Joined in 2023 
82 
63 About this deal
It might not be the popular thing to say, but I believe it is with "Master Shots: Vol 3" that Christopher Kentworthy finally found his groove. The majority of this scene is shown in a master shot that orbits around Orson Welles’ character, Charles Foster Kane, as the other characters move in and out of the frame. With all that said, there are some interesting examples in this book, and most readers will probably get something out of it. There is quite of bit of action in this scene, and it is not an extreme wide either, yet this is considered a master shot.
According to cinematographer Simon Dennis, BSC (“Peaky Blinders,” “Pose”), the main benefit of a master shot is to create a bedrock for the visuals of each scene.The publishers decided its extremely long, thin shape was a good idea, for some reason, even though it just makes flipping through pages--which the book requires a lot since none of the films pictured are identified on the pages where they appear, but rather in the appendix--a pain. It’s at this point they can make minor adjustments, like suggesting changes to an actor’s performance. The text is generally vague, and is in a huge font that takes up valuable space that could have been used for more stills. It serves both to help you judge and manage the actors’ performances and as a “safety net” that will help you avoid costly reshoots. But while that’s the only function of an establishing shot, master shots also capture the action within that setting from beginning to end.
From classic examples ranging from I Love Lucyto Friends, these shows are recorded live in front of a studio audience by multiple cameras at once. One reason might be that the information contained with the 200 pages is instantly applicable—Kenworthy has an analytical, critical eye and he breaks down his observations/lessons into sections as varied as "Fight Scenes", "Entrances and Exits", "Dialogue Scenes" and, of course, "Love and Sex Scenes". Doug opens the door for Tom, who walks right past Doug into the room with his back still turned as he reads his first few lines. It depends on the actors too; some are more able to break things down into small pieces without getting lost, while others always like to have the run-up of “going from the top”. The theory is that, should you run out of time or your lead actor suddenly gets injured or some other calamity prevents you shooting any coverage, at least you’ve captured the whole scene in a useable, if not ideal, form.I’d recommend shooting master shots first to help actors get comfortable with their lines and movements. When shooting digitally (and with a quality viewfinder or portable monitor), you can also use your master shot as a way to review your overall composition as you move in closer to shoot the rest of the shots in your scene. Master Shots gives you so many powerful techniques that youll be able to respond, even under pressure, and create knock-out shots. Every filmmaker should work through these to understand how they really work so you can then bend or break the rules. By using the Web site, you confirm that you have read, understood, and agreed to be bound by the Terms and Conditions.
Establishing shot: “a shot type which sets up, or establishes, the context for a scene by showing the relationship between its important figures and objects. There are some famous examples of long takes: Alfred Hitchcock’s “Rope” (1948) is actually a feature film told in one single take. Remember that the characters must do the same blocking on all your shots if you want to project a sense of continuity. He also recognised that it was easier on the child actors to be given instructions for short takes, shot by shot, rather than having to learn a protacted performance.However, to truly be classified as a master shot, the only requirements needed are the ones outlined from the definition. Avoid placing main characters right in the middle of the shot; use the rule of thirds to position them slightly off of center. He directed the feature film The Sculptor, which played to sold-out screenings in Australia and received strong reviews.
They must assume you have the time to watch or fast-forward through a feature-length film to see one technique. Pay attention to how it starts as a POV, becomes a close-up of Daniel Craig’s James Bond, and then shifts to a medium shot—all while giving the audience the most essential information. I also went through the book, and noticed plenty of tips and techniques for anyone relatively new to directing or camera work.Master shots have the power to immerse an audience into the cinematic experience like no other shot because of their realism and action.
Great Deal 
New Comment