camera composition and framing
Post on 17-Jun-2015
1.786 Views
Preview:
TRANSCRIPT
In Camera Composition & Framing
• Think about effective ways to capture what lies beyond the camera’s view. This includes panning, tilting, tracking, and zooming.
• Remember to be sensitive to in-camera composition since re-framing a shot in FCP is very difficult because the image quality, along with the proceeding and following shots will be compromised.
• Superb editing skills in FCP cannot save bad footage.
• TAKE TIME PLANNING SHOTS• Looking through the lens to make adjustments to framing and what lies within the frame can make all the difference between a well composed and poorly composed shot.
Types of Shots in Relation to
FRAMING
Long Shot
From Maya Deren’s At Land
QuickTime™ and a decompressor
are needed to see this picture.
Full shot
QuickTime™ and a decompressor
are needed to see this picture.
From Terrence Malick’s Tree of Life
Medium Full Shot
From Dziga Vertov’s Man with a Movie Camera
QuickTime™ and a decompressor
are needed to see this picture.
Medium Shot
From Mathew Barney’s Creamaster 4
QuickTime™ and a decompressor
are needed to see this picture.
Medium Close Shot
From Mathew Barney’s Creamaster 3
QuickTime™ and a decompressor
are needed to see this picture.
Close Shot
From Maya Deren’s Meshes of the Afternoon
QuickTime™ and a decompressor
are needed to see this picture.
Close Up
From Maya Deren’s Meshes of the Afternoon
QuickTime™ and a decompressor
are needed to see this picture.
Medium Close Up
From Maya Deren’s Meshes of the Afternoon
QuickTime™ and a decompressor
are needed to see this picture.
Extreme Close Up
From Dziga Vertov’s Man with a Movie Camera
QuickTime™ and a decompressor
are needed to see this picture.
Types of Shots in Relation to
SHOOTING
Establishing Shot
From Maya Deren’s Meshes of the Afternoon
QuickTime™ and a decompressor
are needed to see this picture.
Master Shot
From Miranda July’s You me and Everyone we Know
QuickTime™ and a decompressor
are needed to see this picture.
Reaction Shot
From Alfred Hitchcock’s Psycho
QuickTime™ and a decompressor
are needed to see this picture.
Reverse Shot
From Miranda July’s You me and Everyone we Know
QuickTime™ and a decompressor
are needed to see this picture.
Two Shot
From Maya Deren’s Meshes of the Afternoon
QuickTime™ and a decompressor
are needed to see this picture.
Three Shot
From Maya Deren’s At Land
QuickTime™ and a decompressor
are needed to see this picture.
When you plan your storyboards and
shooting scripts be sure to reference the types of framing and shooting shots you
plan to use.
Shooting Tips• USE A VARIETY OF SHOTS TO CREATE DYNAMIC PACING.• Tripods are awesome. Handheld camera work should be avoided if possible, unless you are deliberately looking for the “handheld look”.• REMEMBER FORM AND CONTENT IMPACT ONE ANOTHER.• It’s better to zoom in and out when you are composing a shot, before recording begins. If you do need to zoom while you are recoding, BE SURE TO USE THE REMOTE to avoid camera shake.• If a subject moves in and out of the frame or if you are in low light levels, you may want to switch off auto focus and focus manually.
RULES OF COMPOSTION
The Rule of Thirds
Without the use of the Rule
of Thirds With the use of the Rule of Thirds
The Rule of Thirds:• discourages central placement of the subject, thus creating a more dynamic image.
• prevents a horizon line dividing an image in half.
• when filming, align the figure with one of the vertical lines with figure’s eyes aligned with a horizontal line. When the subject moves, the majority of the extra room should be in front of the person.
180 Degree Ruleor The Axis of Action
Deals with the orientation of two subjects within a frame and creates consistency between shots.
An imaginary line connects the subjects, this line is called the axis. When you keep the camera on side of the axis throughout a scene, the characters will be consistently positioned on the right and left. Thus helping the viewer understand the spatial relations within a scene.
http://www.viddler.com/v/8a6af804
Everything within the light grey rectangle is the essential area.
• ESSENTIAL AREA - important information should be framed within the center 80% of the frame, also known as the title safe portion of the frame.
• LOOK SPACE - space within the frame in the direction the subject is looking.
If your subject is looking in one direction, it is best to place them on the opposite side of the frame. By doing this, you are giving the subject space to look into. This will also draw the viewer into the image.
• WALK SPACE - space within the frame in the direction the subject is walking.
• HEADROOM - the space between the top of a subject and the edge of the fame. The eyelevel of the subject should be no less than one third from the top of the frame unless the subject of the frame is the mouth or nose (or an extreme close up)
QuickTime™ and a decompressor
are needed to see this picture.Too much headroom, a common mistake.
QuickTime™ and a decompressor
are needed to see this picture.Not enough headroom, another common mistake.
Good composition, the subjects eyes are one-third of the distance down from the top of the frame, following the Rule of Thirds.
High Angle ShotOr Bird’s Eye View
Low Angle Shot
Forced Perspective
QuickTime™ and a decompressor
are needed to see this picture.
Remember perspective can change the mood within a scene.
QuickTime™ and a decompressor
are needed to see this picture.
Much of Stanley Kubrick’s film The Shining was filmed from the perspective of a child’s height, or used low angle shots. This shift in perspective is naturally unsettling to viewer.
L I G H T I N G
Lighting can also change mood within a scene.
QuickTime™ and a decompressor
are needed to see this picture.
Kenneth Anger’s Fireworks
The harsh lighting makes the figures seem even more foreboding.
Shooting outdoors:
-You will be at the mercy of natural light, which alone can be quite amazing! - Remember to shoot all shots within a scene in a short period of time so that the natural lighting does not shift too much.- If you are shooting at night, you may need to employ artificial lighting. Night mode is graining low quality footage.
For shots with little or no movement within the frame:
QuickTime™ and a decompressor
are needed to see this picture.
You should begin with a traditional three point lighting setup.
White Balance
QuickTime™ and a decompressor
are needed to see this picture.
QuickTime™ and a decompressor
are needed to see this picture.
QuickTime™ and a decompressor
are needed to see this picture.
QuickTime™ and a decompressor
are needed to see this picture.
Timecode:
QuickTime™ and a decompressor
are needed to see this picture.
top related