uni experience - visual syntax (part 01)
TRANSCRIPT
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Basic Visual SyntaxAnexerciseinbasicframingandcomposi2onal
rulesfornewfilmmakers
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SchoolofCrea2veArtsTownsville|Cairns
Contents
Anintroduc4ontoshotsizesandbasic
composi4ontechniques
ShotSizes&Framing Composi4onalRules CrossingtheLine FilmingExercise:TheConversa4on
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TheFrame
The frame func4ons as the basis of
composi4oninimageacquisi4on.
Theframedefinestheworldofthefilm
fromwhichthefilmisbeingviewed,be
it the darkened auditorium, loungeroomorbusshelter.
Unlikethepainterorphotographer,the
filmmaker does not conceive of the
framed composi4on as self sufficient
statements.
Infilmtheframesimageexistswithina
sequenceofframedimages.
VisualSyntaxNM3302|Townsville
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ShotSizes
TheFramedefinedbytheamountofsubject
maDerthatsincludedwithintheframeofthe
screen.
Inactualprac4ceshotsizesandcomposi4onal
rules may vary between directors andproduc4ons.
Theshotsizeisnotnecessarilydefinedbythe
distancebetween the cameraand the object
photographed,butratherthecroppingofthe
elements in the frame and the space that
surroundsthesubject.
VisualSyntaxNM3302|Townsville
TheSeventhSeal|Bergman|1957
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The Master / Establishing /Very Long Shot
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PunchDrunkLove(PTAnderson),Revolu4onStudios,2003.
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TheApartment(Wilder),MirischCorpora4on,1960
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Scarecrow(Brat),TerrestrialPictures,2008
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PassagetoIndia(Lean),EMIFilms,198
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Grindhouse(Taran4no),TheWeinsteinCompany,2007
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Ci=zenKane(Welles),RKO,191.
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Photograph(Unknown),2006
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The Mid Shot
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NapoleonDynamite(Hess),AccessFilms,200
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TheThirdMan(Reed)LondonFilms,199
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TheSeventhSeal(Bergman)SvenskFilmIndustries,1957
OntheWaterfront(Kazan)HorizonPictures,195
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MidnightCowboy(Slezinger)FlorinProduc4ons,1969
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The Close Shot / Close Up
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EmpireStrikesBack(Kershner)LucasfilmLTD,1979
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Cau=on&Lust(Lee)HaiShengFilmProduc4onCompany,2007
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2001:ASpaceOdyssey(Kubrick),WarnerBrosthers,1968
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STAGING
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MiseenScene
MiseenScenefromtheFrenchtheatricalterm,
placingonstage.
Inotherwords,howthevisualmaterialsarestaged,
framedandphotographed.
Nomaerwhattheconfinesofthestagemaybe,the
miseensceneisalwaysinthreedimensions:
theframeplane
thedepthplane
thegeographicplane
VisualSyntaxStaging
Bladerunner|Sco|198
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FramePlane
epth
Plane
Geographic
Plane
X
ZY
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VisualSyntaxStaging
PlanarStaging
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VisualSyntaxStaging
epthStaging
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VisualSyntaxStaging
epthStaging
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Narra2ve/StagedComposi2on
VisualSyntaxStaging
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THE RULE OF THIRDS
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TheRuleofThirds
Goodcomposi4onisrarelyachievedbyplacingthecentreofinterestinthegeometricalcentreofthepicture.
Placingthesubjectinthecentreoftheframedividesthepictureintoequalhalves,whichmakestheimageuninteres4ng.
Bydividingthepictureareaintothirds,bothver4callyandhorizontally,andloca4ngthecentreofinterestat
oneoftheintersec4onsoftheimaginarylines,youcanusuallycreateafeelingofbalancetothecomposi4on
VisualSyntaxComposi4onalRules
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3rd-Le
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3rd-Le
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HorizonLower3rd
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HorizonUpper3rd
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BALANCE
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Dynamic Symmetry
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Thecentreofinterestwhenappliedbytheruleof3rdsis
denotedbythecircles.
Abalanceofsymmetrycanbeachievedbydrawingalinefromonecorneroftheframe
toanopposingcorner;and
thendrawingasecondline
perpendiculartothefirsttoan
oppositecorner
Wherethesetwolinesintersectisgenerallythecentre
ofinterest.
Balance of SymetryNM3302 | Time Based Media (Video)
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Punch Drunk Love (PT Anderson), Revolution Studios, 2003.
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Punch Drunk Love (PT Anderson), Revolution Studios, 2003.
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Punch Drunk Love (PT Anderson), Revolution Studios, 2003.
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EXAMPLEThe Limits of Control
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Composi2onalRulesInAc2on
1. Ruleof3rds2. Framing3. Balance
VisualSyntaxComposi4onalRules
TheLimitsofControl(Jarmusch)FocusFeatures(2009)
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Composi2onalRulesInAc2on
1. Ruleof3rds2. Framing3. Balance
VisualSyntaxComposi4onalRules
TheLimitsofControl(Jarmusch)FocusFeatures(2009)
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Composi2onalRulesInAc2on
1. MiseenScene2. TheTwoShot3. TheLine
VisualSyntaxComposi4onalRules
TheLimitsofControl(Jarmusch)FocusFeatures(2009)
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CROSSING THE LINE
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Composi2onalRules
CrossingtheLine
VisualSyntaxComposi4onalRules
hp://eyefish.tv/dic4onary/crossing-line
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Composi2onalRules
EstablishingtheLine
The standard Two Shotframes the conversa4ons
v idual parameters and
establishestheline.
TheLimitsofControl(Jarmusch)FocusFeatures(2009)
VisualSyntaxCrossingtheLine
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Composi2onalRules
MaintainingtheLine
Right Mid-Shot in whichthe actor appears to be
looking off camera at the
otheractortohisright
TheLimitsofControl(Jarmusch)FocusFeatures(2009)
VisualSyntaxCrossingtheLine
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TheLimitsofControl(Jarmusch)FocusFeatures(2009)
Composi2onalRules
MaintainingtheLine
Le Mid-Shot in whichthe actor appears to be
lookingoffcameraatthe
otheractortoherle
VisualSyntaxCrossingtheLine
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Composi2onalRules
WhentheLineisCrossed
Bothactorsappeartobelookingoffcamerainthesamedirec2on
ratherthanateachother
VisualSyntaxCrossingtheLine
TheLimitsofControl(Jarmusch)FocusFeatures(2009)
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The Conversation
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evisea90SecondSceneTheprocess:1.Youwillbegivenaloca4on2.Useonlytwoperformers3.Maximum5ShotsShotSelec4on:
1. EstablishingShot2. TwoShot3. CoveragePersonA. CoveragePersonB5. ResolveThescenemustinclude:1.Areferencetotheloca2on2.Areferencetoeachcharactershistory3.Areferencetoeachcharactersemo2onalstate
VisualSyntaxExercise:TheConversa4on
ReservoirDogs(Taran4no)Miramax(1992)
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Loca2ons
Whenyouwalkedintotheclassroomyouweregivenachocolateeach.Mostlikelythe
contentsarenowlonggone
Youwereaskedtoholdontothewrapperbecausethissignifieswhichgroupyouwill
beinforthefollowingexercise.
Group01Group0
Group03
Group04Group05
VisualSyntaxExercise:TheConversa4on
Me
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Loca2ons
Eachteamwillbe
allocatedaloca4on
Pleasedonotstrayfrom
theseloca4ons
Pleasedonotdisturb
thoseloca4ons
VisualSyntaxExercise:TheConversa4on
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Loca2ons
Eachteamwillbe
allocatedaloca4on
Pleasedonotstrayfrom
theseloca4ons
Pleasedonotdisturb
thoseloca4ons
VisualSyntaxExercise:TheConversa4on
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Loca2ons
VisualSyntaxExercise:TheConversa4on
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Loca2ons
TheOutback
VisualSyntaxExercise:TheConversa4on
i l
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Loca2ons
TheWai2ngRoom
VisualSyntaxExercise:TheConversa4on
Vi l S
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Loca2ons
TheLaboratory
VisualSyntaxExercise:TheConversa4on
Vi l S
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Loca2ons
TheCollegeCampus
VisualSyntaxExercise:TheConversa4on
Vi l S t
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evisea90SecondSceneTheprocess:1.Youwillbegivenaloca4on2.Useonlytwoperformers3.Maximum5ShotsShotSelec4on:
1. EstablishingShot2. TwoShot3. CoveragePersonA. CoveragePersonB5. ResolveThescenemustinclude:1.Areferencetotheloca2on2.Areferencetoeachcharactershistory3.Areferencetoeachcharactersemo2onalstate
VisualSyntaxExercise:TheConversa4on
ReservoirDogs(Taran4no)Miramax(1992)
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FurtherReading
Monaco,J.(2006)Signs&SyntaxinHowtoReadFilm(3rd
Edi=on),NewYork:Oxford(172-211)
Gianne,L.(2007)MiseenScene inUnderstandingMovies(11th
Edi=on),NewJersey:Pearson(51-63)