{"product_id":"129520","title":"Instinctive directing ","description":"\u003ccenter\u003e\u003cdiv style=\"text-align:center\"\u003e\u003cimg src=\"https:\/\/tmgdisk01.cafe24.com\/images\/vs\/4172\/sv\/WQtgpSpFNDoW2F6jeCRXoJ.png?v=1764976427\" style=\"max-width:100%;max-height:10px\"\u003e\u003c\/div\u003e\u003c\/center\u003e\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\u003ccenter\u003e\n\n\u003cdiv style=\"width:95%\"\u003e\n\n\u003cdiv style=\"text-align:center;font-size:30px;font-weight:bolder;line-height:1.6em\"\u003e Instinctive directing \u003c\/div\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003cdiv style=\"border-bottom:1px;border-bottom-style:dotted;border-color:;padding-bottom:20px\"\u003e\u003ccenter\u003e\u003ctable align=\"center\" width=\"100%\"\u003e\u003ctbody style=\"border:0px\"\u003e\n\n\u003ctr\u003e\u003ctd align=\"center\" style=\"line-height:1.2em;text-align:center;font-size:18px;color:black;font-weight:bold;padding-bottom:20px;\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\n\n\u003ctr\u003e\u003ctd style=\"text-align:center\"\u003e\u003cimg src=\"https:\/\/image.yes24.com\/goods\/163440109\/XL\" style=\"max-width:100%;height:auto\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\n\n\n\u003c\/tbody\u003e\u003c\/table\u003e\u003c\/center\u003e\u003c\/div\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003cdiv style=\"width:95%;{split_style6}padding-top:20px;padding-bottom:20px\"\u003e\n\n\u003cdiv style=\"text-align:left;font-size:16px;font-weight:bold;padding-bottom:20px\"\u003e Description \u003c\/div\u003e\n\n\u003cdiv style=\"text-align:left;word-break:break-all;font-size:14px;line-height:1.6em;\"\u003e\n\n\u003cdiv\u003e\u003ch5\u003e \u003cb\u003eBook Introduction\u003c\/b\u003e\n\u003c\/h5\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e  \u003cdiv\u003e\n\u003cb\u003eA Psychology-Based Directing Guide: Designing Emotions with Instinct, Not Feeling\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e This book presents directing principles based on 'human instinct' rather than simple techniques to those who have been thinking about directing based on vague 'feelings'.\u003cbr\u003e Based on 20 years of experience in broadcasting, the author systematically analyzes what scenes viewers focus their attention on, what structures move their emotions, and how they become immersed in a program from the perspectives of perception, cognition, evolutionary psychology, and neuroscience.\u003cbr\u003e This book, which explains the entire directing process from storytelling to emotional design, scene composition, and editing through psychology, is structured so that anyone can easily understand it by providing abundant examples from movies, dramas, entertainment, and animation.\u003cbr\u003e It will serve as a practical guide to transform directing's 'feel' into 'understanding' for not only beginners in video production but also working PDs, YouTubers, and creators.\u003cbr\u003e\n\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cul\u003e  \u003cli\u003eYou can preview some of the book's contents.\u003cbr\u003e \u003cspan\u003ePreview\u003c\/span\u003e\n\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cbr\u003e\u003cdiv\u003e\u003ch5\u003e \u003cb\u003eindex\u003c\/b\u003e\n\u003c\/h5\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e Prologue | Author's Note\u003cbr\u003e\u003cbr\u003e The premise of instinctive directing\u003cbr\u003e\u003cbr\u003e CHAPTER 1.\u003cbr\u003e storytelling\u003cbr\u003e 1.\u003cbr\u003e Why are we so fixated on the same story?\u003cbr\u003e 2.\u003cbr\u003e What story have you been hooked on?\u003cbr\u003e\u003cbr\u003e CHAPTER 2.\u003cbr\u003e Emotional design\u003cbr\u003e 3.\u003cbr\u003e The Role of Scenes | Starting Point for Scene Design\u003cbr\u003e 4.\u003cbr\u003e Immersion Begins with Emotion | Setting the Emotion 1\u003cbr\u003e 5.\u003cbr\u003e What Emotions Should We Design? | Setting Emotions 2\u003cbr\u003e 6.\u003cbr\u003e Emotions Begin with Gaze | Designing the Gaze 1\u003cbr\u003e 7.\u003cbr\u003e How to Grab Attention | Designing the Eye 2\u003cbr\u003e 8.\u003cbr\u003e Why Characters? | Character Placement 1\u003cbr\u003e 9.\u003cbr\u003e Place the person at the center of attention | Character placement 2\u003cbr\u003e 10.\u003cbr\u003e What Sees as One | Gestalt Principles of Perception 1\u003cbr\u003e 11.\u003cbr\u003e How Boundaries Are Drawn | Gestalt Perception Principles 2\u003cbr\u003e\u003cbr\u003e CHAPTER 3.\u003cbr\u003e Embodying emotions\u003cbr\u003e 12.\u003cbr\u003e A Place in the Frame｜Framing 1\u003cbr\u003e 13.\u003cbr\u003e Space within the frame | Framing 2\u003cbr\u003e 14.\u003cbr\u003e How to Separate | Light and Color 1\u003cbr\u003e 15.\u003cbr\u003e How to Tie It All Together | Light and Color 2 \u003cbr\u003e16.\u003cbr\u003e Camera Position | Camera Operation 1\u003cbr\u003e 17.\u003cbr\u003e Camera Eye | Camera Operation 2\u003cbr\u003e 18.\u003cbr\u003e How to handle movement｜Movement\u003cbr\u003e 19.\u003cbr\u003e How to keep it from popping out｜Edit 1\u003cbr\u003e 20.\u003cbr\u003e How to Create Flow｜Edit 2\u003cbr\u003e 21.\u003cbr\u003e How to Move Emotions｜Prediction\u003cbr\u003e 22.\u003cbr\u003e How to make it sound | Sound\u003cbr\u003e\u003cbr\u003e Epilogue｜Red Pill\u003cbr\u003e\u003cbr\u003e supplement\u003cbr\u003e 1.\u003cbr\u003e 7-Step Scene Design Checklist\u003cbr\u003e 2.\u003cbr\u003e Various prototypes\u003cbr\u003e\u003cbr\u003e References\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cbr\u003e\u003cdiv\u003e\u003ch5\u003e \u003cb\u003eDetailed image\u003c\/b\u003e \u003c\/h5\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cdiv\u003e\u003cimg src=\"https:\/\/image.yes24.com\/momo\/TopCate6024\/MidCate002\/602310552.jpg\" border=\"0\" alt=\"Detailed Image 1\"\u003e\u003c\/div\u003e\u003c\/div\u003e\n\u003cbr\u003e\u003cdiv\u003e\u003ch5\u003e \u003cb\u003eInto the book\u003c\/b\u003e\n\u003c\/h5\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e Before we get into the actual discussion of scene design, there's something we absolutely must remember.\u003cbr\u003e 'Why do we direct?' Of course, it's to achieve the video's planning intention.\u003cbr\u003e In my previous work, “The Fundamentals of Broadcast Directing,” I defined directing as follows.\u003cbr\u003e 'Directing is the work of making the intended story immersive until the very end.' This is similar to sports competitions. \u003cbr\u003eThe director (=producer) makes the players follow the tactics (=the story they are trying to tell) to the end (=makes them immersed until the end) in order to win (=achieve the intention).\u003cbr\u003e Let's recall the strategy that Mr. Ahn devised to defeat the mountain king in Slam Dunk.\u003cbr\u003e Song Tae-seop breaks through the pressure defense, Jeong Dae-man and Seo Tae-woong lead the offense, and Chae Chi-su and Kang Baek-ho dominate the paint and rebounds.\u003cbr\u003e If everyone does their part, even a 20-point deficit can be turned around, but if even one person collapses, the game is over.\u003cbr\u003e The directing is also like that.\u003cbr\u003e Every single scene in the video is a 'player'.\u003cbr\u003e Just as the five players of Bukhansan gather together to perfect their tactics, the scenes come together to complete a single story.\u003cbr\u003e And just like Bukhansan, if even one scene fails to fulfill its role, immersion is broken and the planning intent is not conveyed.\u003cbr\u003e Therefore, the director, like Mr. Ahn, must assign a clear role to each scene. \u003cbr\u003eAnd to accomplish that role, you have to immerse the viewer in the scene.\u003cbr\u003e --- From \"The Role of the Scene\"\u003cbr\u003e\u003cbr\u003e Understanding human cognitive processes provides a clear guideline for all directing elements, from how to handle emotions, how to structure stories and scenes, to the arrangement of cuts, camera movements, and even audio processing.\u003cbr\u003e Yet many people overlook this.\u003cbr\u003e The reason is simple.\u003cbr\u003e Cognitive processes occur so quickly and automatically that they are perceived as instincts that do not require questioning.\u003cbr\u003e This is where the problem starts.\u003cbr\u003e Since everyone has instincts, in the field, they are simply lumped together as a word called 'feeling'.\u003cbr\u003e And there is only an exchange of evaluations such as “It has a feel for it, it doesn’t have a feel for it,” but it doesn’t actually become a subject of research.\u003cbr\u003e Even in real-life settings, it is rare to find a director who designs a scene by considering the cognitive process. \u003cbr\u003eThis is because they do not feel the need for cognitive process education, or because they have a deep-rooted perception that “How can you teach a feeling? It only develops after seeing, taking pictures, and pasting.”\u003cbr\u003e Even people who want to become directors take it for granted and try to develop a 'feeling' that has no substance without any objection.\u003cbr\u003e But I can confidently say that the 'feel' we talk about in directing can be developed by understanding and applying human cognitive processes.\u003cbr\u003e The age-old advice to \"observe people\" ultimately means observing how emotions intervene in cognitive processes and guide behavior.\u003cbr\u003e So, there is no need to be distressed and say, ‘I have no feeling, so it’s hard.’\u003cbr\u003e --- From \"What kind of emotions should we design?\"\u003cbr\u003e\u003cbr\u003e But this ‘God’s move’ cannot be used at any time. \u003cbr\u003eAs it is a weapon that induces emotions, it should be used in the first half of the cognitive process in which emotions occur - 'sensation reception-perception-attention'.\u003cbr\u003e Why? Because from the later stages onwards, the director's intervention becomes dramatically more difficult.\u003cbr\u003e When the viewer enters the 'memory' stage, he or she begins to consciously interpret the scene.\u003cbr\u003e This means that you begin to think critically by relating it to previous scenes and contrasting it with your own experiences.\u003cbr\u003e Even if you try to draw out emotions with the weapon of directing attention, it is becoming less and less effective for the viewers.\u003cbr\u003e The next stages, ‘thinking\/reasoning’ and ‘judgment\/decision-making’, are even more desperate.\u003cbr\u003e Trying to draw out emotions at these stages is like 'closing the barn door after the horse has bolted.'\u003cbr\u003e Since the interpretation of the scene is almost complete, if you try to appeal to their emotions, the viewer will just snort.\u003cbr\u003e At this time, the only way to survive is through rational persuasion, not emotional persuasion. \u003cbr\u003eThis means that the scenes, characters, and story must all be logically convincing to the viewer - but it's questionable whether that's possible.\u003cbr\u003e The final stage, the 'reaction\/action execution' stage, is literally the 'end'.\u003cbr\u003e The viewers have already come to their conclusion.\u003cbr\u003e “This scene is ridiculous!”, “Why is the main character like that!”, “Let’s just stop watching...” Now, no matter how you direct, it’s hard to turn back the clock.\u003cbr\u003e You can consider it impossible.\u003cbr\u003e --- From \"Emotions begin with gaze\"\u003cbr\u003e\u003cbr\u003e As with all video production techniques, these cannot be defined as 'must-do' or 'essential'.\u003cbr\u003e All you have to do is choose the technique you need depending on the situation.\u003cbr\u003e Don't worry about what others think, saying things like \"The basics aren't there, the video grammar is a mess, whatever,\" based on techniques that are nothing more than mere methods.\u003cbr\u003e Instead, what we must pay attention to is consideration for the viewers.\u003cbr\u003e Their stability is important. \u003cbr\u003eSo, I recommend using extreme margin adjustments only when you need to express your intention.\u003cbr\u003e A production that doesn't take the viewer into consideration is just its own art, and no viewer is willing to endure the pressure to appreciate that art.\u003cbr\u003e --- From \"Space within the Frame\"\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e The instinct to 'gain information for survival' is the standard that determines the range of shot sizes.\u003cbr\u003e In other words, it serves as a basis for determining ‘where and to what extent the character will be framed.’\u003cbr\u003e For example, unless there is a specific intention, a close-up usually includes the area from the face to the collarbone.\u003cbr\u003e This is because the viewer unconsciously activates the 'closedness' principle.\u003cbr\u003e Following the line from 'face-neck-shoulder-clavicle' in the close-up, the brain complements the rest of the body to infer the overall shape of the person.\u003cbr\u003e It is a result of the evolutionary instinct to infer the entire form of an animal even when only part of it is seen in the forest. \u003cbr\u003eBut what if the screen were cut off at the neck? Just as the viewer would feel uneasy because they couldn't imagine the size of the predator's body, the viewer would feel awkward and uncomfortable because they couldn't imagine the rest of the character's form.\u003cbr\u003e The same goes for joints.\u003cbr\u003e Elbows, wrists, knees, and ankles are key cues for predicting movement, so if the screen is cut off at these points, the brain becomes tense because it cannot guess the next move.\u003cbr\u003e Ultimately, humans are creatures who try to predict 'what will happen next' through visual information, and immersion is maintained when this prediction is possible.\u003cbr\u003e --- From \"The Camera's Seat\"\u003cbr\u003e\u003cbr\u003e 'Running time 10 minutes, 1 hour, 2 hours…\u003cbr\u003e All images are media bound to the flow of time.\u003cbr\u003e Therefore, all the principles we have examined so far must ultimately be coordinated over time and connected as a single flow.\u003cbr\u003e Editing is what makes this process possible. \u003cbr\u003eIn other words, editing is not simply connecting cuts, but the final process of weaving the designed emotions into a single story.\u003cbr\u003e But there is something else that actually gets on the directors' nerves during the actual editing.\u003cbr\u003e This is the phenomenon of 'the cut is sticking out'.\u003cbr\u003e Now, I don't think it's a big deal to have a cut that pops out, but back in the day, I also tried very hard to get rid of the cut pop.\u003cbr\u003e I was afraid that one minor mistake would make me look like an incompetent editor.\u003cbr\u003e Of course, just because someone is cut off doesn't mean they are incompetent.\u003cbr\u003e But it's also true that smooth video helps keep viewers engaged.\u003cbr\u003e This is because viewers must feel that the story continues in the same space and time to remain immersed.\u003cbr\u003e However, if the screen is awkwardly cut off, the viewer will first notice that the editing is awkward rather than the story, and at that moment, the immersion is broken. \u003cbr\u003eTherefore, in this chapter, we will cover video without jumps, or 'continuity editing'.\u003cbr\u003e\n\n\u003c\/div\u003e\n\u003cdiv\u003e --- From \"How to not stand out\"\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cbr\u003e\u003cdiv\u003e\u003ch5\u003e \u003cb\u003ePublisher's Review\u003c\/b\u003e\n\u003c\/h5\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e 'Take, cut, and paste.'\u003cbr\u003e\u003cbr\u003e Whether this simple task ends up being a mechanical repetition or is reborn as a creative production depends on whether it is done with a reason.\u003cbr\u003e This book seeks the reason in ‘humans’.\u003cbr\u003e Since both viewers and directors are human, he argues that the standards for directing also originate from human 'instinct'.\u003cbr\u003e And based on various psychological theories such as perception, cognition, evolutionary psychology, neuroscience, and psychoanalysis, it explains the principles of human instinct to watch videos.\u003cbr\u003e Of course, the purpose of all this process is only one: 'practical connection'.\u003cbr\u003e The author, a former broadcast producer, translates the principles of instinct, which he has unraveled through psychology, into directing principles, and then suggests methods for applying them directly in the field through familiar, real-life directing examples. \u003cbr\u003eAnd I assert:\u003cbr\u003e\u003cbr\u003e 'The quickest and surest way to develop a sense of directing is to understand the principles of human instinct.'\u003cbr\u003e\u003cbr\u003e This book is a psychology-based directing guide that guides you along that path. \u003cbr\u003e\n\n\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\n\n\u003c\/div\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003cdiv style=\"width:95%;padding-top:20px;padding-bottom:20px\"\u003e\n\n\u003cdiv style=\"text-align:left;font-size:16px;font-weight:bold;padding-bottom:20px\"\u003e GOODS SPECIFICS \u003c\/div\u003e\n\n\u003cdiv style=\"text-align:left;font-size:14px;line-height:1.6em;\"\u003e\n\n\u003cdiv style=\"width:100%;margin-bottom:5px;line-height:1.6em;font-size:14px\"\u003e - \u003cstrong\u003eDate of issue:\u003c\/strong\u003e November 14, 2025\u003c\/div\u003e\n\n\u003cdiv style=\"width:100%;margin-bottom:5px;line-height:1.6em;font-size:14px\"\u003e - \u003cstrong\u003ePage count, weight, size:\u003c\/strong\u003e 328 pages | 596g | 152*225*20mm\u003c\/div\u003e\n\n\u003cdiv style=\"width:100%;margin-bottom:5px;line-height:1.6em;font-size:14px\"\u003e - \u003cstrong\u003eISBN13:\u003c\/strong\u003e 9791199063921\u003c\/div\u003e\n\n\u003cdiv style=\"width:100%;margin-bottom:5px;line-height:1.6em;font-size:14px\"\u003e - \u003cstrong\u003eISBN10:\u003c\/strong\u003e 1199063924 \u003c\/div\u003e\n\n\n\u003c\/div\u003e\n\n\n\u003c\/div\u003e\n\n\n\u003c\/div\u003e\n\n\u003ccenter\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003cspan\u003e\u003c\/span\u003e\n\n\u003c\/center\u003e\n\n\n\u003c\/center\u003e","brand":"LIBRAIRIE COREENNE","offers":[{"title":"Default Title","offer_id":43894882238506,"sku":"129520","price":29.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0683\/2750\/5962\/files\/cba4087def9826a9e6ab86ecc8f20157.jpg?v=1765450218","url":"https:\/\/librairie.coreenne.fr\/en\/products\/129520","provider":"LIBRAIRIE COREENNE","version":"1.0","type":"link"}