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This book is a highly visual exploration of the best shots, moves, and set-ups in the industry. It reveals the secrets behind each shot's success, so it can be adapted to a director's individual scenes.
Your job is to create shots that reveal story, expose emotion, explore character and capture the unique feeling of your film. At the same time, you should stamp your film with your own style. This book can help you do that, whatever your experience, because it challenges you to imagine a creative solution for every scene in your film.
- Sales Rank: #50518 in Books
- Published on: 2013-08-01
- Original language: English
- Number of items: 1
- Dimensions: 7.46" h x .56" w x 10.95" l, 1.31 pounds
- Binding: Paperback
- 238 pages
Review
'Kenworthy understands the interplay between image, character, story, and emotion. He writes so that his readers will understand, too.'
- Chris Riley, Author, Hollywood Standard
'Master Shots Vol 3 continues this ultimate reference-book series that is a must-have guide for directors and cinematographers on how to find interesting ways to tell your story visually.'
- Marx H. Pyle, Director/Creator, Reality On Demand
'Master Shots Vol 3 offers fabulous insight into the purpose behind each shot. I'm so thankful for this book--it's my new secret weapon!'
- Trevor Mayes, Screenwriter/Director
'Finally! Someone has had the cleverness, initiative and imagination to set down on paper a film language that has been passed down and amalgamated only by word of mouth since the days of Melies and DW Griffith. Christopher Kenworthy's Master Shots series seeks to make tangible and permanent what otherwise might be gone with the wind.'- John Badham, Director of Saturday Night Fever and War Games 'You can take ten years to figure out lensing or you can read this book and use that ten years to create your art instead. Your choice.'- Tony Levelle author of Digital Video Secrets
About the Author
Christopher Kenworthy worked as a writer, director, and producer for fourteen years. He directed a feature film that played to sold-out screenings in Australia and received strong reviews. He worked on music videos, visual effects tutorials and commercial projects, and is the author of the best-selling Master Shots Vol 1 and Master Shots Vol 2, along with two novels and many short stories. Born in England, he currently lives in Australia with two daughters.
Most helpful customer reviews
6 of 6 people found the following review helpful.
Setting scenes.
By Geoff the SFCrowsnest guru
One of the books I was interested in having a look at from Michael Wiese Productions was this one, ‘Master Shots Vol. 3’. I did wonder when it arrived whether I should have seen the earlier two volumes first, but each book is very much a standalone, dealing with how to get the best use of a scene in the film camera. This volume points out how to get the most out of a scene. Christopher Kenworthy obviously targets the film director but the techniques shown can also be useful for the comicbook artist and even has a knock-on effect for the prose writer because it helps visualise the scene you want to describe.
The biggest surprise was seeing so many SF sourced films being used, including ‘Blade Runner’, ‘The Adjustment Bureau’ and ‘Star Wars’, although there are others like ‘War Horse’ and ‘Leon: The Professional’ as well. All of these are used to highlight the 100 examples that Kenworthy uses to make various points varying from actor or camera movement within a scene and to make the action interesting.
I found it very much an eye-opener and have already begun to wonder how it will affect my film watching for this kind of detail, especially as the pros themselves have these books for reference in their own collections.
It would have been interesting to see examples of where it doesn’t work as well as a contrast but then I’ve frequently said that of such books because you become mindful of what mistakes not to make.
In some respects, I found this book a fast read, however it isn’t really designed to bog you down with words because what you really want from this book is how to set up your scenes and even get the best performance from the cast involved. I suspect if you found this book useful, you’ll also pick up the earlier two volumes as well.
16 of 19 people found the following review helpful.
Picture This!
By Christina Hamlett
Back when I was 10 and forced to endure a week of Girl Scout camp in the Pacific Northwest (for parental reasons that, frankly, still escape me), I recall a gaggle of us trekking into the woods on a quest for blackberries. “Do you think we’ll get lost?” one of my friends nervously asked. “No way!” I replied, proudly informing them that, “I have a compass!” It was new. It was shiny. It even had the official Girl Scout trefoil stamped on the back as testament to its authenticity.
The fact I had absolutely no clue how it was supposed to work – never having read the instructions which came in the box – was a moot point. Somehow, I thought, if (1) darkness fell in the forest, (2) bears started chasing us or (3) we came upon a strange village where no one spoke English, all I had to do was flip open the lid and it would magically tell me what turns to take in order to get us safely back to camp.
Technology, of course, has given us tools far more advanced than the humble compass. Movie cameras, for instance. Yet how often do the uninitiated fall into the trap of thinking that if they just point it at something, it will always yield picture-perfect results worthy of the finest cinematography? For aspiring filmmakers of any age, "Master Shots, Volume 3" by Christopher Kenworthy is a must-have title for their resource library.
The book isn't just a treasure trove of black and white images from a diverse range of films but also offers detailed explanations on how specific framing, distance, lighting and angle work in concert to deliver symbolism, rich textures and move the story forward. Many of the frame grabs are accompanied by diagrams with black arrows indicating the movement of the actor(s) and white arrows corresponding to the movement of the camera. As the reader moves through the chapters, the diagrams taper off - a clever device for the readers to figure out the respective movements on their own and, thus, be able to apply them to their own projects.
I especially like the author's quote, "If you shoot a great actor in an average way, the result is disappointing. If you shoot an exquisite set without innovation, the money's been thrown away. If you shoot a wonderful story with traditional setups, the result will be boring." While "Master Shots" is targeted to filmmakers, there are a number of concepts that can have just as significant impact on readers whose medium of expression is a basic digital camera coupled with photo editing software. Kenworthy's passion for his craft is evident on every page and the takeaway value for future movie directors is a better understanding of the look, energy and emotion they want their scenes to achieve before the cameras ever start rolling.
4 of 4 people found the following review helpful.
and liked it so much that I ordered Volumes 1 and ...
By David J. Patterson
I read Volume 3, and liked it so much that I ordered Volumes 1 and 2. I think there is a wealth of practical information, and these books are both educational and a good resource. Even seasoned directors and DPs can benefit from these books by seeing shots they may have forgotten about, or not considered.
My only complaint is the design layout. The book's type is unnecessarily HUGE, the illustrations are dark and sometimes poorly rendered. There is a massive amount of wasted space. The worst part of the layout is that the wiiiiiiiiiide book format is awkward to hold while reading. I really dislike this format, and wish the book was more compact. If the series of books were in a traditional format, they would be something I could bring with me to shoots, but the size is just too cumbersome to deal with.
My gripes aside, I highly recommend the entire series of these books.
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