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6 of 6 people found the following review helpful
5.0 out of 5 stars The title says it all
If you're expecting, that you will learn how to direct actors or get dramatic an unique performances with this book you're wrong, this book it's about visualizing, how to move the camera, why, continuity styles, storyboarding, etc,
It is an excellent tool for the film & videomaker, you can use it for quick reference, if you're shooting a conversation, it...
Published on March 4 2004

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7 of 7 people found the following review helpful
1.0 out of 5 stars A boring, lifeless book.
This book was going to be required reading for a storyboarding class I'm teaching this fall. It was the book used by the teacher who last taught the class. After reading it, I've switched the required reading to "The Five C's of Cinematography."
This book lists shot type after shot type, page after page, but doesn't get into the reasoning of choosing one...
Published on Aug. 18 2003


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7 of 7 people found the following review helpful
1.0 out of 5 stars A boring, lifeless book., Aug. 18 2003
By A Customer
This review is from: Film Directing Shot by Shot: Visualizing from Concept to Screen (Paperback)
This book was going to be required reading for a storyboarding class I'm teaching this fall. It was the book used by the teacher who last taught the class. After reading it, I've switched the required reading to "The Five C's of Cinematography."
This book lists shot type after shot type, page after page, but doesn't get into the reasoning of choosing one shot over another. As far as the how, where, when, and why goes, this book ignores the "why."
This book wastes many pages in the beginning telling the reader that storyboards are important. Of course they are! That's why I bought the freakin' book! This space could have been used to explain the difference between camera lenses and focal qualities, which are referred to constantly but never properly defined.
What I was expecting from this book was a good overview of the movie planning process. Instead, it is a mind-numbingly boring list of the different shots that could be used in film. Also, the quality of the author's storyboards that are used to illustrate the book do not fill me with optimism about the effectiveness of the book.
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6 of 6 people found the following review helpful
5.0 out of 5 stars The title says it all, March 4 2004
By A Customer
This review is from: Film Directing Shot by Shot: Visualizing from Concept to Screen (Paperback)
If you're expecting, that you will learn how to direct actors or get dramatic an unique performances with this book you're wrong, this book it's about visualizing, how to move the camera, why, continuity styles, storyboarding, etc,
It is an excellent tool for the film & videomaker, you can use it for quick reference, if you're shooting a conversation, it explains, how you can do it without breaking the axis..
If you're starting to study film, let Steven Katz, be your teacher, and make your first shorts knowing how to doing them right
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5.0 out of 5 stars A Good book, Dec 4 2012
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This review is from: Film Directing Shot by Shot: Visualizing from Concept to Screen (Paperback)
Very good for basic film making theory. This is one of the few top seller among the film theory books.
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3 of 3 people found the following review helpful
5.0 out of 5 stars visualization is the point, June 16 2003
This review is from: Film Directing Shot by Shot: Visualizing from Concept to Screen (Paperback)
i disagree with the comment that katz missed the point. The title of this book denotes a focus on visualization. While a director must wear many hats, this book focuses on one specific area. Cinematic Motion, another. To say that the book does not focus on directing actors seems to miss the point entirely.
I found this book very useful. As a begining filmmaker, it is easy to fall into patterns early - the same sorts of shots for the same basic reasons. But this book made me reconsider a lof of this. Also, the sections on blocking were very good. Managing the 180 line in complex action can be confusing, especially for beginners, but this book broke down different solutions and made them easy to understand.
I would highly recommend this book for anyone interested in creating visuals for film.
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2 of 2 people found the following review helpful
5.0 out of 5 stars Best Buy for film makers, May 12 2004
By 
D. F. Curran "dfcurran" (Missoula, MT United States) - See all my reviews
(REAL NAME)   
This review is from: Film Directing Shot by Shot: Visualizing from Concept to Screen (Paperback)
This reference is worth the money. I learned everything I needed to know about setting up shots for my first two films from this book. Diagrams, pictures, instructions. Wonderful!
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5.0 out of 5 stars Shot by Shot, Oct. 6 2011
This review is from: Film Directing Shot by Shot: Visualizing from Concept to Screen (Paperback)
If you are new to film and don't know much about setting up shots and directing a film, you may be a little daunted by a lot of the technical details here. However, if you have even a little film knowledge and you are hungry for more, this book is right up your alley. Think of it as a blueprint for directing your first, or next movie. Yes, even if you have already got a film or two under your belt, there will be things here that you had forgotten about, or perhaps not even learned. A great must-read for every filmmaking enthusiast!
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1.0 out of 5 stars Worst Writing Ever, Aug. 6 2011
This review is from: Film Directing Shot by Shot: Visualizing from Concept to Screen (Paperback)
This book as a requirement for one of my courses in university, and what can I say - I have never had more regrets buying a book. This is an agonizing piece of literature (if I can even call it that). The writing seems monotone and boring, and simple concepts are stretched out into dozens of pages, whereas they could be explained in 1. Pointless and confusing explanations for very simple rules and terms.

My mom is a professor and an author herself (Elena Ross, though she does not write about film), and I understand that writing is different for everyone, but she explains things extremely simply, whereas this book is unnecesarily scrambled and stretched out for maximum amount of pages for what could have been 50.

Very, very dissapointed. I wouldn't recommend this to anyone.
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3.0 out of 5 stars Far from complete, Nov. 29 2003
By A Customer
This review is from: Film Directing Shot by Shot: Visualizing from Concept to Screen (Paperback)
A competent text in regards to the visualization of camera placement and movement required of directors. At the very least, it will aid you in communicating with the various people necessary to make films. However, this book falls far short of being a complete manual for a film director. It fails to address basic directing principles, such as the director's roles in shaping performances for the screen and breaking down the script emotionally. The latter being an essential step in "visualizing from concept to screen." Using this book as a resource as a director is fine, but make sure you supplement it with other texts, such as "Directing Actors" by Judith Weston. Do not buy this book assuming you are getting a comprehensive guide. If it's a more comprehensive guide you seek then I would recommend Michael Rabiger's "Directing: Film Techniques and Aesthetics."
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3.0 out of 5 stars Katz takes simple concepts and makes them seem confusing, Sept. 22 2003
By 
JP (California, USA) - See all my reviews
This review is from: Film Directing Shot by Shot: Visualizing from Concept to Screen (Paperback)
This book really gets you thinking about shot design and blocking, but Katz uses four times as many pages as he should. Katz takes simple concepts and makes them seem confusing.
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3.0 out of 5 stars misses the point, March 24 2003
By A Customer
This review is from: Film Directing Shot by Shot: Visualizing from Concept to Screen (Paperback)
What Steven Katz seems to forget is that it is also the director's job to work with actors. The director can have a varied level of control over the framing and composition of the shots, but the most critical part of the director's job is ensuring that the performances accomplish the goals of the film. A director must work with actors, but if you rely solely on Katz's book, it is a director's most important job to supervise the physical production and visualization. Visualization is critical, especially in a medium like film, but Katz ignores the bigger issue. After all, the visualization of a piece is ultimately a collaboration between the director, the cinematographer, and the designers, but the actors rely on the director exclusively to hone their performances. This is a useful (though extraordinarily boring) book, but unless you need a long lecture on the importance of visual planning (for Katz, this means storyboarding,) don't expect this to help you understand direction, and directing actors, any better.
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