The Art of Cinematic Storytelling

A Visual Guide to Planning Shots Cuts and Transitions

By: Kelly Gordon Brine

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Hardcover | 10 December 2020

At a Glance

Hardcover
368 Pages

Dimensions(cm)
18.3 x 26.0 x 2.4

Hardcover

RRP $350.00

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To effectively narrate a story in moving images, a film director needs to have a full understanding of the meaning and emotional effect of different types of shots and cuts and how they can be used to advance the action and create a desired mood. Drawing on his vast experience as a storyboard artist working with over 200 directors and cinematographers on television series and movies, author Kelly Gordon Brine provides a practical and accessible introduction to the design of shots, cuts, and transitions for film, video, television, animation, and game design.

With hundreds of illustrations and diagrams, concise explanations of essential storytelling concepts, and vivid examples, The Art of Cinematic Storytelling demystifies the visual design choices that are fundamental to directing and editing. Brine delves deeply into techniques visual storytellers use to captivate and move an audience, including camera positioning, transitions, and planning shots with an eye to continuity editing. Practical advice on how to clarify time, space, and motion on a visual level and on shooting common character interactions and situations-such as dialogue, pursuit, and driving scenes-makes this book an invaluable guide for all aspiring filmmakers.

Industry Reviews

"I've benefited from the author's storyboarding expertise to help me previsualize the shots and cuts on dozens of complex projects. His book shows how directing, cinematography, and editing work together to present the narrative visually. His insights about visual storytelling are like a creative force multiplier and will help aspiring filmmakers achieve their very best." -- Stephen D Surjik, television and film director whose many credits include The Witcher, Umbrella Academy, Lost in Space, See, Jessica Jones, and Luke Cage. "Mind-blowing visual effects, dangerous stunts, and exhilarating action used to be the sole domain of big-budget film. But with 'peak TV' came the same expectations for the small screen. With less time and less money, the only way for directors and producers to deliver is to storyboard like a pro. The author's easy-to-follow techniques on how to break the most complex scenes into essential shots has been my secret weapon for cinematic television." -- Chris Fisher, Producer/Director of Warehouse 13, Person of Interest, The Magicians, and Strange New Worlds.

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