SineBuano.com

SineBuano continues its discussion on the craft of cinematography with the rules and techniques that assures good framing and composition that would appeal to viewers’ visual sense and sensibility.

Only after you master the basic tools of a medium (like visual arts) and are able to go beyond these basics to express your ideas in original and artistic methods then your work can become praiseworthy  -  even exemplary.

The Heart of the Cinematographer’s Art

Form versus Content. A scene can be well-exposed, in crystal clear focus, have ideal color balance and well-lit; all the qualities of a scene shot in “good form” but the same scene could still be empty of emotional meaning and impact. In other words, the scene could be void of meaningful content.

When a scene in a production bears emotional impact: the scene is striking, dramatic or humorous then we tend to overlook minor technical weaknesses.

This leads us  to consider “Content takes precedence over form” yet form also matters a lot too.

In fact, when the form of a scene is prepared to appear solid and strong, it can bear the content to a higher level for greater impact to an audience.

Enhancing the Message. A major role for production tools is to enhance, amplify, or explain the message meant to be conveyed through a particular scene. For example, music is a production tool when it enhances the atmosphere, tips us off to danger or sets the mood for romance.

Music and such similar tools and techniques must be used in perfecting the scene’s form to best present good emotional content. There is a saying in videography and film: Never just say it if you can show it.

Composition: Setting the Scene

Defining Composition. Composition can be defined as the orderly arrangement of elements in a scene which, when taken as a whole, conveys intent and meaning.

Film and video production use both static composition and dynamic composition.

Static composition covers the content of fixed images, such as paintings or still photos.

Dynamic composition takes into consideration the effect of time: moment-to-moment change. This change in time can be within a single shot (including camera and actor movement), or it can apply to the sequence of scenes created through editing.

The Not So Golden Rules in Camera Framing and Composition

Now that we know the reasons that guide a good cinematographer’s eye and hand in composing a scene worth shooting, let us become familiar with some of the “golden rules” that helped many in acquiring a shot that’s good in form and bear strong emotional content.

Though these have been called “Rules”, these are really “Guidelines” in camera framing. You can apply these “rules” or not, you have to take it at heart for composition is an art and not a science.

1) Clearly Establish Your Objectives

Before you decide to include any shot, be able to justify its purpose in the overall message or goal of the production.

“If in doubt, leave it out. ” When a certain element or elements in the scene does not sit well with your internal sense of rightness, unity and beauty then remove those elements from your scene’s frame. If you cannot be 100% justify the necessity of those elements in the scene, how can you expect to justify it to an audience?

Remember that content takes precedence over form, so strive to make it a primary objective in camera framing and composition to depicting emotional states.

You want to show something that an audience can respond to. People respond to emotions such as joy, sadness, solace and anger. If done right, your camera framing may lead your audience to reflect the emotional state you aim to convey, they might even experience it truly.

2) Strive for a Feeling of Unity

The concept of unity applies to such things as lighting, color, wardrobes, sets and settings. Following this can ensure that the “form” of your shot is pleasing or at least, sensible to the viewship of your audience.

3) Compose Around A Single Center of Interest

Think of each shot as a statement and for every statement, there must be a subject. Compose your shot around a single subject that an audience should be interested in.

This can be done in the following two ways:

A. Using Selective Focus where the surroundings are a blur and only a particular person or object is in sharp focus. This provides a contrast that catches your viewers’ attention to the subject in focus.

B. Human eyesight looks where there is Light. With a dim or shadowy background, you can compose around a single center of interest by directing a light on it.

4) Observe Proper Subject Placement

Composing a shot well can be achieved by moving the camera lens to properly place a subject in frame to improve or at least maintain an audience’s attention.

A. The Rule of Thirds - divide the shot frame as a grid of 3 by 3 boxes then place the subject or align several subjects in the shot on where the lines cross or the points of intersection as in the examples below.

Using the Rule of Thirds projects a sense of proportion, tension and energy, according to the rule’s supporters.

Breaking the Rule of the Third - of course there are always exceptions to the rule. Again, it’s really up to you when it’s best to apply the rule or not to apply the rule.

B. Beware of  Horizontal and Vertical Lines - Do not frame a shot like the example below.

Observe how those vertical lines made by those sail ropes stretched out from those masts make a confusing, thus unappealing, sight.

C. Leading the Subject - or in other terms, create a lead room which is the space in front and in the direction of stationary or moving subjects. When the human eye sights an image for the 1^st time, it expects to see a bit of space in front of the subject.

Let us take a look at the example below:

Here we see three pilgrims on a trek. The extra space allowed of the rightmost pilgrim implies direction as well as movement.

Without this visual padding, the pilgrims might appear impeded by a “wall” of the photo’s immediate edge. Such as below:

To Be Continued…

Prepared by DM Judilla from a discussion presented by JM Osabel. This article is part of an ongoing series of discussions on independent filmmaking based from the education and experiences of SineBuano and its members.