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Camera Composition and Framing
1. 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.
20. When you plan your storyboards
and shooting scripts be sure to
reference the types of framing and
shooting shots you plan to use.
21. 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.
23. The Rule of Thirds
Without the use of the Rule of Thirds With the use of the Rule of Thirds
24. 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.
25. 180 Degree Rule
or 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
26. • ESSENTIAL AREA - important information should be
framed within the center 80% of the frame, also known as the
title safe portion of the frame.
Everything
within the
light grey
rectangle is
the essential
area.
27. • 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.
28. • 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
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Too much headroom, a common mistake.
QuickTime™ and a
decompressor Not enough headroom, another common mistake.
are needed to see this picture.
Good composition, the subjects eyes are one-third
of the distance down from the top of the frame,
following the Rule of Thirds.
31. Forced Perspective
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32. Remember perspective can change the
mood within a scene.
Much of Stanley Kubrick’s film The
Shining was filmed from the
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perspective of a child’s height, or
used low angle shots. This shift in
perspective is naturally unsettling to
viewer.
34. Lighting can also change mood
within a scene.
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Kenneth Anger’s Fireworks
The harsh lighting makes the figures seem even more
foreboding.
35. 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.
36. For shots with little or no movement
within the frame:
You should begin with
a traditional three
point lighting setup.
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37. QuickTime™ a
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White Balance
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38. Timecode:
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Notas del editor
As with all mediums concerning visual art, composition is crucial to the success of a video work. With video, however, composition can be a bit more complex because we are capturing time, movement in progress. The camera is a myopic lens, it’s field of vision is limited and it has no peripheral vision. Think about effective ways (bullet point 1)
The guideline of the Rule of Thirds proposes that an image should be imagined as divided into nine equal parts by two equally-spaced horizontal lines and two equally-spaced vertical lines, and that important compositional elements should be placed along these lines or their intersections. aligning a subject with these points creates more tension, energy and interest in the composition than simply centering the subject would.
For moving images, the action of zooming in to fill the frame with the subject requires the simultaneous tilting up of the camera, shown by the red lines, to maintain the correct amount of headroom. Conversely, zooming out requires tilting down.
Three point lighting can be used for shots with movement as well but lighting becomes more complex with movement. It is important to create a setup which will light your scene in such a way that the key elements will be lit the way you want them to be no matter how the element or camera moves. Read paper: