depicted at that particular moment in the narrative. Simple progression from long shot to close up may not always provide the most suitable type of sequence. For instance, subject matter or dramatic content of the story may require that the camera first record a close-up, in order to isolate, emphasize, or introduce a small object. An extreme long shot may be required to portray scope, grandeur, complexity; so that the audience fully appreciates the vastness, beauty, or conflict involved in the story. The over-all action of each sequence should be broken down before shooting and the type of shot required for each portion or the action determined in advance.
Establish the setting with a long shot, or extreme long shot - if vast in nature. Move into a medium shot to introduce the players as a group, and use close-ups for individual screen filling shots of each. Employ long shots to show the players in relation to the background, and to allow them space to move from one place to another, as the action progresses. Use medium shots, particularly two-shots, to show important inter-action between players. Utilize close-ups to emphasize a particular action, or to isolate a player or action by removing all else from view. Use extreme close-ups for full-screen shots of very small objects or actions. Progress inward as the action develops. Move back to re-establish the over-all scene, to depict new developments, to introduce a new player or allow the players to move about. As example, contrast an extreme long shot of a missile launching with an extreme close-up of the firing button! Think in terms of dramatic impact on audience as well as visual variety."
Now, if that isn't basic fundamental cinematography well summarized in two paragraphs, then I don't know what to say. And that is only a paragraph out of some 244 page book. Mascelli goes in depth throughout EACH aspect of cinematography, essentially breaking down why everything works the way it does and when to use it. Now sure, if you have no patience to even read this attentively, move on to something else - but if you dedicate the time and the effort to read everything attentively, take notes, underline, re-read passages, and truly grasp what's being said - you've already taken a huge step in understanding this craft. All it takes now is to go out and practice it. What's also great is that in reading this book you can read each section and just go out and practice filming those given things.
It's about sharpening the eye, and it's about understanding that it's NOT TALENT, it's LEARNING this craft like anything else in life. Ridley Scott directed over 2000+ commercials in 15 years and he said it's about sharpening that eye. I'm also reminded of a quote by Christopher Doyle from
FilmCraft: Cinematography
. He said, "I am an anti-intellectual about the process because I think once you start intellectualizing, you scare the kids away from making their own mistakes. It also implies that we are above everyone else. I despise the hierarchy and sense of privilege, and the implication that it takes so much research and effort and correct knowledge to be what we are. I disagree. I happened into what I am doing. I am not an art student. Apparently I am partly color blind. I was never an assistant. Someone just gave me a camera and I am here."
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Reviews with images
Very important book a must for award quality work learn it
This book was recommended to me by Director of CBS FilmI was preparing to shoot footage for them NFL ACTION (They Lead Two Lives) underwater portion. If you do not KNOW these rules you will not make interesting film. It gave me rules that editor will use to cut your filmOne of the important parts is Center of Interest, get this down. Editors cut if you violate these rules. No top still was ever won, violating center of interest rules. I am going to use same stuff for my HERO-3....If nothing else get center interest downJim smithKF5UMY
Top reviews from other countries
Jean Claude de La Ronde
A great Read and a must have!
Reviewed in Canada on October 2, 2023
Cliente Amazon
Entregou SEMANAS antes do previsto e um incrivel livro de aprendizado
Reviewed in Brazil on July 15, 2016