Directing: Film Techniques and Aesthetics is a comprehensive exploration into the art and craft of directing for film and television. It’s filled with practical advice, essential technical information, and inspiring case studies for every stage of production. This book covers the methods, technologies, thought processes, and judgments that a director must use throughout the fascinating process of making a film, and concentrates on developing the human aspects of cinema to connect with audiences.
The fully revised and updated 6th edition features new sections on using improvisation, the development of characters for long form television series, visual design, the role of the digital imaging technician, film promotion and distribution, alongside expanded information on contemporary color grading tools, stylistic approaches and genre, workflows, blocking scenes for the camera and more. The book emphasizes independent and short form cinema which allows cutting-edge creativity and professionalism on shoestring budgets. Recognizing that you learn best by doing, it includes dozens of practical hands-on projects and activities to help you master technical and conceptual skills.
Just as important as surmounting technological hurdles is the conceptual and authorial side of filmmaking. This book provides an unusually clear view of the artistic process, particularly in working with actors and principle crew members. It offers eminently practical tools and exercises to help you develop your artistic identity, find credible and compelling stories, choose and work with your cast and hone your narrative skills. Directing shows you how to surpass mere technical proficiency and become a storyteller with a distinctive voice and style.
The accompanying companion website includes film analysis exercises, shooting projects, checklists and assignment forms, analytical questionnaires, updated production forms and logs for all phases of a project with links to additional resources and set safety advice.
Sin Cohen –
As a Gaffer by trade, I love this book. Fantastic mixture of technical information, an accurate industry attitude, and great volume of ‘slang’ compiled over many years of film making.Quotes from DPs and Gaffers are all modest and accurate. No overzealous attitudes from the ego driven Hollywood mentality, I was actually surprised how down to earth the entire book was.Excellent, PRACTICAL lighting setups and diagrams for a variety of situations. Specific film scenes are referenced and explained, great to watch those films over and see how they were created.Not a single page wasted. Great read.
J. Plannette –
This book explains what film lighting does and why it’s an art. All the great cinematographers and gaffers of the last thirty years get together and talk about lighting a scene. The idea that there are many ways to do the same thing is fascinating.Lighting helps tell the story. Today, with HD, many people say you don’t need to light. Nothing could be further from the truth. Lighting is just as important as costumes, sets and music. It brings the audience into the story and this book brings the reader into the world of film lighting.
M. ewing –
More Detailed:I bought the older version of this book first, but didn’t find it as useful, as MUCH of the lighting and “film” technology has changed since it’s original publication… Not to mention the fast changing digital formats. And while things like ratios, value system lighting, and where to use your spot meter, might not change as fast, some of the older DP’s (some of which are still included in this version) are not as fast to change nor accept change.Lets face it; If this side of “filmmaking” is ultimately light, the absence of light, and specifically what the light is captured on, It was indeed welcomed to see some of the newer DP’s which understand those same basic value systems as well as embrace the coming technologies. The “update” seems to disperse those people in with some of the moderates… Who actually name lights that are still in production. Many of the older bulbs and fixtures are not even legally sold in some states. So since many of us will not come up through the studio system, we will not have the opportunities to use some of these large, expensive and energy consuming fixtures.Citizen Kane, will always be a brilliant example of filmmaking on all levels, but a question that I ponder continuously today is “How (why) we might achieve that particular look?” as we move forward. And how we can manipulate light, framing, and our medium, to get there. So while there may not be solely one answer… Not sure that the book helps with that as much as it leaves the question open for debate… For you. So perhaps the more that I learn and experiment with on sets, a thorough re-reading of this book will become more relevant.With that said; One can get a lot of pointers, rules, generals, and ideas from this, but it would have been nice to see a few more illustrations and explanations of some of the trade lingo to actually put things into practice…. For us more novice admirers and willing practitioners of this beautiful trade.
Kaxci Hargrove –
This book helps you to think like a filmmaker. This is the best thing about it is that you really start to realize how to craft light to create an emotional response in your audience for your project. Excellent book.
ShirtGuy –
This book has excellent interviews with all the top cinematographers in Hollywood. This is a current and modern cinematography book that uses terminology that’s actually used on set. Be careful with many of the other cinematography books which teach theory and film school techniques which unfortunately don’t really apply in the real world.
RJ Campbell –
Got this book for one of my classes, this has a lot of great information in it!
James Rogers –
This book gave me so much to think about when it comes to lighting a set. I refer back to it often.
Review it all –
My class studied this book together and put it to practice
André Sainderichin –
Excellent, but there’s a catch.
This is not a “How to” book. It’s a series of interviews with DOPs and gaffers, on a series of filming/lighting related topics. You have to like the format. I do. You read about differing opinions, approaches, philosophies, etc. Personally, I found the book informative and, hmmm…, enlightening. Of course, it’s mostly about big feature movies, but that’s OK by me.But.There’s a catch. Fanfared as an entirely reviewed second edition, it’s in fact a 2012 publication. So there’s still a lot of real filming being discussed (i.e. real cellulose film), and many DOPs admit not being (entirely) familiar with digital camera’s. Remember: this is the RED One era.Likewise, LED lighting is still discussed as problematic: green tinge, low output,… So the interviews are mostly about KineFlo, CANs, PARs, HMIs,…Still, I think it’s a useful book. You pick up ideas, concepts, suggestions. I guess that’s what the book is really about.4 stars, because it isn’t exactly what it says on the tin.
Harvinder Hira –
MUST BUY
If you want to learn film lighting then you should get this . This is a real treasure man. Must have book for every aspiring and pro Dop and Gaffer.