Directing Film Techniques and Aesthetics 5th Edition by Michael Rabiger 0240818458 9780240818450

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• ISBN 10:0240818458

• ISBN 13:9780240818450

• Author:Michael Rabiger

This comprehensive manual has inspired tens of thousands of readers worldwide to realize their artistic vision and produce well-constructed films. Filled with practical advice on every stage of production, this is the book you will return to throughout your career. Directing covers the methods, technologies, thought processes, and judgments that a director must use throughout the fascinating process of making a film. The core of the book is the human, psychological, and technical knowledge that every director needs, the enduring elements of the craft that remain vital. Directing also provides an unusually clear view of the artistic process, particularly in working with actors and principle crew to achieve personally expressive storytelling and professionalism on any budget. Directing explores in detailed and applicable terms how to engage with the conceptual and authorial sides of filmmaking. Its eminently practical tools and exercises show how to: discover your artistic identity; develop credible and compelling stories with your cast and crew; and become a storyteller with a distinctive voice and style. The companion website includes teaching notes, dozens of practical hands-on projects and film study activities to help you master technical and conceptual skills, film analysis questionnaires, and all the essential production forms and logs.

Directing Film Techniques and Aesthetics 5th Table of contents:

Part 1: The Director and Artistic Identity
Chapter 1 The World of the Film Director
Cinema Art and You
How Most People Get There
Professional Responsibilities
Personal Qualities
Developing Intuition
Leadership and Collaborating with a Team
Telling Your Stories
Film Art and Individualism
Story Sources
Artistic Identity I: How It Functions
Artistic Identity II: Locating Yours
Subjects to Avoid
Displace and Transform
The Artistic Process
Chapter 2 Developing as a Director
Film School
Learning Without Film School
Resources for the Self-Taught
The Importance of Short Films
The Industry Route
The Independent Route
Cast and Crew Considerations
The Good News
The Bad News
The Director and Technology
Part 2: The Story and its Development
Chapter 3 Essential Elements of Drama
Duality and Conflict
Defining Conflict
Elements of Conflict and Action
The Objectives and Through-lines
The Stakes
The Obstacles
Action and Character
From Story to Dramatic Narrative
Chapter 4 Shaping the Story into Drama
The Beat
Dramatic Units
Dramatic Unit and Beat Analysis
The Dramatic Arc
Levels of Action
The Three-Act Structure
The Three-Act Structure Caveat
Essentials of Dramatization I: Making the Internal Visible
Essentials of Dramatization II: Questions and Revelations
Chapter 5 Plot, Time, and Structure
What is Plot?
Cause and Effect
Flow and Inevitability
Character-Driven and Plot-Driven Stories
Organizing Time
Where to Begin and End
Options for Organizing Time
Structure
Premise and Theme
Short Films and Story Scale
Short Films and Flexibility
Part 3: The Director and the Script
Chapter 6 Screenplay Ground Rules
The Writer is the Writer, not the Director
Screenplay Stages
Step Outline
Treatment
First Draft to Final Draft
Shooting Script
Standard Screenplay Formatting
Chapter 7 Recognizing the Superior Screenplay
Script Language and Technique
Stage Directions
Dialogue and Personal Directions
First Reading, First Impression
Getting Specific with Margin Notes
Assessing Cinematic Qualities
How is the Story Told?
Integrity of Characters and Motives
Uncover Character Subtext
Metaphoric Detail
Checking the Embedded Values
Spotting Archetypes
Viability and Working Within Limitations
Determine the Story Givens
Determine Project Resources
Viability and Safety Issues
Working Within Limitations
Chapter 8 Script Analysis and Development
Collapsing the Screenplay for Analysis
Analyzing Plot and Story Logic
Plot Points
Point of View: Subjective or Open
Character Development
Static and Dynamic Character Definition
Character and Voice
Character Development
Internal Through-Line
Character Analysis
Establishing Character
Assessing Dialogue
Verbal Action
Replacing Dialogue with Action
Testing Dialogue
Checking Exposition
Assessing Environmental Detail
Locations
Sound
Long Form Series Considerations
Inviting a Critical Response
Incorporating Criticism
Assess and Reassess
Part 4: Authorship and Aesthetics
Chapter 9 Cinematic Point of View
Planning a Point of View
Telling Stories on Film
Point of View in Literature
Point of View in Film
Central Character, One Point of View
Implied Character POV
Subjective Character POV
Limited vs. Open Information
Multiple Characters, Multiple POVs
Dual Main Characters
Multiple Characters
Subsidiary or Alternative POVs
The Concerned Observer
Observer into Storyteller
Audience POV
Chapter 10 Form and Style
The Storyteller’s Vision
Visual Design
Sound Design
Psychoacoustics, and Sound’s Narrative Contribution
Performance Style
Editing Style
Rhythmic Design
Directorial Style
Chapter 11 Tone, Style, and Genre
The Scope of Style and Tone
Naturalism
Classical Style or Hollywood Realism
Hyperbole and Irony
Expressionism and the Avant-Garde
The Sliding Scale of Cinema Style
Time, Music, and Suspending Disbelief
Genre and Style
Part 5: A Director’s Screen Grammar
Chapter 12 Film Language
Film Language and Storytelling
The Shot and Mise-en-Scène
Creating Complex Meaning in an Image
The Edit and Montage
Beyond Broad Concepts
Chapter 13 The Frame and the Shot
Compositional Axes of the Frame
Essential Principles of Composition
Closed and Open Frames
Deep Frames, Shallow Frames
Balanced and Unbalanced Frames
The Rule of Thirds
Camera Height
Common Shot Sizes
Shot Selection
Chapter 14 The Moving Camera
Camera Movements from a Fixed Position
Dynamic Camera Movements
Motivating the Moving Camera
Chapter 15 Language of the Edit
Shots in Juxtaposition
Juxtaposing Sound and Image
The Continuity System
The Basic Shots of Master Scene Technique
The Six Principles of Continuity Editing
Not Just for Two People
Visual Point of View
Storytelling Style and Coverage
Movement and Screen Direction
Changing Screen Direction
Editing and Time Compression
Real Time and Expanded Time
Shot Duration, Information, and Perception
Duration, Detail, and Meaning
Chapter 16 The Human Vantage in Cinematic Language
Human Vantage
The Concerned Observer and Storyteller Roles
The Actor, the Acted-Upon
Different Angles on the Same Action
Abstraction
Subjectivity and Objectivity
Sequence and Memory
Screen Language in Summary
The Filmmaker and Creative Research
The Filmmaker and Practice
Part 6: Preproduction
Chapter 17 Exploring the Script
Interpreting the Script
Two Types of Film, Two Kinds of Preparation
Homework
Revisit Your Premise
Preliminary Scene Breakdown
Define the Subtexts
Tools to Reveal Dramatic Dynamics
Storyline Analysis
Graphing Tension and Beats
First Visualization
Logline and Guiding Metaphors
Chapter 18 Casting
Overview
Post a Casting Call Advertisement
Active Search for Actors
Non-Professional Actors
Setting Up the First Audition
The Actors Arrive
Conducting the First Audition
Monologues
Cold Readings
Assessment
Concluding Each Audition
Decisions After the First Round
First Callback—Auditioning with the Script
Improvisation
Second Callback
Interview
Mix and Match Actors
Making Final Choices
Camera Test
Negative Characters and Typecasting
Announcing Casting Decisions
Giving and Taking
Casting Non-Actors
Non-Actors in Character Roles
Non-Actors in Major Roles
Chapter 19 Acting Fundamentals
Stanislavsky
Believing It
Interior Life and Playable Actions
Drawing on Personal Experience
Comparing Theatre and Film Acting
The Director’s Challenge
Chapter 20 Directing Actors
Director in Relation to Actors
Make Contact
Build Trust and Authority
Direct Positively and Equably
Common Problems
Lack of Focus and Relaxation
Mind-Body Connection Missing
Anticipating or Not Adapting
Acting in Isolation
Missing Interior Life
Missing Subtexts
The Generalized Interpretation
Distancing and Indicating
Intensity, Intimacy, and Limiting an Actor’s Sphere
Tackling Stubborn Artificiality
How Much Rehearsal is Enough?
Don’t Over-Direct
The Element of Surprise
Some Dos and Don’ts
Chapter 21 Rehearsals
The Director Prepares
Scene Analysis, Subtexts, and Developing the Authority to Direct
Conflicts and Beats
Naming the Function of Each Scene
Heightening Dramatic Tension and the Crisis Point
Defining the Thematic Purpose
Setting Up Rehearsals
Rehearsal Space
Rehearsals with the Book
The Table Reading and Introducing the Project
Meeting One-On-One with Actors
Scene Breakdown Sessions
Rehearsal Order and Priorities for Small Groups
Consolidating Characters’ Formative Experiences
Encourage Physical Movement
Notes, Feedback, and Establishing a Working Rhythm
Character Complexity and “Negative” Characters
Rehearsing without the Book
Turning Thought and Will into Action
A Character’s Inner Movement
Monitoring Subtexts
Cuing and Pacing
Spontaneity
Blocking and Using Space Expressively
Using Improvisation Scenarios
Locations, Environments, and Research
The Director as Active Observer
Shooting Rehearsals
Don’t Show Actors Their Work
Check Timings
A Long Journey
Chapter 22 Acting Exercises
Using Improvisation
Improvisation Exercises
Acting and Doing
The Director’s Role During Improvs
Discerning Beats and Dramatic Units
The Actor’s Role During Improvs
Make your Audience See
Staying Focused
Audience Etiquette and Improv Duration
Assessment and Discussion
Acting Exercises
Improvisation Exercises
Acting Exercises with Text
Improvisation for Script Development
Chapter 23 Planning the Visual Design
Visual Design Questionnaire
Research and the Lookbook
Elements of Visual Design
Locations and Sets
Cinematography
Wardrobe, Makeup, and Hairdressing
Case Studies in Visual Design
The Script Breakdown Sheet
Chapter 24 Developing the Shooting Script
The General Aesthetic
Master Scene Method (aka Coverage)
The Long-Take Method
The Short-Take Method
Fixed Versus Mobile Camera
Implying a Subjective or Objective Vantage
Relatedness: Separating or Integrating by Shot
The Camera as an Observing Consciousness
Point of View (POV)
The Heart of Directing: The Storyteller’s Point of View
Creating the Shooting Script
Shot Selection Scene by Scene
Covering Key Moments in More than One Way
Inserts and Cutaways
The Floor Plan and Shooting Script
The Storyboard
Using Lines of Tension
Subjective and Objective
Show Relatedness
Blocking the Scene
Regrouping and Reset Transitions
Use Your Intuition
Work Within Your Means
Study the Masters
Chapter 25 Line Producing and Logistics
Scheduling the Shoot
Locations and Shot Order
Shooting in Script Order
Scheduling for Key Scenes and Performances
Emotional Demand Priorities
Weather and Other Contingency Coverage
Allocation of Shooting Time Per Scene
Under- or Over-Scheduling
The Call Sheet
Budgeting the Film
Insurances
Caution: Equipment Overload
Workflow
Shooting Formats and the “Look”
The Final Look Starts in Preproduction
Shooting Format and Visual Flexibility
Standard HD and Cine Gamma
Log Profile and LUTs
RAW video
The Digital Camera Range
The DSLR and Mirrorless Photo Camera
Hybrid Large Sensor Cameras
The Ultra High End: D-Cinema
Consumer Cameras
Digital Sound
Postproduction
Production Stills
Awful Warnings…
Production Party
Part 7: Production
Chapter 26 Developing a Production Crew
Developing Your Own Crew
The Crew’s Attitude and Actors
Production Crew Roles
Areas of Responsibility
Role Descriptions
Direction Department
Production Department
Camera Department
Sound Department
Art Department
Set Etiquette
Respect the Team
Respect the Public’s Space
Respect the Location
Food and Breaks
Production Safety and Security
The Commandments of Film Production Safety
Prepare for Safety
Maintain Common Sense
Special Circumstances can be Risky
Electricity
Keep the Set Secure
Chapter 27 The Director and Production Tech
Basic Lighting Approaches and Terminology
Light Sources
Three Essential Qualities of Light
Common Lighting Functions
Basic Lighting Styles
Essential Lighting Positions
Lighting Approaches and Exposure
The Expressive Capacity of the Lens
Focal Length: Magnification and Field of View
Shot Size, Perspective, and Lens Selection
Lenses and the Director’s Style
Lenses and Exposure Control
Focus
Selective Focus
Depth of Field
Location Sound
Getting Best Audio
Shooting for Sound
Types of Location Sound
Shooting Format and Looks
Chapter 28 On Set: Production Begins
Before the Camera Rolls
The Director’s Role
Daily Organization
Getting to the First Shot: An Overview Chronology
Roll Camera
Shot and Scene Identification
The Slate
Scene, Shot, and Take Numbers
Shooting Logs: Camera and Sound
Calling a Shot: From “Quiet” to “Action”
Starting Without a Slate
The Crew’s Attention During a Take
Who Can Call “Cut”
Another Take, Circle, or Keeper
Closer Shots and Reverse Shots
Shot or Blocking Changes
Retakes and Pickup Shots
Important: Record Room Tone Track
Continuity Sheets
Striking the Set
That’s a Wrap
Chapter 29 Directing on the Set
Directing the Actors
Actors’ Anxieties at the Beginning
Dividing Yourself between Crew and Cast
Directing Actors During a Shoot
Changing Goals
Demands and Feedback
Side Coaching and Reaction Shots
For the New Shot
Challenging Your Cast
Everyone Needs Feedback
Criticism from the Cast
Using Social Times and Breaks
Directing the Crew
Communicating
Evaluating the Shot
Making Progress
When You and Your Crew are Alone
Wrapping for the Day
Screening Dailies
Criticism from the Crew
Morale, Fatigue, and Intensity
You as Role Model
Chapter 30 Monitoring Continuity and Progress
The Script Supervisor Prepares
Monitoring Coverage and Timing
Types of Continuity
Monitoring Continuity
Wardrobe and Properties Continuity
Physical Continuity
Monitoring Dialogue
The Script Supervisor’s Report
Monitoring Your Own Progress as Director
Dramatic and Technical Quality
Fulfilling Your Authorship Intentions
Resources and Cost Reports
At the End of the Production
Part 8: Postproduction
Chapter 31 Postproduction Overview
The Postproduction Team
The Editor
Director-Editors
Technology, Workflow, and the Director
Workflow
The Postproduction Stages
Chapter 32 Editing Begins: Getting to know the Footage
Transferring, Logging, and Organizing Footage
Syncing Dailies
Dailies: Reviewing and Evaluating Footage
The Editing Script
The Only Film is in the Dailies
Partnership
Making the First Assembly
Viewing the Assembly Edit
The Second Viewing: Diagnostic Questioning
Resolutions After Seeing the Assembly
Length and Structure
Leave the Editor to Edit
Chapter 33 The Rough Cut
Editing Principles
Editing Mimics an Observing Consciousness
How We Use Eye Contact
Eyelines and the Concerned Observer Perspective
Editing Implies Character Psychology
Observer into Storyteller
Repairing Performance Issues
Editing to Develop or Alter Subtexts
Visual and Aural Editing Rhythms: An Analogy in Music
Transitions and Transitional Devices
Shot-to-Shot Transitions and the Split Edit
Lap Cut Scene Transitions
Scene Elision and Sound
The Problem of Achieving a Flow
Counterpoint in Practice: Unifying Material into a Flow
Assessing the Rough Cut
The Audience Actively Imagining
Summary
Chapter 34 Getting to Fine Cut and Picture Lock
Diagnostics
Making a Flowchart
The Rough Cut Trial Screening
Listen Closely, Guide Discussion, Do Not Explain
Post Screening Reflection
Try, Try Again
The Fine Cut
Knowing When to Stop
Picture Lock!
Chapter 35 Working with Music
Choosing Music
Spotting Session
Using Pre-Recorded Music
Music Libraries
Collaborating with a Composer
Beginning Work
When there is Scratch Music
Developing a Music Cue Sheet
Conflicts and Composing to Sync Points
When to Use Music, and When Not
Music Editors and Fitting Music
Chapter 36 The Finishing Touches
Color Correction and Color Grading
Color Grading with LUTs
Finalizing Sound
Elements of the Sound Design
Voice/Speech
Sound Effects (SFX)
Ambient Sound and Walla
The Sound Spotting Session
Dialogue Tracks and Their Inconsistencies
Preparing for the Sound Mix
Directing the Mix
Approve Sections, Then Listen to the Whole
Titles and Credits
Chapter 37 Getting it out There
Mastering
Distribution Copies
Promotional Material
Distribution
Video Hosting Sites
Crowdsource Theatrical
Festivals
And Now for Something Completely Different
Filmography
Photograph and Illustration Acknowledgements
Index

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