Guide to Basic Composition

Transcription

1 Guide to Basic Composition Begins with learning some basic principles. This is the foundation on which experience is built and only experience can perfect camera composition skills.

2 While learning to operate a camera is not complex, becoming a talented camera operator requires dedication and skill. Introduction Great camera operators: Know the basic rules of composition. Know the basic process of production methodology. Know the capabilities of their equipment.

3 Lines of Interest The rule of thirds divides the screen into thirds horizontally and vertically; like a tic-tac-toe grid placed over the picture on a television set. Almost all of the important information included in every shot is located at one of the four intersections of the horizontal and vertical lines. Studies have shown that the human eye is drawn to those four points of any picture first and not to the center of the screen, as is commonly assumed.

4 Rule of Thirds To follow the rule of thirds when shooting, the talent should be positioned so that their eyes are 1/3 of the way down from the top of the screen. The center of the tictac-toe box rarely contains the main subject or important object of the shot.

5 Either the main subject matter (objects or talent) in the picture provide action or movement, the camera moves to provide a moving shot, or both the camera and subject matter move. Action

6 Head Room The space from the top of a person s head to the top of the screen is called head room. This space should be kept to a minimum, unless something important is going to happen above the head of the talent.

7 Nose Room Nose room is the space from the tip of a person s nose to the side of the frame. Novice videographers often make errors in framing with respect to nose room. The natural tendency is to place the talent in the center of the screen with equal space on either side. This is acceptable only if the talent is facing the camera. The more the talent looks to the right or the left, the more room should be placed between their nose and that same edge of the screen.

8 If the talent is walking parallel to the camera, sufficient space should be placed in front of the person as they walk. If the scene is shot without enough nose room in this scenario, the talent appears to be pushing the frame of the picture with their nose as they walk. Additionally, if the person is moving laterally, the shot should be enlarged to at least a mid shot. Otherwise, the talent is likely to walk right out of camera view. Tracking Shot

9 Imagine a scene in a horror movie. One of the characters is about to be attacked by a vampire approaching from behind. It would be appropriate to leave space behind the talent in the frame so the vampire could enter the picture. Visualize This:

10 Visualize This: In a horror movie, however, any time space is left behind someone, the audience expects a monster to jump in behind the talent. To mislead the audience, place the space behind the talent in the frame and either: Make sure nothing happens from that direction, or Have action occur on the unexpected opposite side of the screen. Doing this once or twice is effective and increases the reaction of the audience. Using this technique more often reduces its effect and will be laughed at by the audience.

11 Subjective Camera (review) Subjective camera is a special hand-held camera technique. The camera itself becomes the eye of one cast member. The viewer sees the world through the eyes of that character. Examples of this technique include: A camera is mounted in a stunt driver s car. As the car is driven up and down hills at high speeds, the audience s stomachs lurch as if they were actually riding in that vehicle.

12 Subjective Camera (review) In a suspense film, the camera is positioned outside a house in the middle of the dark woods. We are looking through the branches of a bush into a window of the home. Our hand reaches up into the field of view of the camera and pushes away leaves on the bush to clear our view into the house.

13 Wide Shots Wide angle shot (WA) is generally considered to be the biggest shot a camera can capture of the subject matter. This shot includes a person s entire body from head to toe, and as much surrounding information as the camera can capture by dollying and zooming out. Overusing the extremely long shot can prove ineffective.

14 Establishing Shot (Wide Shot) An establishing shot is a very specific type of extreme long shot. The establishing shot is used to tell the audience where and when the program takes place. For example, if the opening shot is of a dusty town with dirt roads, cowboys riding horses, and a stagecoach approaching, the audience can assume that the program is set in the Old West. Directors periodically return to an establishing shot during a scene to reinforce the location and to prevent confusion.

15 Wide Shots A long shot (LS) captures a person from the top of the head to the bottom of the feet. Much less of the surrounding details are included, compared to the extreme long shot.

16 Individual Subject Shots A medium long shot (MLS) includes the top of a person s head to a line just above or just below the knee. Never frame a picture so that the edge of the picture cuts a joint of the human body (ankles, knees, waist, wrist, elbows, or neck). The person appears to have amputated body parts.

17 Individual Subject Shots The medium shot (MS) is also referred to as a mid shot. This shot captures a person from the top of the head to a line just above or below the belt or waistline.

18 Individual Subject Shots A medium close-up (MCU) frames a person from the top of the head to a line just below the chest. This is the type of shot usually seen of newscasters on daily news programs.

19 Individual Subject Shots A close-up (CU) shot is also known as a narrow angle shot. When shooting a person, this shot captures the top of the head to just below the shoulders. If the shoulders are not included, the resulting image is a disembodied head at the bottom of the screen.

20 Individual Subject Shots An extreme close-up (ECU) is a shot of a specific body part and this may be used, for example, in a makeup ad showing how mascara enhances the appearance of the eyes.

21 Specific View Shots A reaction shot captures one person s face reacting to what another person is saying or doing. This is a very powerful type of shot.

22 Specific View Shots A profile shot is considered to be a bad shot. The talent s face in profile appears completely flat on the screen and creates an unflattering picture.

23 Specific View Shots The over-the-shoulder (OSS) is an extremely common shot on any program. The backside of one person s head and top of their shoulder is in the foreground of the shot.

24 Over-the-Shoulder Shot A full-face shot of the other person in the conversation is in the background of the shot. One OSS is usually followed by another OSS from the other side of the conversation. It is a more interesting shot than just a close-up of each person speaking or listening.

25 Production Note: The television screen is flat. A videographer must arrange shots in a way that creates the illusion of three dimensions and depth when displayed on a flat screen. When framing an individual shot of an object, whether it s as small as a person or as large as a building, try to shoot it at an angle. For example, a straight-on shot of a person with their nose pointed at the camera lens appears very flat. Likewise, a profile shot also appears flat. If the shot is taken at an angle, somewhere between a profile and a straight-on shot, three dimensionality and depth are achieved. The most common shot is an angle that includes all of one side of the face and enough of the other side to see the cheekbone or eyebrow. When shooting a building, try to shoot it from a corner that includes two sides of the building instead of just one side.

26 Psychology of Presentation Some production techniques, if used properly, can actually cause the audience to physically feel something. A shot has the power to shape the viewers perception of someone or something without expressly verbalizing an opinion. An experienced and talented camera operator can influence an audience without the majority of individuals even realizing their opinion has been manipulated.

27 Psychology of Presentation A low angle shot is created by placing the camera anywhere from slightly to greatly below the eye level of the talent and pointing it upward. The talent appears to be above the audience. Tilting the camera up while shooting a character makes the audience feel respect for the character, as well as inferiority to the character and possibly even fear of the character.

28 Psychology of Presentation On the other hand, tilting the camera down causes the audience to feel superior to the character. The character is perceived as weak and insignificant. Shooting talent with the camera high in the air, pointing down at an angle is called a high angle shot.

29 Psychology of Presentation The greater the degree of tilting up or down heightens or lessens the degree of these emotions as felt by the audience. Making the audience feel inferior or superior only occurs with consistent use of low or high angle shots. Randomly using low or high angle shots on a character does not evoke the same emotions from the audience. If this technique is performed with extreme degrees of tilting, the entire effect is obvious to the point of being comedic. Always experiment before putting the final image on tape.

30 End