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Hollywood Camera Work The Master Course In High-End Blocking & Staging

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Hollywood Camera Work The Master Course In High-End Blocking & Staging

Hollywood Camera Work The Master Course In High-End Blocking & Staging
6x DVDs | Video: WMV @ 214 Kbps, 656 x 480 | Audio : WMA @ 64 Kbps, 2 channels | 1.31 GB
Genre: Directors, VFX Artists eLearning | Language: English

Years in the making, The Master Course In High-End Blocking & Staging is the most comprehensive and ambitious Directing Course in the world.
A groundbreaking learning tool used by everyone from beginners to Academy Award winners, the course teaches high-end camera work through over 9 hours of 3D animated instruction on 6 DVDs.
Besides working with actors, blocking is one of the most important things a Director does, and should be really good at. Yet most books, videos and many film schools barely touch the basics.

A Total Language
The Master Course is a powerful system of single-camera blocking and an unprecedented language of camera work, that may fundamentally change the way you direct.

The course was created by director Per Holmes, who spent over half a decade developing an all-inclusive language of high-end feature camera work for personal use, and then realized how much others would benefit from these techniques.

The Master Course is far beyond any current filmmaking program, and is intended for professionals who want to take their blocking skills to the highest level, and those who are crossing over from another discipline, but can be used by filmmakers at any level who are committed to mastering high-end directing.

What You Will Learn
The primary goal of The Master Course in High-End Blocking and Staging is to do the most effective blocking with the highest production-value, and to build a vast repertoire of techniques to make Directing more expressive - and ultimately more fun.

The course also deals with the problem that blocking often grabs so much of our attention that we're forced to choose between doing camera work or nurturing great performances. If we choose acting, the camera work suffers. If we choose camera work, the actors are often left to direct themselves. One of the key goals of the course is to have great camera work become so automatic that we can do both at the same time.

When shooting, we also too often abandon many great shots we had planned. When we're under pressure, we revert to tried and tested techniques like two reverses and a master. Even if we know plenty of techniques, we often only use the ones we know extremely well, so another key goal of the course is to know techniques so well that we actually use them.

The higher purpose of the course is to do as meaningful and expressive camera work as possible. While the course spends a lot of time getting good at technical things like complex line-issues, the deeper goal is to have a profound understanding of the how and why of everything. Ultimately, the goal is to have as clear and precise an emotional impact as possible. All the hot moves we can create (and we do create a lot) are really means to that end.


Volume List
Shot Sizes And Types
Focal Length
Framing And Perspective
Staging Upwards And Downwards
Managing The Line
Spatial Continuity
Open And Closed Framing
Right-Angle, Outward And Parallel Cameras
Letter Shapes And Camera Plots: I
Letter Shapes And Camera Plots: A
Letter Shapes And Camera Plots: L
Letter Shapes And Camera Plots: U, II, O
Scattered Characters


Temporal Continuity
Expanding And Contracting Time
Transforming Cameras
Covering Stops
Motivations For Character Movement
Motivations For Stopping
Script Staging: Motivations For Movement
Intimacy, Honesty And Power
Script Staging: Intimacy, Honesty And Power
Managing The Line: Moving Lines Part I
Managing The Line: Moving Lines Part II
Coordinating Foreground And Background
Deep Staging Part I: Static
Deep Staging Part II: Shifting Depth
Depth Of Field In-Depth
Managing Focus And Rack Focus
Mirrors, Hotspots And Shadows


Why Storyboarding Doesn't Work
Thinking In Parallel
Thinking In Keyframes
Thinking Backwards
Script Staging: Parallel Staging And Keyframes
Pan: Keyframe To Keyframe
Pan: Reframe And Regroup
Pan: Start On, Reveal, End On
Pan: Search, Shift, Swish
Pan: Hand-Off
Parallax And The Value Of Foreground
Track: Coordinating Foreground
Track: Keyframe To Keyframe
Track: Keyframes On Opposite Sides Of The Line
Track: Deep Staging To Deep Staging
Track: Early And Late Arrival Into Keyframe
Track: Parallel
Track: Start On, Reveal, End On


Track: Hand-Off
Track: Opening And Closing Space
Track: Personal And Impersonal
Track: Back Parallax And Unrest
Track: Regroup
Track: Reframe
Track: Timed Master Move
Track: Master Push
Track: Close Push
Track: Low Push, High Push
Track: Pull
Track: Converge And Counter
Track: Pivot
Track: Pivot-Reveal
Track: Around
Pan And Track: Rack Focus
Boom And Crane
Crane: Keyframe To Keyframe, Parallel
Crane: Start On, Reveal, Vertical Converge
Crane: Pivot, Pivot-Reveal
Crane: Low/High Push, High/Low Push


A Notation System For Blocking
The Checklist: 7 Essential Blocking Steps
Script Staging: "Change Of Plans"
"Change Of Plans" Blocking
"Change Of Plans" Cut
Script Staging: "Under Attack"
"Under Attack" Blocking
"Under Attack" Cut
Script Staging: "Not A Suspect"
"Not A Suspect" Blocking
"Not A Suspect" Cut

(Scripts and Blocking Diagrams of the scenes we're working with on Volume V & VI can be found in the Download Section).


Script Staging: "System Failure"
"System Failure" Blocking
"System Failure" Cut
Script Staging: "Custody"
"Custody" Blocking
"Custody" Cut
Script Staging: "A Terrible Mistake"
"A Terrible Mistake" Blocking
"A Terrible Mistake" Cut
Script Staging: "The Curse"
"The Curse" Blocking
"The Curse" Cut
Adjusting For Widescreen And Scope

Hollywood Camera Work The Master Course In High-End Blocking & Staging

Hollywood Camera Work The Master Course In High-End Blocking & Staging

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Tags: Hollywood, Camera, Master, Course, Blocking, Staging

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