Video Composition

Key principles of video composition

How contrast is used for emphasis

Techniques for creating depth in compositions

Objectives

Composition is the purposeful arrangement of the components of a visual image. ◦ The objects can be people, buildings, trees, etc. ◦ The objects can also be lines, shapes, brightness, or

color Composition is essential to video because it

not only makes things look good, but also helps images communicate with viewers more quickly, efficiently, and powerfully

Movies are life with the boring parts cut out. You can remove those boring parts

by managing video time

About Video Composition

Composition does the following: Organizes pictorial elements so that viewers

can quickly sort them out and identify them Adds emphasis to direct attention to the

most important elements on the screen. Creates an illusion of a third dimension

Composition is such a powerful communication tool that every video

maker needs to master its fundamentals in order to create visual organization, emphasis, and depth.

About Video Composition cont.

Composition organizes the elements within an image, to help viewers decode it

(decode: recognize elements, understand it’s meaning, and identify the relationship)

Organization in Composition

Composition is needed to help viewers decode each tool. They

are unable to organize screen images as easily

as in the real world

Composition follows the key principles of simplicity, order, and balance

1. Simplicity eliminates unnecessary objects from the image, so that the viewer has fewer things to identify.

2. Order arranges objects in the image3. Balance distributes the objects in a way

that gives equal visual “weight” to each section of the image.

Simplicity, Order, Balance

Simplicity, Order, Balance

Easier to decode because the number of tools has been reduced

Easier to decode because they are lined up neatly

Arranging the large hammer so it

balances the group of smaller tools makes it

stand out in the composition

Emphasis is any technique that attracts the viewer’s attention to one part of a composition

◦ Techniques for Emphasis: Position, Relationship, Significance, and Contrast

Emphasis in Composition

Position: Typically, the upper left quadrant attracts the eye first because that is where we begin reading ◦ Other cultures may differ◦ The upper left quadrant is found to be most

attractive, followed by upper right, then lower left, and lower right is least attractive

Image 5-3

Emphasis in Composition cont.

Relationship: By placing an object in relationship to other elements, the eye can be lead to the center of interest

Image 5-4

Emphasis in Composition cont.

Significance: Placing an object at a certain point simply to attract attention. ◦ Example: Using a celebrity. The audience’s eyes

go directly to the person they recognize

Image 5-5

Emphasis in Composition cont.

Contrast: Emphasizing one element in a picture by making it look different from the other elements. ◦ Example: Adjust the size, shape, brightness,

color, and focus.

Emphasis in Composition cont.

Contrasting Size◦ The bigger something is, the more it calls

attention to itself◦ Image 5-6

◦ Simple to create size: Place the object closer to the camera.

◦ Action is staged in the foreground (toward the camera), where the actors are the

largest

Emphasis in Composition cont.

Contrasting Shape◦ A different shape among a group of similar shapes

stands out◦ Image 5-7

Emphasis in Composition cont.

Contrasting Brightness◦ Light elements attract the eye more than dark

◦ Image 5-8

◦ Lighting emphasizes important elements through careful control of brightness

Emphasis in Composition cont.

Contrasting Color◦ The viewer’s eye is attracted to elements colored

differently from the other hues of the overall image.

◦ Image 5-9

Emphasis in Composition cont.

Contrasting Focus◦ The clarity or sharpness of the image. Sharp, well-detailed elements attract

attention away from soft, out-of-focus elements.

◦ Image 5-10

◦ Videographers set the focus on the elements they want to emphasize Sometimes the focus changes in the middle of a shot, to shift

attention from one element to another.

Emphasis in Composition cont.

Depth is accomplished by composition◦ Perspective accomplishes depth by altering

Size, Overlap, Convergence, Vertical Position, Sharpness, and Color Intensity

Depth in Composition

◦ Size: The closer object looks larger.

Depth in Composition cont.

◦ Overlap: one object will mask part of another if it is in front of it. An object that overlaps another looks closer

Depth in Composition cont.

◦ Convergence: parallel lines such as railroad tracks or the edges of roads seem to gradually come together as they recede into the distance.

Depth in Composition cont.

◦ Vertical Position: Objects that are higher in the frame look farther away

Depth in Composition cont.

◦ Sharpness: The farther away object actually are, the more indistinct they appear. Fine details are smaller and harder to distinguish, and distant objects are softened by the amount of air between them and the viewer (called atmospheric perspective)

Depth in Composition cont.

◦ Color Intensity: The farther away objects actually are, the paler it looks.

Image 5-16

Depth in Composition cont.

Once you understand composition, you gain control over your images. The frame will look better and will be more effective.

◦ Instinctively, you will begin to use the principles of simplicity, order, balance, emphasis, and contrast in your frames.

◦ Compositional Schemes will accompany these principles

Composing Video Images

Asymmetrical Balance: Visual elements are distributed less formally to give an impression of balance. ◦ It is important to distribute “weight” but not

always in a symmetrical way. ◦ Symmetrical balance is often static or dull

Compositional Schemes

Asymmetrical Balance

The church in the first frame is not very interesting. The church in the second frame looks smaller and is given emphasis by its contrasting brightness, color,

and position

Asymmetrical Balance

The composition is strongly asymmetrical with the archway and the bright sky leading the eye to the

subject. The eye is also drawn to the door as if someone may come out, due to the focus of light on

the door.

Asymmetrical Balance

The smaller, brighter subject on the right balanced by the dark mass of the column on the left.

The Rule of Thirds: tic-tac-toe grid that divides the frame into nine equal parts. ◦ The important elements should be aligned with

the LINES of the tic-tac-toe grid. ◦ It is not necessary to match all parts of the grid.

Image 5-20

Asymmetrical Balance

Image 5-21The Rule of Thirds

The most powerful way to attract the eye is through movement within the frame. This is accomplished through:◦ Emphasis◦ Leading Lines

Directing the Viewer’s Eye

Many compositions add emphasis using several techniques at once. ◦ This shows 2 compositions that lead the eye to

distinctive shapes Image 5-34

Directing the Viewer’s Eye: Emphasis

Many compositions add emphasis using several techniques at once. These use size, position, color, and shape

Image 5-35

Directing the Viewer’s Eye: Emphasis

Use images as lines to point to the important subject

Directing the Viewer’s Eye: Leading Lines

Create a third dimension by controlling depth:◦ Staging depth◦ Exploiting perspective◦ Framing the image◦ Working on the picture plane

Controlling the Third Dimension

Place subjects and camcorder to suggest depth in the frame.

◦ Image 5-38

Controlling the Third Dimension: Stage depth

The revised camera placement makes the left subject larger than the right one, the building windows diminish

in size, and the clapboard plank lines converge.

Place camcorder to suggest depth in the frame.

Controlling the Third Dimension: Stage depth

The first image suggests that the road continues for some distance because it curves around out of sight.

The second image places the large boulder in the left foreground and the subjects so far away that they

appear tiny.

Staging depth uses trick of perspective,

Controlling the Third Dimension: Exploit Perspective

Staging depth uses tricks of perspective

Controlling the Third Dimension: Exploit Perspective

To add extra depth to an image, it often helps to frame it with foreground elements◦ Most common devices are tree branches and

archways

Controlling the Third Dimension: Framing the Image

To add extra depth to an image, it often helps to frame it with foreground elements◦ An overpass or roofs

◦ Image 5-43

Controlling the Third Dimension: Framing the Image

To add extra depth to an image, it often helps to frame it with foreground elements◦ Windows

◦ Image 5-44

Controlling the Third Dimension: Framing the Image

Sometimes you may want your frame to avoid depth, instead it should look flat. ◦ Omit perspective tricks to accomplish this

◦ Image 5-45◦ Image 5-46

Controlling the Third Dimension: Working on the Picture Plane

Professional-looking camera moves should be planned so that they start and end with strong compositions◦ Panning and Tilting◦ The Moving Camera

When moving the camera, it is essential to rehearse the shot first.

Composition and Movement

Be conscious of the principles of composition

◦ Look back in your notes while storyboarding and filming to assure you are using the principles

After training yourself to use the principles, you will soon be able to plan videos naturally and instinctively

Plan, Plan, Plan…Practice Makes Perfect!