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2 of 2 people found the following review helpful:
5.0 out of 5 stars
An Essential Guide and Reference Book, Jan 18 2009
The second edition of this classic is even better than the first. It's subtitled: "Great Camera Moves Every Filmmaker Should Know", and indeed it contains a great deal of information that some people pay a lot of money to learn in film school.
Not that a book can replace a class necessarily, but there are tried and true shots, methods and techniques for making a film. Yes, story is important, but there are certain ways of doing things, certain types of shots, that are very important to know. Some of these aren't obvious (which is sort of the point), but which help move story along visually in a way that helps people to enjoy what they are watching.
With the falling price of video cameras, computerized editing and the rise of sites on which to share videos, it seems like everyone is busy shooting a movie of some sort, be it a kid's birthday party, a friend's wedding, a sporting event, or something more ambitious like a documentary or a feature. And it's not just filmmakers or videographers which will find the book valuable. This book is very helpful for cartoonists, sequential artists, animators and pre-viz artists too.
Jose Cruz is both an illustrator and a storyboard artist, and his images really convey Jeremy Vineyard's jargon-free explanations. It's important to know not just the how, but also the why. It's always helpful to see explanations in action and this book accomplishes this by using examples from well-known movies. Imagine being to be able to watch a movie on DVD, using the remote to pause at a scene and then referring to the book to see how it was done, and understand why.
While only 155 pages, this book contains a wealth of information. It covers basic cinematic techniques, composition techniques, crane techniques, techniques of movement, techniques of perspective, specific camera techniques and editing techniques as well as a very long list of miscellaneous techniques. Because its value is not just in being instructional, but also serving as a reference guide, it doesn't have to be read from the first page to the last page, one can just jump in anywhere. The six-and-a-half index is especially helpful as it contains the names of movies (several hundred spanning more than a century of filmmaking). This makes it easy to look up a particular film, flip to the right page, and see how a certain shot was made.
"Setting Up Your Shots" is designed in a 'wide-screen' format, just like a movie, and can easily be slipped into a Ziploc baggie and tossed into a backpack and taken along on a shoot.
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1 of 1 people found the following review helpful:
5.0 out of 5 stars
When you're trying to explain what you want for a shot..., Nov 4 2003
...open this book and point to the page.A previous reviewer complained that all this book does is show the shot. Presumably that person wanted a to-do list of which knobs to turn, what equipment to set up, how much the rentals should be, etc etc etc. When I write a shooting script, I use the camera terms here as *verbs*. "Dolly past [character] and Spin Around" Anybody in the crew who does not understand is handed the book. Quickly I get "Oh, THAT's what you mean." In fact I bought more books for that purpose alone. Gee, what a shame it's not in color photographs. Gosh it might even be better in 3D. How about virtual camera moves holographiclly jumping off the page? Get real. This is an idea book. Look. Get the idea. Get to work. Got it?
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1 of 1 people found the following review helpful:
3.0 out of 5 stars
Good but not essential for novice filmmakers & film buffs, Jul 28 2000
I purchased Setting up your shots basically because it tells and gives you a storyboard shot of differnt camera techniques, Crane shots and editing techniques. For these things I found this bok to be a blessing because it explained a lot of different shots that i didn't know. It also explains them in a very straightforward manner and sites several movie as examples. So why three stars? Mainly for two reasons. One problem with this bookm is that it doesn't tell you how to get some shots. ex. various crane shots. What kind of crane? Another problem is the fact that the author suggests you go out buy book on certain subjects say, composition but he doesn't mention any by name. Overall I did like the very straightforward explanation of different shots. This is a decent book( not essential) that film buffs may appreciate more than fimmakers.
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