by Jennifer Van Sijll *** I can't say I completely recommend it, at least not until after reading more informative books about directing and cinematic composition such as Film Directing Shot by Shot: Visualizing from Concept to Screen
and Film Directing: Cinematic Motion, both by Steven D Katz and The Filmmaker's Eye: Learning (and Breaking) the Rules of Cinematic Compositionby Gustavo Mercado. It seems to be part of a series of books published by Michael Wiese Productions all made in the "widescreen" format, I think trying to cash in on the HD craze. The layout of these books is similar to the 16:9 HD aspect ratio, and the books are designed to be visually appealing, but seem to be very sparse on information. There's a lot of blank white space, and what few words there are suffer from a stiffly formulaic presentation loaded with pointless repetition. Each page only features a few brief paragraphs and feels like it could have been developed a lot more. And then to waste more space, each chapter pointlessly lists the credits for each movie mentioned in that chapter - what's the point of that? I wouldn't mind it if it seemed the actual descriptions of the cinematic conventions themselves -- the meat and potatoes of the book - were more fully presented first, but it seems the credits listing eats up valuable space that should have been devoted to more fully developed discussion of those conventions. I'm not completely panning the book... it IS a good brief introduction to "100 cinematic conventions every filmmaker should know". But that's all it is. To make an analogy, it's like a book that lists 100 great ingredients with very brief notes as to how each tastes and what kind of dish it can be used in, but has no recipes in it. The books mentioned above have those recipes... they go into great detail about staging and blocking and how to arrange actors and scene elements for various effects. The information in those books is presented in such a way that you come out with coherent understanding of how to set up certain types of scenes. Once you have a grounding in that kind of detailed info, then a book like Cinematic Storytelling is a good addition... some additional ingredients to add to your dishes once you know how to cook them. But that listing of ingredients does no good until you know some recipes.
***** I recently learned that one of my highest recommended books about lighting -
Matters of Light & Depth by Ross Lowell - has been chosen as a textbook and as a result the price has skyrocketed. In a recent review, I panned Motion Picture and Video Lighting, Second Edition by Blain Brown as being pretty useless for anyone setting up a stopmotion studio. So in an effort to find another book I can recommend in lieu of Matters of Light and Depth, I ordered a newly-published (jan of this year) book that sounded good. And it does not disappoint one bit!! Like Matters, it goes into the properties of light - both hard and soft light, and how they're created and what kind of effects can be achieved with each. Lots of great example pics, and also a great bonus - a section on do-it-yourself electrical wiring, I especially like this, as I've dine some bodgering of light fixtures myself, guided only by Nick Hilligoss' advice, and now thanks to Jay Holben's excellent electrical teaching, I have a pretty decent understanding of the relevant considerations when doing this sort of thing. It's all about the AMPS... he'll tell you why and give you simple conversions to figure out just how much amperage you need when selecting cords and other electrical components.
In fact, his coverage of lighting in general is very thorough... but there were still a couple of ideas covered in the Lowell book that aren't here... namely off the top of my head Lowell mentioned an important concept from old Hollywood techniques calling for the separation of subject and background so that you have complete control over each without it affecting the other. Ah, but what can you do? This is an excellent book and gets my highest recommendation!! And in fact I'm just about to be the first to review it on Amazon.
My friend and fellow stopmotion animator Sven Bonnichsen has created an animation festival in the NorthWest (hence the name). It's not only for stopmo, but for all animation techniques. Sven is a great guy and a tireless creator and worker behind the scenes in all sorts of artistic endeavors... the kind of people it takes to run festivals like this. Here's the info --
NW ANIMATION FESTIVAL 2011: Call For Submissions
The NW Animation Festival is now accepting entries for 2011. Films from anywhere in the world are welcome. Deadline is May 1, with discounts for students and films received by April 1. The festival will be held on June 3-4-5, in the heart of downtown Portland Oregon at the historic 5th Avenue Cinema. See website for details and submission form: nwanimationfest.com
This is a festival created by animators, for animators, and all lovers of animation.
We are people who hunger to see MORE. Not just the year's top 10 shorts... We want to feast on the year's top 100!
We've thrown the door wide open for submissions. Films may come from anywhere in the world. You may submit films made at any time during your life. And you are free to simultaneously show your work online or at other festivals.
We know that great animation comes from all levels. Contributions from students, independent artists, and professional studios are all valued equally.
All types of animation are encouraged: hand-drawn, computer-generated, stop-motion... We attempt to program shorts blocks focusing on each method separately—both to educate, and to satisfy each methods' enthusiasts.
We strive to pack the weekend with as much animation as possible. But the festival is still bigger than just this. Select films go on to become part of our "Best of the NW Animation Fest" traveling show, which will tour the region during the following year.