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VISUALIZATION
Also called composition, it is the framing of a single shot
Cropping, Essential Area, and Aspect Ratio Balance, Symmetry, and Equilibrium Depth and the Z-axis Psychological Closure Movement Graphics
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Cropping & Essential Areas
All essential informationmust be contained in
this area.
Essential area
Overscan area
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Essential or Safe Areas
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Long Shots vs. Close-ups
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Long Shots vs. Close-ups
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STV (NTSC) Aspect Ratio
The aspect ratio is the width-to-height proportion of the picture.
The 4:3 ratio was consistent with motion pictures that predated the wide screen aspect ratios used in CinemaScope, Vista-Vision and Panavision films
Although the number of scanning lines may have varied, all of the television systems had the same 4:3 aspect ratio.
4 units
3 units
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HDTV Aspect Ratio
16 units
HDTV uses a 16:9 aspect ratio, which is a multiple of the 4:3 ratio.
The most commonly used wide-screen movie format is slightly larger than 16:9 (although the difference is insignificant).
However, at 2.35:1 the CinemaScope aspect ratio is considerably wider than 16:9.
16 units
4 units
3 units
9 units
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Aspect Ratio: STV vs. HDTV
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Matching STV & HDTV Aspect Ratios
Making the entire frame of a wide-screen movie fit into the 4 x 3 aspect ratio of STV results in empty screen space at the top and bottom of the screen.
When showing a standard 4 x 3 television picture on the 16 x 9 screen, there are empty dead zones, or side bars, on both sides of the screen.
letterbox pillarbox
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STV & HDTV Aspect Ratios
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STV & HDTV Aspect Ratios
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STV & HDTV Aspect Ratios
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Shooting for Multiple Aspect Ratios
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Shooting for Multiple Aspect Ratios
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Field of View
LONG SHOT(LS)
MEDIUM SHOT(MS)
CLOSE-UP(CU)
EXTREME CLOSE-UP(ECU)
EXTREME LONG SHOT(ELS)
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Television pictures are two-dimensional
You must create the
impression of depth.
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Television pictures are moving pictures
You must consider the effects of motion.
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`
The cameras should not be more than 45 degrees from a head-on shot for a good close-up.
Optimum angles for close-ups
45°45°
camera 1 always on the left
camera 2 always on the right
Crossing camera angles
1
2
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Screen Forces–Frame Edge
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Screen Forces–Frame Edge
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Screen Forces–Headroom
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Screen Forces–Headroom
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Screen Forces–Headroom
The longer the shot, the more headroom it should have.
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Screen Forces–Graphic Vectors
Graphic vectors suggest a direction through lines or a series of objects that form a line.
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Vertical lines invoke a sense of energy, instability, or excitement.
Screen Forces–Graphic Vectors
Horizontal lines suggest calmness, and tranquility.
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Vertical vectors are usually stronger visual forces than horizontal vectors.
Screen Forces–Graphic Vectors
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Screen Forces–Index Vectors
Index vectors point unquestionably in a specific direction.
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Screen Forces–Motion Vectors
Motion vectors are created by an object or a screen image in motion.
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Stage subjects for the most pleasing shot
Two prime objects can divide composition.
An odd number of prime objects (one, three, or five) is generally better.
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Balance
is the relative structural stability of the various picture elements (objects or events)
balance can be symmetrical or asymmetrical balance can be stable (little pictorial
tension), neutral (some tension), or unstable (high pictorial tension)
one picture element does not outweigh the other, either in mass, color, or movement.
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Symmetry and Balance
Asymmetrical Balance
Symmetrical Balance
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Symmetrical Balance
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This is not a good shot...
...unless something is added to balance the frame
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Symmetry and Balance
Asymmetrical Balance
Symmetrical Balance
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Asymmetrical Balance
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Asymmetrical Balance
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Asymmetrical Balance and the Rule of Thirds
If major pictorial elements are placed at the points where the lines intersect, the result is a more pleasing balance than if perfect symmetry is achieved.
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Equilibrium and Balance
Stable Neutral Unstable
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Stable Equilibrium
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Stable equilibrium has little pictorial tension
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Equilibrium and Balance
Stable Neutral Unstable
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Neutral Equilibrium
When somebody looks, points, or moves in a particular direction other than straight into the camera, you must leave some space in that direction.
Stable Neutral
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Neutral Equilibrium
When someone points to screen-right or screen-left, you must leave room in the direction of the pointing to balance the picture.
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Noseroom or Leadroom
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Noseroom or Leadroom
without noseroom the person seems to be blocked by the screen edge, and the picture looks unbalanced
the more profile the person shows, the more space you must leave in front of the person to maintain proper balance
BAD BETTER BEST
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Noseroom or Leadroom
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Equilibrium and Balance
Stable Neutral Unstable
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Unstable Equilibrium
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Unstable equilibrium has high pictorial tension
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Psychological Closure
Psychological Closurementally filling in spaces of an incomplete picture
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Psychological Closure
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Psychological Closure
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Psychological Closure
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Facilitating Closure Beyond The Frame
In this shot we perceive the whole figure of the person and her guitar although we see only part of them. This shot gives us sufficient clues to project the figure beyond the frame and apply psychological closure in the off-screen space.
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Avoid natural cutoff points
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Avoid natural cutoff points
Waist
Neck (Chin)Nose
Elbows
EyesMouth
Knees
Ankles
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Avoid natural cutoff points
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Concentrate on the upper part of the body
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Framing for close-ups
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Camera Position
High camera position:looking down
Low camera position:looking up
Normal camera position is at eye level
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Closure—group subjects in familiar geometric patterns
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Geometric patterns add interest and often represent leading lines.
Closure—familiar geometric patterns
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Closure—familiar geometric patterns
Patterns are interesting and pleasing to look at. Ideally, they should also set the scene and supply a visual context for the story.
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Closure Isn’t Always Positive–Illogical Closure
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Closure Isn’t Always Positive–Illogical Closure
This ad appeared in the Arkansas Democrat-Gazette.
The unfortunate photographic illusion was quickly noticed (look at the bike seat) and action was taken to correct the advertisement, but not before the image made it to the news stand. They should have used a bike seat that was not tan in color!
This was also featured on the Tonight Show with Jay Leno.
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Closure Isn’t Always Positive–Illogical Closure
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Closure Isn’t Always Positive–Illogical Closure
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Background
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Depth
Use a strong foreground and distinctive middle and background...
z-axisz-axis
x-axis
y-axis
and utilize z-axis staging.
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Depth Staging
The over-the-shoulder shot is more dynamic, interesting, and aesthetically pleasing than the flat two-shot.
By shooting the person from an angle, a more vigorous effect can be achieved than with a formal head-on flat shot.
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Depth Staging
Include a prominent foreground piece in your shot to separate the foreground, middleground, and background.
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Z-Axis Staging
camera
z-axis
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Lateral staging along the x-axis is two-dimensional and flat...
Z-Axis Staging
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Z-Axis Staging
...while z-axis staging introduces the impression of depth.
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Motion Leadroom
Don’t trail himLead the subject
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Camera Moves
Tilt up
Tilt down
Pan right Pan left
Truck right
Arc right
Truck left
Arc left
Dolly in
Dolly out
Pedestal up
Pedestal down
Cant
Crane or boom up
Crane or boom down
Tongue right
Tongue left
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Camera Movement
In general, the viewer should not be aware of camera movement
It should unobtrusive, transparent to the viewer
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Television Graphics
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Title Beyond Essential Area
On the preview monitor, you can still see the complete title, although it comes close to the edges.
When viewed on the home receiver, the information that lies outside the essential area is lost.
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Out-of-Aspect-Ratio Graphic
When trying to frame this out-of-aspect-ratio graphic in its entirety, most of the information becomes difficult to read if not totally illegible.
When you try to get a closer shot, all information outside the aspect ratio is lost.
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Aspect Ratio Problem
Normal writing on a whiteboard can present a typical aspect ratio problem. The camera cannot show a close-up of a message that spans the full width of the whiteboard.
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Proper Use of Aspect Ratio
If the whiteboard is divided into proper aspect ratio fields, the camera can see the entire message even in a close-up.
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Matching STV & HDTV Aspect Ratios
Making the entire frame of a wide-screen movie fit into the 4 x 3 aspect ratio of STV results in empty screen space at the top and bottom of the screen.
When showing a standard 4 x 3 television picture on the 16 x 9 screen, there are empty dead zones, or side bars, on both sides of the screen.
letterbox pillarbox
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Aspect Ratio: STV vs. HDTV
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Shooting for Multiple Aspect Ratios
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Shooting for Multiple Aspect Ratios
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Screen Clutter
letterbox pillarbox
This screen has so much unrelated information that it is difficult to make sense of it amid the visual clutter.
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Proper Structure of Multiple Screen Elements
letterbox pillarbox
This arrangement of these multiple screens and information areas makes it relatively easy to seek out the desired information.
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Block Organization of Titles
When titles are arranged in blocks, related information is graphically organized for easy perception.
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Scattered Titles
When titles are scattered, the information is difficult to read.
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Bold Letters Over a Busy Background
This title reads well despite the busy background. The letters are bold and differ sufficiently in brightness from the background.
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High-Energy Colors
The energy of color is determined by its saturation. High-energy colors are highly saturated hues, usually at the red and yellow end of the spectrum. They are especially effective when set against a low-energy background.
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Low-Energy Colors
Low-energy colors are desaturated hues. Most pastel colors are low-energy.