The Art of Cinematic Storytelling

To dramatize a story using moving images, a director must have a full understanding of the meaning and emotional effect of all the various types of shots and cuts that are available to advance the story. Drawing upon his extensive experience as a storyboard artist who has worked 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, television, animation, video, 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. The author delves deeply into the techniques that visual
storytellers use to captivate their audience, including blocking, camera positioning, transitions, and planning shots with continuity editing in mind. Practical advice on how to clarify time, space, and motion in many common situations -- such as dialogue, pursuits, and driving sequences -- makes this
book an invaluable guide for all aspiring filmmakers.

"The Art of Cinematic Storytelling: A Visual Guide to Planning Shots, Cuts and Transitions is a practical introduction to the design of shots, cuts and transitions for film, video, television, animation and game design. The author/illustrator is a storyboard artist who has worked with and learned from over 200 professional directors and cinematographers. This book's clear and concise explanations and vivid examples demystify the visual design choices that are fundamental to directing and editing. Hundreds of illustrations and diagrams support the text. The primary emphasis is on blocking actors and positioning the camera for mood, meaning and continuity editing. This book delves deeply into controlling the audience's understanding and perception of time and space; designing in-camera time transitions; compressing and expanding time; composing creative shots for cinematic storytelling; choosing between objective and subjective storytelling; motivating camera moves; choosing lenses; using screen geography and film grammar for clarity; planning shots with continuity editing in mind; knowing how and when to cut; beginning and ending scenes; and using storyboards for planning and communication. Several chapters are devoted to how to block and shoot action involving travel, pursuits, searches, dialogue, groups and driving. While the approach is based largely on well-established techniques of cinematography and continuity editing, attention is also given to jump cuts, tableau shots and unconventional framing. The topics are covered thoroughly and systematically, and this book serves both as an introductory text and as a reference work for more advanced students of film"--

"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.