The time of publication:2012-9Press:World Book Inc, wave after wave publishing companyAuthor:(United States) Bruce Block (Bruce A. Block)Pages:277Words:352000Translator:Wang YilanBookTitle:In the eyes.
VeryHonor, my book can be translated into chinese. I am writing to eye said "or" aim, is as far as possible in order to give the whole world image makers to help. Therefore, this book can have a meeting with the Chinese readers, I'm very happy. In my opinion, the Chinese version of the exchanges and mutual learning between me and the Chinese reader, opened a door. Many of the ideas in the book, for a talented and experienced Chinese counterparts should be very familiar with, but still can help you clear ideas, to provide practical methods for you, help you in making better movies and images on the road. My view on this book, can be easily adapted to any kind of culture, because the image makers have a common work: use visual means to tell the story, like the use of text. Whether you are a student, or professional, as long as you want to make achievements in film, television, theater or electronic game in the field, this book should help you. Whether you are a director, photographer, or art designer, this book will stimulate your inspiration, as you work in the right-hand man. In a word, "talk" to the eye will let you know and use "visual structure".
Bruce Block (Bruce A.Block), film producer, University of Southern California School of Cinematic Arts professor, visual consultant. As a filmmaker, he produced "love is the compromise" (Something 'sGotta Give, 2003), "men hundred per cent" (What Women Want, 2000), "a match made in heaven" (The ParentTrap, 1998), "the father of the bride" (Father of the Bride, 1991). Many movie. Bullock since the beginning of 1977, the University of Southern California professor of film and television visual structure of the curriculum, and in the American Film Institute, Pixar Animation Studios, Walt? Workshops Disney film and television animation, DreamWorks Animation, Nick animation studio, industrial light and magic, and the European film college. In addition, he is still "Stuart Little" (StuartLittle, 1999), "perfection" (As Good as It Gets, 1997) and "Spanish maid" (Spanglish 2004) as a consultant in the film. His personal website: www.bruceblock.com
In Russia in 1928, a cold winter night, a group of dedicated film students, gathered in only a weak heating equipment in the classroom. The building is located in the Lenin Ziegler Avenue building, was a senior hotel, now has become the national film university. The main room to be decorated with mirrors and tall white columns, as Sergei Eisenstein (Sergei Eisenstein) taught course lecture hall. Sergei Eisensteinb but the film school teachers, is a movie creator. Eisenstein, Vsevolod Pudovkin (Vsevolod Pudovkin) and Alexander Du Ke (Alexander Dovchenko), is the first batch of personal thoughts and practice of the film together, and its development is a great artist film theory. Eisenstein double attainments in theory and practice, to his worldwide reputation. In 1933 he was in Hollywood Film Institute and the University of Southern California and delivered a speech. In 1948, died when Eisenstein was only 50 years old. If alive, he should see the future in the USC is engaged in the teaching of Yugoslavia film Slavic can • Walka Peach (Slavko Vorkapich). The Slavic ever for Mikome, RKO and Warner Brothers studios as a director in twentieth Century 50 time, become the Department of cinema at University of Southern California. In his lecture, Eisenstein's film theory has been further development, in the sports and editing is a creative breakthrough. Humorous teaching style Slavic can be charming, the film will be the basic concept is deeply implanted in a new generation of filmmakers heart. Teaching such internationalization, until his death in 1976. In 1955, Disney animation artist Leicester Nons (Lester Novros) began to teach film visual aspects of the curriculum at the University of Southern California, the course is based on art theory, works by Eisenstein and Slavic. After he retired, I took this course, determined to original data in-depth study of their stay, including cognitive psychology, visual arts, theatre theory and art history, hoping to achieve such a purpose -- to film theory to the present, more practical, and combining with the narrative structure. I also hope to be able to fill the gap between the film theory and practice, for the visual structure of the film itself is more widely accepted and used. This book is a summary of our recent years, fusion in image production experience and thinking in the theory research of the teaching. Reality both in the preparation and mid or late clips in any one of the production stage; video both on stage and television documentaries, short films, documentaries, commercials, computer games, the Internet, or music video in any one image categories; no theory in the live action, animation and computer special effects. Any kind of form of expression, in your book in the see and learn, will in practice be used immediately. Because you can find in the big and small screen and screen the film or digital image, visual structure is often overlooked, although it and narrative, is the two most important aspects in the movie. Through this book, you will learn how to tell a story as a novelist, composer writes as carefully constructed visual images. The understanding of visual structure, you can better convey the emotion with the image, and gives the work a unified style, but also can find the important link between the narrative structure and visual structure. At the same time, you also will be the first to know the visual principle is important how to practice. The principles or even thousands of years ago already born, of course, there are also many in the modern with the technical innovation and the. Any a screenwriter, director, photographer, graphic designer, art director, editor, as long as you as a photographer, meeting the same vision problems. This book provides an answer to these problems. In the past the distant Russia, those who sit in the classroom is full of Eisenstein chill of enthusiastic students, like image workers today, the most basic desire is to produce a satisfactory image. This book will teach you how to achieve this desire.
To Chinese readers of > thank the first chapter visual elements 11.1 visual components of 1.2 basic visual elements of space line and shape shadow color > movement rhythm in 1.3 to understand and grasp the visual elements 1.4 language the screen the real world / screen world foreground / background scenery / image plane visual advanced 1.5 diligent practice, avoid paper second chapter contrast and similar 2.1 visual structure of key third chapter space the first part of the main sub elements 3.1 deep space perspective depth cues. single point perspective perspective three point perspective near the small law of motion subject motion camera movement different scattering air scattering change the shape of tone separation color separation height overlapping focus > 3D film 3.2 space is plane plane clues. size constant motion object motion camera movements of different material The scattering of air scattering change the shape of tone separation color separation height overlapping focusing the use of reverse depth cue tone separation color separation of different materials of the scattering of near the small rules 3.3 3.4 fuzzy finite space 3.5 comparison of four types of 3.6 in the shooting control space second frame 3.7 painting width ratio of film picture aspect ratio digital frame aspect ratio screen aspect ratio 3.8 plane partition split screen plane plane segmentation segmentation to 3.9 enclosed space and open space in the closed space open space of large screen strong visual motion the elimination of fixed line 3.10 contrast and similar recommended programs Fourth chapter line and shape 4.1 line edge along the closed contour line plane intersection of the by distance composed of analog lines the axis track real trajectory intangible track 4.2 4.3 comparison of linear theme and similar < br > fixed direction. Dynamic contrast 4.5 4.4 direction is shaped the basic shape and similar 4.6 control in the shooting line and shape fifth chapter recommended piece. 5.1 control. reflection light gray level control (Design) the incident light control (5.2 / > exposure control of synchronous and asynchronous 5.3 contrast and similar 5.4 in photography control tone recommended programs Chapter sixth color 6.1 light 6.2 color principle of color additive principle of the principle of adding color ring Color subtraction principle of subtraction principle of color ring 6.3 color composition of the color phase brightness saturation brightness VS saturation 6.4 contrast and similar color phase brightness color saturation and ductility of 6.5 color mutual effect of the black and white interaction complementary interactions between color similar to the interaction of 6.6 color assort or arrange in pairs or groups. single hue adjacent complementary color complementary color three four 6.7 in the shooting control color palette filter mirror lens filter filter time / location the photographic film Digital Photography the laboratory of flash washed chemical light distribution digital optical 154 seventh chapter recommended plate motion 7.1 7.2 7.3 7.4 7.5 motion relative motion of simple motion and complex motion 7.6 screen motion object motion characteristics to speed range of camera movements to range speed focus > mobile characteristics of range 7.7 contrast and similar single object motion motion / static characteristics to speed combined with the background of object motion camera motion / static 2D / 3D motion rolling / translation shake up and down the zoom / PAN / push-pull level / no level motion range frames per second 7.8 motion continuity lens in the continuity of lens. Continuity of 7.9 in the shooting motion control of eighth chapters recommended piece played spacing Duplicate beats 8.1 stationary objects 8.2 rhythm of moving objects visual rhythm the main rhythm enter and leave the frame after another object > change the direction of moving and stationary clip secondary rhythm rhythm 8.3 event continuous shooting event (the continuous event) decomposition shooting event (the fragmented event) contrast visual emphasis and similar control clip events to control the clip the rhythm control visual diversity looking for a rhythm creator 8.4 8.5 comparison of rhythmic pattern and similar fast / slow the regular / irregular 8.6 in the filming process control visual rhythm < br > ninth recommended programs chapter story structure and visual structure of 9.1 open end conflict and high node 9.2 story structure chart of "north by Northwest" story sequence table pesticide spraying machine paragraph story sequence table "Bourne" story sequence table "Howard Park" story sequence table 9.3 visual structure start visual visual conflict and high visual outcome of 9.4 visual structure chart 1 forms: constant 2 forms: graded 3 forms: comparison and similar />9.5 using tenth chapter diligent practice, avoid paper 10.1 10.2 visual angle visual elements of intuition method subjective method study analysis method 10.3 selection and grasp the visual elements of "parallax" "witness" "touch of evil" "love" 10.4 is a compromise visual structure of 10.5 to the Advertising documentary data and image in a controlled environment documentary in uncontrolled environment documentary video game > Internet > multicam single television program cartoon 10.6 don't go crazy appendix A node photography B depth: the clear imaging space range C anamorphic lens and 70 mm film D E Kelvin color golden light and photography F display mixed color G indicative beat H aspect ratio and video compatibility publishing postscript @##@ bibliography
Bruce Block has thirty years of industry experience and teaching experience, visual structure on the image is a deep understanding and unique, this book has been translated into 5 languages, is the professional film classic tutorial. the book introduces space, line and shape, tone, color, movement, rhythm and other basic visual elements, and how to use these elements control the visual structure, express the characters emotions, show the theme of the story, and then create more expressive images. At the same time, the book also can make readers clearly and accurately recognize the relationship between the visual structure of story structure and film, video, animation and computer games and other visual media. In addition, the book illustrations, equipped with a large number of the author's own making and intercept from the film's illustrations, the main chapter also lists the "recommended filmography", so that readers can more deeply, more targeted to watch the movie. the greatest feature of this book is to eliminate the gap, the theory and practice of universal film in the process of teaching between, not only can grasp this "foreign" film let the reader more conscious visual language, but also a practical operational advice at the end of each chapter to begin shooting the creator. This book is not only a film student training visual thinking based reading materials, also can give a television, advertising, computer games and other practitioners in the field of visual design inspiration.
The visual structure of Bruce Bullock explains, in the animation field workers are a kind of inspiration. For any artist, this book is very valuable and essential reference. - Walt Disney Television animation, I think every one is training film photographers should read this book. They can learn the importance of teamwork, and in which all concepts are to create a visual structure. Rexford Metz, the American Society of Cinematographers Bruce Bullock skillfully analyzes how to tell a story with a visual means. Film students must master the essence. This book will make you a better film. Of the American Film Institute Bruce Bullock's works is not only to provide a visual image of the final selection, more they decided to tell the story provides a framework, and the coordination of the story structure and screen picture tool. Randy Nelson, President of the University of Pixar, visual structure of Pixar Animation Studio Bruce Bullock to the movie has a unique understanding and insight into. "The eye" in the same book unique. It will help you use the visual elements, thus becoming the storyteller a better. Nancy Meyers, "love is the compromise", "holiday" director whether you are a filmmaker, photographer, graphic design, Bruce Bullock to clear and easy to understand, to tell you the visual elements can be used to tell a story. David Pagani, broadcast creative director, DIRECTV of the United States, Bruce Bullock is a legendary visual content design. His remarkable insight into the picture will change the way you work forever. Dan Pappalardo, executive director of design / partner, Troika Design Group
"The eyes speak: Principles and applications of visual images"Editors: easy, visual basic principle, tell you how to create a visual structure of their own; last, visual structure resolution image into 7 basic visual elements, and discuss them respectively, and lists the recommended programs; application, at the end of each chapter the author will put forward the feasible suggestions on the creation, with very strong practical significance; illustrations, "an eye to speak: Principles and Applications" visual images with plenty of film illustrations and author self-made sketch; pleasing to eye, "said, and application of the principle of" visual color four-color printing, take you to explore the visual image.
From silent to sound, from black and white to color, from the invention of Edison can only be used by one person watching the film mirror today to let the audience collective revelry holographic film, film technology in the rapid development, the film gives people the experience growth in geometric progression. However, no matter how external form films changed, lens or screen is a movie quality leading factor, the human eye function -- the mankind about 80% information will be through the eyes to receive close. This is a unique feature of this book, this book focuses on the visual structure explanation of the film and television works, but the main chapter from the basic principles of visual began to speak. The structure is rigorous, clear context, both micro explanation of basic visual concept, also have a macro grasp of the film the whole visual structure and narrative structure. The screen image is decomposed into seven main visual elements, namely space, line, shape, tone, color, movement and rhythm. In each chapter, the author will introduce the visual elements and visual basic principle, then use the classic film success, in-depth analysis and explanation. Finally, the author of how these visual elements used in the film put forward specific proposals, and lists the relevant reference. The book runs through "comparison and similarity principle" -- the image creation process is extremely important in law, in the ninth chapter the author will be linked to the narrative structure of the above principle and specific works, so that the audience and readers can accurately recognize the story / relations play structure and film, video, animation and computer games between visual structure. The most detailed text so that the audience and readers can "see" in the film, and "know why". In short, the book not only has a certain theoretical depth, also has the very strong practical significance. In the ordinary audience, this book can help you to better appreciate the film; keen on film and television creative professionals and non professionals, this book will make your work more organized and systematic. This book is the American film making the authority of professional course, has been revised to version second, has been translated into Spanish, Portuguese, polish and Korean, the author Bruce Bullock at the University of Southern California School of Cinematic Arts, and participated in many blockbuster movies production, have theory solid and rich practical experience. We hope that our work can broaden the horizon of Chinese viewers and readers, offering a and the world excellent image workers learning and exchange opportunities. Thanks to Tang Peilin of Communication University of China and Tu Mingfei of Beijing Film Academy teacher teacher and teacher Li Ming. Three the teacher gave us a great help in the book new professional vocabulary. In addition, Tang Peilin teacher invited Professor Bullock to Chinese readers specially written message. This book is equipped with a large number of illustrations, for the convenience of readers, in typesetting we made the corresponding adjustment to the graphics and text, to make the picture extremely instructions in the same page. The book contains a lot of professional terms, in the editing process, we and the translator made repeated discussions, but after all powerful beyond the place, I hope readers can provide valuable opinions and suggestions, we will make a Revised Reprint when in.
The visual structure of Bruce Bullock explains, in the animation field workers is a heuristic. For any artist, this book is very valuable and essential reference. - Walt Disney Television animation, I think every one is training film photographers should read this book. They can learn the importance of teamwork, and in which all concepts are to create a visual structure. Rexford Metz, the American Society of Cinematographers Bruce Bullock skillfully analyzes how to tell a story with a visual means. Film students must master the essence. This book will make you a better film. Of the American Film Institute Bruce Bullock's works is not only to provide a visual image of the final selection, more they decided to tell the story provides a framework and the structure of the story and the screen painting coordination tools. Randy Nelson, President of the University of Pixar, visual structure of Pixar Animation Studios herrus Bullock on the film has a unique understanding and insight into. "The eye" in the same book unique. It will help you use the visual elements, thus becoming the storyteller a better. Nancy Meyers, "love is the compromise", "holiday" director whether you are a filmmaker, photographer, graphic design, Bruce Bullock to clear and easy to understand, to tell you the visual elements can be used to tell a story. David Pagani, broadcast creative director, the British company DIRECTV Bruce Bullock is a legendary visual content design. His remarkable insight into the picture will change the way you work forever. Dan Pappalardo, executive director of design / partner, Troika Design Group
In the eyes. download
In the eyes. download
Art TXT downloadArt @ 2017