{"id":229,"date":"2019-01-21T16:18:16","date_gmt":"2019-01-21T16:18:16","guid":{"rendered":"http:\/\/mycours.es\/ems\/?page_id=229"},"modified":"2022-04-14T13:40:42","modified_gmt":"2022-04-14T13:40:42","slug":"composition-and-lighting","status":"publish","type":"page","link":"http:\/\/mycours.es\/ems\/composition-and-lighting\/","title":{"rendered":"Composition, camera movements, lighting"},"content":{"rendered":"

Most of the \u201crules\u201d of cinematography and direction operate at a subconscious level, making the film flow smoothly, making it easy to interpret, and facilitating the suspension of disbelief.<\/span><\/p>\n

You can break these rules but you need to have a reason. You should be deliberate, or you may encourage unwanted interpretations, or immediately mark your work as non-professional (which is ok only if you want it to be read as such).<\/span><\/p>\n

Framing and composition<\/span><\/h1>\n

Types of camera shot<\/span><\/h3>\n

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Defined in relationship to the human figure. The abbreviations are used in screenplays.\u00a0More examples here<\/a><\/p>\n

Rule of thirds<\/span><\/h3>\n

The most well known rule of composition, used in most visual arts that use rectangular frames.<\/p>\n

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\nExceptions:<\/strong><\/span>
\n<\/span>Kubrick and 1 point perspective:
\n<\/span>https:\/\/vimeo.com\/89302848<\/span><\/a><\/p>\n

Wes Anderson and symmetry:
\n<\/span>https:\/\/vimeo.com\/48425421<\/span><\/a><\/p>\n

Is central framing just pretty and stylish? No:<\/span>
\n<\/span>http:\/\/neiloseman.com\/9-uses-for-central-framing\/<\/span><\/a><\/p>\n

Mr. Robot and quadrant framing:
\n<\/span>https:\/\/www.youtube.com\/watch?time_continue=148&v=DNplQBbxjbw<\/span><\/a><\/p>\n

Leading lines and perspective lines<\/span><\/h3>\n

Create depth, guide the gaze, anticipate the movements<\/p>\n

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Head Room and Lead Room<\/h3>\n

Unless it’s a close up the head of your subject should not be chopped.
\nMake sure it’s not too close to the edge.
\nToo much head room can convey a sense of isolation and oppressiveness.<\/p>\n

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Lead or Nose room: leave room in front of your subject rather than behind. Especially in the direction they are moving.<\/p>\n

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Color and Contrast<\/span>
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Make sure your main subject doesn’t blend with the background both in terms of color value and contrast<\/p>\n

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Frame within the frame<\/span><\/h3>\n

Frames appearing organically in the scene inherently attract attention, you may as well use them.<\/p>\n

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Obsessively used in Anderson’s Grand Budapest Hotel
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Yasujiro Ozu using architecture as framing<\/p>\n