Front Cover -- Copyright Page -- Table of Contents -- Introduction -- Understand the "Why" -- People Need Stories -- Our Minds Are Wired for Stories -- The Path to Successful Filmmaking -- 1. The Structure of a Story -- Aristotle's Unified Plot -- Freytag's Plot Structure -- Plot Structure in Practice -- Exposition -- Characters -- Setting -- Relationships -- The Hook -- Rising Action -- exposition objectives -- Climax -- Falling Action -- Resolution -- Acts 1, 2, and 3 -- The Nature of Conflict -- Relational Conflict -- Situational Conflict -- Inner Conflict -- required viewing -- Paranormal/Possibility Conflict -- Cosmic Conflict -- required viewing -- Social Conflict -- Other Issues of Conflict -- Perception of Conflict -- Simultaneous Conflicts -- No Conflict? No Plot -- concept films -- 2. Shot Sequencing -- Filmmakers Create a Story -- Forget About What Happened -- The Camera Is the Viewer -- Types of Sequences -- Wide Shots -- Medium Shots -- Close-Ups -- The B-Roll -- The Order of the Shots -- Medium, Wide, Close -- Close, Close, Wide, Medium, Medium -- Close-Ups in Context -- Shot Order and Flow -- 3. The Art of the Close-Up -- Types of Close-Ups -- Uses of Close-Ups -- Identify the Character -- Emphasize Important Lines -- Show the Reaction -- and how about point of view? -- As Establishing Elements -- 4. Perspective and Point of View -- What to Show -- Trust the Viewfinder, Not Your Eyes -- The Camera Is the Viewer -- What the Character Sees -- Camera Angles -- High-Angle Shot -- Low-Angle Shot -- Eye-Level Shot -- Point-of-View Shot -- Bird's Eye-Angle -- Worm's-Eye Angle -- An unusual example -- Dutch Angle -- The 180 Rule -- How the Concept Works -- Implying Movement -- controlling negative space -- Cat in the Window -- Lens Selection -- Sensor Size -- Aperture -- focusing -- 14mm, f/2.8 Lens -- 24mm, f/1.4 Lens -- 35mm, f/1.4 Lens.

50mm, f/1.2 Lens -- 85mm, f/1.2 Lens -- 135mm, f/2.0 Lens -- 180mm (Macro), f/3.5 Lens -- 5. Camera Movement -- Camera Movement and the Impact of 3-D -- is movement required? -- One More Time: The Camera Is the Viewer -- Composition -- The Rule of Thirds -- Filling the Frame -- Pan and Tilt -- Tripod and Fluid Head -- Panning -- Follow Movement -- Introduce a New Subject -- Add Movement -- The Quick Pan -- Tilting -- Follow Movement -- Transitional Movement -- cranes/jibs -- The Fly on the Wall -- A Human Feeling -- Shoulder Mounts -- required viewing -- Tracking Shots -- The Dolly -- Types of Shots -- Straight Dolly Shot -- Curved Dolly Shot -- Dolly In -- Dolly Out -- Vertigo (Push/Pull) Effect -- Telephoto Lens on the Dolly -- Tracking Dolly Shot -- Steadicam -- A Final Thought -- required viewing -- So, What Do I Really Need? -- Monopod -- Dolly/Slider -- Tripod -- Shoulder Mount -- Steadicam -- Car Mount -- Crane -- 6. Lighting, Color, and Exposure -- The Power of Lighting -- Camera Controls -- ISO Setting -- use a light meter -- Frame Rate and Shutter Speed -- Justify the Light -- Find the Light -- Enhance the Light Realistically -- Consider Showing the Light Source -- lighting outdoors -- Cheating the Light -- Shadows -- Shadows on the Subject -- Shadows Cast by the Subject -- Lighting the Mood -- lighting for effect -- A Particular Challenge -- Lighting Color -- Red -- Yellow -- Blue -- required viewing -- Amber -- Final Thoughts on Lighting -- 7. Show, Don't Tell -- Delivering Information -- Get Objective Analysis -- Identify the Defining Actions -- Developing Characters -- required viewing -- skip the conversation -- Easter Eggs -- required viewing -- 8. Types of Stories -- Linear vs. Non-Linear -- Innercutting -- The Teaser -- The Vehicle -- required viewing -- Narrative Point of View -- First-Person Narratives -- required viewing.

Second-Person Narratives -- required viewing -- Third-Person Narratives -- required viewing -- 9. Audio -- Recording a Clean Signal -- Ambient Audio -- When Silence Is Golden -- Sound Relative to Distance -- required viewing -- Foley Artistry -- Justify the Sound -- Music -- ambient music -- 10. Editing -- Know Your Idea -- Organize -- Avoid OCD Editing (At First) -- Cutting -- The L Cut -- Cutting on the Action -- Pacing -- Conclusion -- Glossary -- Index -- Back Cover.