Bibliography of film language grammar

Recommendation order

The original editor's words

foreword

The first chapter is the film language as a visual communication system.

1. 1 the origin of film language

1.2 Types of film creators

1.3 the expression form of the film

1.4 clarify our purpose

The second chapter is the importance of film parallel editing.

2. 1 two basic types

2.2 Actions and reactions

2.3 Peak Time and Understanding

2.4 How to use parallel editing

2.5 Broad prospects

Chapter III Definition of Basic Means

3. 1 news film

3.2 Documentary

3.3 feature films

3.4 Three scenarios

3.5 Elements of film grammar

3.6 lens

3.7 Sports

3.8 distance

3.9 clip types

3. 10 Visual Grammar

3. 1 1 scene matching

3. 12 eye contact

3. 13 Alternation of attention centers

The fourth chapter triangle principle

4. 1 Basic body posture

4.2 Relationship line

4.3 the importance of the person in charge

4.4 Five basic changes of triangle principle

4.5 composition points

4.6 Types of visual emphasis

4.7 Triangle principle: one person

Chapter V Dialogue between Two Actors

5. 1 face to face

5.2 Quantitative comparison

5.3 Actors shoulder to shoulder

5.4 Coordinated actors

5.5 Preventive measures

5.6 Distance of camera

5.7 Height of camera and actor

5.8 The characters are lying side by side

5.9 telephone conversation

5. 10 diagonal

5. 1 1 translucent shutter

5. 12 the actor's reflection in the mirror

Chapter VI Dialogue of Three Actors

6. 1 overview

6.2 Unconventional circumstances

6.3 Inside/outside rearview camera position

6.4 Camera Position of Internal Reflective Camera

6.5 parallel camera position

6.6 pivot

6.7 Pay attention to the prominence of the center

6.8 Local outburst

6.9 All outstanding items

6. 10 "north and south" was changed to "east and west"

6. 1 1 Only four camera positions are used.

6. 12 introduces the internal reflector.

6. 13 uses eight camera positions.

6. 14 Simple method of using three camera positions

6. 15 using pivot lens

6. 16 Intentional abandonment

6. 17 summary

Chapter 7 Dialogue scenes of four or more people

7. 1 Some simple cases

7.2 people sitting around the table

7.3 The population is subdivided into several groups.

7.4 geometry

7.5 Several opposite areas

7.6 Dealing with a large group of people

7.7 Actors face the audience

7.8 Cross Change of Relationship Lines

7.9 The crowd centered on the main actors

7. 10 actor as fulcrum

Chapter VIII Editing Forms of Static Dialogue Scenes

8. 1 approach and departure form

8.2 How does a play begin?

8.3 reinterpret the lens

8.4 The importance of silent response

8.5 Insert the lens and cut it.

8.6 Quantitative comparison

8.7 Parallel editing of main lens

8.8 Relationship line transformation axis side

8.9 Pause between dialogues

8. Compression acceleration in10 time

8. 1 1 The rhythm of the dialogue

Chapter 9 Characteristics of Picture Action

9. 1 Segmentation of motion

9.2 Change your point of view with movement

9.3 Use of Cut Lens

9.4 neutral direction

9.5 Use actors to show the change of direction

9.6 Opposing motion in the same half of the picture

9.7 conditions for lens switching

9.8 conversion point

9.9 Cutting in motion

Chapter 10 Editing after Sports

Chapter 11 Movement in the Picture

1 1. 1 turn around

1 1.2 stand up.

1 1.3 Sit down and lie down.

1 1.4 Walking and running

1 1.5 Go through the door.

1 1.6 summary

1 1.7 personal hobbies

Chapter 12 Action of entering and leaving the screen

12. 1 multi-fragment

12.2 three-stage movement

Chapter 13 Actor A goes to Actor B

13. 1 convergent motion

13.2 camera right angle position

13.3 Reverse the camera angle.

13.4 parallel camera position

13.5 common visual axis

13.6 A crosses b.

Chapter 14 Shooting the action in the picture with the main lens

Chapter 15 Examples of Violation

The visual intermittence of several people

15.2 Omit the intermission

15.3 uses the opposite camera position.

15.4 dispersed movement

15.5 An actor's fixed position on the screen

Two actors move at the same time.

Chapter 16 Actor A leaves Actor B

Chapter 17 Actors Exercise Together

17. 1 discontinuous motion

Chapter 18 solutions to difficult editing situations

18. 1 Motion between camera and still image

18.2 Action at the beginning of the second shooting

18.3 the action behind the static actor

18.4 Use 90-degree camera position.

Both actors are exercising.

18.6 A moving figure was covered in the first shot.

18.7 uses a strong foreground action.

18.8 Replacement of static characters

Divert your attention.

18. 10 uses non-human actions.

18. 1 1 Effect of opening curtains.

Chapter 19 Other types of sports

19. 1 circular motion

19.2 vertical movement

19.3 strong pause

Chapter 20 Twenty Basic Laws of Motion Lens

20. 1 Motion and camera

20.2 the basic principle of camera movement

20.3 Well-founded dramatic motives

Chapter 21 Pan's lens

2 1. 1 panoramic translation

2 1.2 chase scene

2 1.3 intermittent translation

2 1.4 ring pan

2 1.5 fast translation

Bidirectional 2 1.6

2 1.7 vertical translation

2 1.8 tilting disk

2 1.9 connection of fixed lens and swing lens

2 1. 10 Two continuous panning clips

2 1. 1 1 juggling pan lens

Chapter 22 Mobile Phone Photography

22. 1 continuous motion shooting intermittent motion.

22.2 Connect a still lens and a moving lens.

22.3 Intermittent motion of camera

22.4 Use the movement on both sides of the track.

22.5 winding route

22.6 Translation when moving

22.7 The camera and the actor move in opposite directions.

22.8 single row

22.9 the speed of mobile phone photography

22. 10 The subject is close to the moving camera.

22. 1 1 Clip the moving lens coherently

22. 12 cut into the still shot in a moving main shot.

22. 13 circular motion

Chapter 23 Photography Elevator and Zoom Lens

23. 1 Follow the action

23.2 foreground props emphasize height

23.3 visually combine two or more drawing points.

23.4 Inject actions into static situations

23.5 Use translation to highlight the focus of the plot.

23.6 Provide powerful movement for splicing in action.

23.7 zoom

23.8 zoom speed

23.9 combination of zoom and translation

23. 10 tilt-up lens uses zoom effect.

23. 1 1 The camera will move when zooming.

23. 12 Zoom in on the foreground obstacles

Chapter 24 Action Scene

24. 1 standard formula

24.2 Subjective views

24.3 Five Methods of Strengthening Visual Action

24.4 Push to the visual climax

24.5 Divide the climax into several shots.

24.6 Use high speed and slow motion in action scenes.

24.7 Have focal length skills.

Chapter 25 Assembly in the lens

25. 1 Planning in advance is required.

25.2 Pause between movements

25.3 Replacement of Performance Area

25.4 Get close to or away from the camera

25.5 Change body posture

25.6 job replacement

25.7 change the image area

Comparison of quantity

25.9 Assembly in the drawing

From one performance area to another.

26. 1 general principles

26.2 A group of people move from one performance area to another.

26.3 the development of a group of people

26.4 Two further changes

26.5 One actor moves while the other actor remains still.

26.6 A gathering of people

26.7 Method of Changing Performance Area

Chapter 27 Skills of Combination

27. 1 shot by shot editing

27.2 Mixed use of various technologies

27.3 Summary

Chapter 28 Syntax of Movies

28. 1 scene-to-scene transition: fade-out and fade-in.

28.2 White Fading and Color Fading

28.3 overlap

28.4 Delimitation-Delimitation

28.5 inside and outside the circle

28.6 Use of dark areas

28.7 subtitles

28.8 props

The change of light

28. 10 Q&A

28. 1 1 moving in the same direction

28. 13 replacement of objects

28. The word14 is repeated

28. 15 deceptive visual cooperation

28. 16 switch left and right pillars

An unexpected close-up

28. 18 parallel clamp transfer

The beginning of a scene

28.20 actors

28.438+0 camera

Interpretation of views

28.23 sudden jump is used as a clause.

28.24 Jump as time transfer.

28.25 The peak open stoping method of the selected action is used as a clause.

28.26 An isolated shot is used as a pause in the narrative.

28.27 The whole paragraph is used as a narrative pause.

28.28 Virtual image is used as a clause.

28.29 All-dark graph as a clause.

28.30 Camera motion is used as a clause.

28.6438+0 Vertical Grammar

28.32 freeze frames

Concluding remarks