1. Tone
and
Space
Cinematography
and
Visual
Language

2. Rule
of
Thirds

3. Tone
• Tone
refers
to
black
and
white
and
the
grey
scale.
The
gray
scale
contains
no
colour.
It
is
a
series
of
tonal
steps
from
black
to
white.
• Varia?ons
in
light
or
tone
are
the
means
by
which
we
op?cally
dis?nguish
the
complicated
visual
informa?on
in
the
environment.
In
other
words,
we
see
what
is
dark
because
it
overlaps
what
is
light,
and
vice
versa.

4. Tone,
Greyscale
and
the
Zone
System

5. Tonal
Separa?on
• Tonal
separa?on
deals
with
a
viewer’s
percep?on
of
depth
due
to
the
brightness
of
objects.
Usually
light
objects
appear
closer
and
darker
objects
appear
farther
away.
• Two
objects
of
iden?cal
size,
a
viewer
will
usually
see
the
brighter
object
as
closer
and
the
darker
object
as
farther
away.

6. Tonal
Separa?on

7. Colour
Separa?on
• Colour
can
be
used
as
a
depth
cue
by
classifying
them
into
warm
and
cool
groups.
The
warm
colours
are
red,
orange,
and
yellow,
while
the
cool
colours
are
blue
and
green.
• Warm
colours
usually
seem
closer
to
the
viewer
and
cool
colours
appear
farther
away.

8. Colour
Separa?on

9. Up/Down
Posi?on
• The
ver?cal
loca?on
of
objects
in
the
frame
affects
their
apparent
distance
from
the
viewer.
Objects
higher
in
the
frame
appear
farther
away,
and
objects
lower
in
the
frame
seem
closer.

10. Up/Down
Posi?on

11. Contrast
and
Affinity
• The
greater
the
contrast
in
a
visual
component,
the
more
the
visual
intensity
or
dynamic
increases.
The
greater
the
affinity
in
a
visual
component,
the
more
the
visual
intensity
or
dynamic
decreases.

12. Simply
stated
• Contrast=
Greater
Visual
Intensity
• Affinity
=
Less
Visual
Intensity

13. Affinity
of
Space

14. Affinity
of
space
• A
surface
division
divides
the
frame
in
half
and
both
halves
are
flat
space.
Although
the
frame
is
divided,
both
halves
are
spa?ally
similar,
crea?ng
an
affinity
of
space.
• Affinity
of
space
represented
in
these
two
shots
which
are
both
flat.

15. Flat
Space

16. Contrast
of
Space

17. Contrast
of
Space
• The
surface
division
separates
the
deep
and
flat
halves
of
the
picture.

18. Deep
Space

19. Four
Types
of
Space
• Deep
Space
• Flat
Space
• Limited
Space
• Ambiguous
Space

20. Flat
Space

21. Flat
Space
• Flat
space
is
not
an
illusion.
Flat
space
emphasises
the
two-­‐dimensional
quality
of
the
screen
surface.
•
The
walls
are
frontal,
and
there
are
no
longitudinal
planes
or
converging
lines.
Actors
are
staged
on
the
same
horizontal
plane,
they
are
the
same
size.

22. Deep
Space

23. Deep
Space
• Deep
space
gives
the
illusion
of
a
three
dimensional
picture
on
a
two-­‐dimensional
screen
surface.
There
are
several
longitudinal
planes,
one-­‐point
perspec?ve,
shape
change,
size
difference,
colour
separa?on,
tonal
separa?on,
up/down
posi?on.

24. Limited
Space

25. Limited
Space
• Limited
Space
the
depth
cues
in
the
shot
include
size
change,
up/down
posi?on
and
tonal
separa?on.
There
are
no
longitudinal
planes,
only
frontal
surfaces.

26. Ambiguous
Space

27. Ambiguous
Space
• The
lights
are
off
in
the
hall,
some
stray
light
illuminates
the
stairs,
and
the
two
actors
are
somewhere
in
the
dark.
The
picture
is
ambiguous
because
it’s
impossible
to
tell
the
actual
size
and
spa?al
rela?onship
in
the
shot.