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Camera Composition and Framing

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  • 1. In Camera Composition & Framing Think about effective ways to capture what lies beyond the camerasview. 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 andwhat lies within the frame can make all the difference between awell composed and poorly composed shot.

2. Types of Shots in Relation toFRAMING 3. Long ShotQuickTime and adecompressorare needed to see this picture.From Maya Derens At Land 4. Full shotQuickTime and adecompressorare needed to see this picture.From Terrence Malicks Tree of Life 5. Medium Full Shot QuickTime and a decompressor are needed to see this picture.From Dziga Vertovs Man with a Movie Camera 6. Medium ShotQuickTime and adecompressorare needed to see this picture.From Mathew Barneys Creamaster 4 7. Medium Close Shot QuickTime and a decompressorare needed to see this picture.From Mathew Barneys Creamaster 3 8. Close ShotQuickTime and adecompressorare needed to see this picture. From Maya Derens Meshes of the Afternoon 9. Close UpQuickTime and adecompressorare needed to see this picture. From Maya Derens Meshes of the Afternoon 10. Medium Close UpQuickTime and adecompressorare needed to see this picture.From Maya Derens Meshes of the Afternoon 11. Extreme Close UpQuickTime and adecompressorare needed to see this picture.From Dziga Vertovs Man with a Movie Camera 12. Types of Shots in Relation toSHOOTING 13. Establishing ShotQuickTime and adecompressorare needed to see this picture.From Maya Derens Meshes of the Afternoon 14. Master ShotQuickTime and adecompressorare needed to see this picture.From Miranda Julys You me and Everyone we Know 15. Reaction Shot QuickTime and a decompressor are needed to see this picture.From Alfred Hitchcocks Psycho 16. Reverse ShotQuickTime and adecompressorare needed to see this picture.From Miranda Julys You me and Everyone we Know 17. Two Shot QuickTime and a decompressor are needed to see this picture.From Maya Derens Meshes of the Afternoon 18. Three ShotQuickTime and adecompressorare needed to see this picture. From Maya Derens At Land 19. Tracking Shot 20. When you plan your storyboardsand shooting scripts be sure toreference the types of framing andshooting shots you plan to use. 21. Shooting Tips USE A VARIETY OF SHOTS TO CREATEDYNAMIC PACING. Tripods are awesome. Handheld camera work should beavoided if possible, unless you are deliberately looking forthe handheld look. REMEMBER FORM AND CONTENT IMPACT ONEANOTHER. Its better to zoom in and out when you are composing ashot, before recording begins. If you do need to zoomwhile you are recoding, BE SURE TO USE THEREMOTE to avoid camera shake. If a subject moves in and out of the frame or if you are inlow light levels, you may want to switch off auto focus andfocus manually. 22. RULES OF COMPOSTION 23. The Rule of ThirdsWithout 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 inhalf. when filming, align the figure with one of thevertical lines with figures eyes aligned with ahorizontal line. When the subject moves, themajority of the extra room should be in front ofthe person. 25. 180 Degree Ruleor The Axis of ActionDeals with the orientation of twosubjects within a frame andcreates consistency betweenshots.An imaginary line connects thesubjects, this line is called theaxis. When you keep the cameraon side of the axis throughout ascene, the characters will beconsistently positioned on theright and left. Thus helping theviewer understand the spatialrelations within a scene.http://www.viddler.com/v/8a6af804 26. ESSENTIAL AREA - important information should beframed within the center 80% of the frame, also known as thetitle 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 thesubject is looking.If your subject is looking in onedirection, it is best to placethem on the opposite side ofthe frame. By doing this, youare giving the subject space tolook into. This will also drawthe viewer into the image. WALK SPACE - space within the frame in the direction thesubject 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 decompressorare needed to see this picture.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. 29. High Angle ShotOr Birds Eye View 30. Low Angle Shot 31. Forced Perspective QuickTime and a decompressor are needed to see this picture. 32. Remember perspective can change themood within a scene.Much of Stanley Kubricks film TheShining was filmed from theQuickTime and adecompressorare needed to see this picture.perspective of a childs height, orused low angle shots. This shift inperspective is naturally unsettling toviewer. 33. LIGHTING 34. Lighting can also change moodwithin a scene.QuickTime and adecompressorare needed to see this picture.Kenneth Angers FireworksThe harsh lighting makes the figures seem even moreforeboding. 35. Shooting outdoors:-You will be at the mercy of natural light, which alone canbe quite amazing!- Remember to shoot all shots within a scene in a shortperiod of time so that the natural lighting does not shift toomuch.- If you are shooting at night, you may need to employartificial lighting. Night mode is graining low qualityfootage. 36. For shots with little or no movementwithin the frame:You should begin witha traditional threepoint lighting setup.QuickTime and adecompressorare needed to see this picture. 37. QuickTime a decompresso are needed to see this pi White Balance QuickTime and a decompressor are needed to see this picture. QuickTime and a decompressor are needed to see this picture. QuickTime and a decompressorded to see this picture. 38. Timecode: QuickTime and a decompressor are needed to see this picture.

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