Ebook Free Every Frame a Rembrandt: Art and Practice of Cinematography
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Every Frame a Rembrandt: Art and Practice of Cinematography
Ebook Free Every Frame a Rembrandt: Art and Practice of Cinematography
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Review
"Clearly and concisely written (and enhanced with additional material by Andrew Quicke), Andrew Laszlo's Every Frame a Rembrandt is a "must" for any inspiring cinematographer, and an essential reference title for professional and academic collections." - The Bookwatch, August 2000"This one is a good beach read and a cinematography text." - Robert Goodman, Videography, July 2000"..a stunning new book..." - Georgia Packard SOC, The Operating Cameraman"Always one to follow through, Laszlo consistently delights his readers with an artistic approach to visual storytelling. Thoroughly entertaining. Extremely informative. A sparkling gem of pure " grade A" craftsmanship." - Georgia Packard SOC, The Operating Cameraman"This book grew out of a series of two-day seminars on cinematography that Laszlo conducts at film departments around the world. It is not a nuts-and-bolts textbook on basic or advanced cinematography, but rather an impassioned exploration of the technical and artistic creation of the cinematic image." - American Cinematographer, October 2000
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From the Publisher
"Every Frame a Rembrandt" is an expression heard on sound stages and locations all over the world. While in most cases the expression is used lightly and not infrequently with a certain amount of sarcasm, its true meaning speaks highly of most cinematographers' commitment to producing the best, most interesting, unusual and memorable images for the screen. Through the five films he selected for this book Laszlo is able to show the broad range of complexity in motion picture photography, from the relatively simple "point and shoot" in the typical western to complex in-camera effects. In recounting his "war stories" Laszlo is able to show the day-to-day activities of a cinematographer before, during and after filming the project, discussing equipment, film stocks, testing, labs, unions, agents, budget requirements, and working with the director and producer. The five films discussed are Southern Comfort, The Warriors, Rambo: First Blood, Streets of Fire, and Innerspace. The book is illustrated throughout with production stills from Laszlo's extensive collection (8 in a color insert).
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Product details
Paperback: 272 pages
Publisher: Focal Press; 1 edition (May 31, 2000)
Language: English
ISBN-10: 024080399X
ISBN-13: 978-0240803999
Product Dimensions:
6.2 x 0.8 x 9.2 inches
Shipping Weight: 14.4 ounces (View shipping rates and policies)
Average Customer Review:
4.6 out of 5 stars
11 customer reviews
Amazon Best Sellers Rank:
#1,185,369 in Books (See Top 100 in Books)
I bought this book because I really wanted to get a feel for the cinematography in Rambo. This is an old film that stands the test of time. No, not Rambo 2 and 3, but the original Rambo. They detailed the approach and what they had to do to achieve the look. Highly recommended for cinematographers or cinephiles.
Andrew explains how to get grit and feel into a shot by breaking the rules of photography, which is something he calls "good/bad" photography. He wrote this at the time that kodak wanted super clean looks, with their new low grain high dynamic range film. With modern digital camera's, I think this book is even more important then at the time it was written, since geting a more "real" feel rather then a simulated digital look is even more difficult. The timeless nature of his words is why i rated the book a 5.
Andy Laszlo gives great insight into the process of making a studio film, and the role of the DP. This book is a great way for an aspiring DP to learn the challenges, and the opportunities, that filmmakers face on location and in the studio.A terrific book, and a must read for any film student.
love reading it
Great book for any fan of First Blood or Southern Comfort or Streets of Fire. Stories from one of the best cinematographers of all time. Hard to put down and simply written. Great stuff!
essential.
The envelope please--best book by a cinematographer (or anyone else for that matter) about cinematography. Essential reading.There are books of theory, there are books of anecdotes, and there are books on how-to. This has the best of all.Andrew Laszlo, ASC is a wonderful storyteller, inspirational teacher, terrific writer as well as a distinguished cinematographer. His credits include Shogun, Owl and the Pussycat, One Potato-Two Potato, Newsies and many others.The book is a wealth of film criticism, tricks of the trade, technical details, wonderful anecdotes and behind-the-scenes stories.For example, Laszlo discusses how he lit a scene from Rambo with one match, and then explains that a second one was hidden behind. He is funny and iconoclastic at times: "I hate dailies," or "Taking a stand in the film industry is not an everyday event." But behind every attention-grabbing statement is a complete and highly intelligent, articulate explanation.The book covers five of his films: "Southern Comfort, The Warriors, First Blood, Streets of Fire, and Innerspace." There is insight into the politics, diplomacy and psychology of filmmaking--dealing with directors, producers, studios and crew members. Through the writing, we watch a truly masterful problem solver, consummate professional and talented artist at work and reflecting upon that work.Interviews done by Andrew Quickie (Film and TV Professor at Regent Univ.) punctuate the chapters.I eagerly await the sequel to this book, perhaps to be called "Son of Rembrandt," or "Every Frame a Laszlo." Certainly there would be enough anecdotes and information from his 42 or more other films to fill a dozen standard volumes.
I first met Andy Laszlo some eight or ten years ago when he gave a two day seminar on Cinematography at NYU while I was director of the Department of Film, Video and Broadcasting at NYU's School of Continuing Education. One or two hundred students enrolled the first day, and as word spread across the campus of Andy's insights and trenchant comments, the attendance doubled on day two. When I learned of the existence of his book, I purchased it immediately. It is of immense value, not only to cinematographers, but also to directors, producers and writers: in short to anybody currently in film and video, or anybody who aspires to enter this field. It is immensely readable, written in clear, concise English and amply illustraed with some extraordinary examples, and a treasure trove of practicle knowledge. It is highly, highly recommended.
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