VISUALIZATION

Also called composition, it is the framing of a single shot

Cropping, Essential Area, and Aspect Ratio Balance, Symmetry, and Equilibrium Depth and the Z-axis Psychological Closure Movement Graphics

Cropping & Essential Areas

All essential informationmust be contained in

this area.

Essential area

Overscan area

Essential or Safe Areas

Long Shots vs. Close-ups

Long Shots vs. Close-ups

STV (NTSC) Aspect Ratio

The aspect ratio is the width-to-height proportion of the picture.

The 4:3 ratio was consistent with motion pictures that predated the wide screen aspect ratios used in CinemaScope, Vista-Vision and Panavision films

Although the number of scanning lines may have varied, all of the television systems had the same 4:3 aspect ratio.

4 units

3 units

HDTV Aspect Ratio

16 units

HDTV uses a 16:9 aspect ratio, which is a multiple of the 4:3 ratio.

The most commonly used wide-screen movie format is slightly larger than 16:9 (although the difference is insignificant).

However, at 2.35:1 the CinemaScope aspect ratio is considerably wider than 16:9.

16 units

4 units

3 units

9 units

Aspect Ratio: STV vs. HDTV

Matching STV & HDTV Aspect Ratios

Making the entire frame of a wide-screen movie fit into the 4 x 3 aspect ratio of STV results in empty screen space at the top and bottom of the screen.

When showing a standard 4 x 3 television picture on the 16 x 9 screen, there are empty dead zones, or side bars, on both sides of the screen.

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STV & HDTV Aspect Ratios

STV & HDTV Aspect Ratios

STV & HDTV Aspect Ratios

Shooting for Multiple Aspect Ratios

Shooting for Multiple Aspect Ratios

Field of View

LONG SHOT(LS)

MEDIUM SHOT(MS)

CLOSE-UP(CU)

EXTREME CLOSE-UP(ECU)

EXTREME LONG SHOT(ELS)

Television pictures are two-dimensional

You must create the

impression of depth.

Television pictures are moving pictures

You must consider the effects of motion.

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The cameras should not be more than 45 degrees from a head-on shot for a good close-up.

Optimum angles for close-ups

45°45°

camera 1 always on the left

camera 2 always on the right

Crossing camera angles

1

2

Screen Forces–Frame Edge

Screen Forces–Frame Edge

Screen Forces–Headroom

Screen Forces–Headroom

Screen Forces–Headroom

The longer the shot, the more headroom it should have.

Screen Forces–Graphic Vectors

Graphic vectors suggest a direction through lines or a series of objects that form a line.

Vertical lines invoke a sense of energy, instability, or excitement.

Screen Forces–Graphic Vectors

Horizontal lines suggest calmness, and tranquility.

Vertical vectors are usually stronger visual forces than horizontal vectors.

Screen Forces–Graphic Vectors

Screen Forces–Index Vectors

Index vectors point unquestionably in a specific direction.

Screen Forces–Motion Vectors

Motion vectors are created by an object or a screen image in motion.

Stage subjects for the most pleasing shot

Two prime objects can divide composition.

An odd number of prime objects (one, three, or five) is generally better.

Balance

is the relative structural stability of the various picture elements (objects or events)

balance can be symmetrical or asymmetrical balance can be stable (little pictorial

tension), neutral (some tension), or unstable (high pictorial tension)

one picture element does not outweigh the other, either in mass, color, or movement.

Symmetry and Balance

Asymmetrical Balance

Symmetrical Balance

Symmetrical Balance

This is not a good shot...

...unless something is added to balance the frame

Symmetry and Balance

Asymmetrical Balance

Symmetrical Balance

Asymmetrical Balance

Asymmetrical Balance

Asymmetrical Balance and the Rule of Thirds

If major pictorial elements are placed at the points where the lines intersect, the result is a more pleasing balance than if perfect symmetry is achieved.

Equilibrium and Balance

Stable Neutral Unstable

Stable Equilibrium

Stable equilibrium has little pictorial tension

Equilibrium and Balance

Stable Neutral Unstable

Neutral Equilibrium

When somebody looks, points, or moves in a particular direction other than straight into the camera, you must leave some space in that direction.

Stable Neutral

Neutral Equilibrium

When someone points to screen-right or screen-left, you must leave room in the direction of the pointing to balance the picture.

Noseroom or Leadroom

Noseroom or Leadroom

without noseroom the person seems to be blocked by the screen edge, and the picture looks unbalanced

the more profile the person shows, the more space you must leave in front of the person to maintain proper balance

BAD BETTER BEST

Noseroom or Leadroom

Equilibrium and Balance

Stable Neutral Unstable

Unstable Equilibrium

Unstable equilibrium has high pictorial tension

Psychological Closure

Psychological Closurementally filling in spaces of an incomplete picture

Psychological Closure

Psychological Closure

Psychological Closure

Facilitating Closure Beyond The Frame

In this shot we perceive the whole figure of the person and her guitar although we see only part of them. This shot gives us sufficient clues to project the figure beyond the frame and apply psychological closure in the off-screen space.

Avoid natural cutoff points

Avoid natural cutoff points

Waist

Neck (Chin)Nose

Elbows

EyesMouth

Knees

Ankles

Avoid natural cutoff points

Concentrate on the upper part of the body

Framing for close-ups

Camera Position

High camera position:looking down

Low camera position:looking up

Normal camera position is at eye level

Closure—group subjects in familiar geometric patterns

Geometric patterns add interest and often represent leading lines.

Closure—familiar geometric patterns

Closure—familiar geometric patterns

Patterns are interesting and pleasing to look at. Ideally, they should also set the scene and supply a visual context for the story.

Closure Isn’t Always Positive–Illogical Closure

Closure Isn’t Always Positive–Illogical Closure

This ad appeared in the Arkansas Democrat-Gazette.

The unfortunate photographic illusion was quickly noticed (look at the bike seat) and action was taken to correct the advertisement, but not before the image made it to the news stand. They should have used a bike seat that was not tan in color!

This was also featured on the Tonight Show with Jay Leno.

Closure Isn’t Always Positive–Illogical Closure

Closure Isn’t Always Positive–Illogical Closure

Background

Depth

Use a strong foreground and distinctive middle and background...

z-axisz-axis

x-axis

y-axis

and utilize z-axis staging.

Depth Staging

The over-the-shoulder shot is more dynamic, interesting, and aesthetically pleasing than the flat two-shot.

By shooting the person from an angle, a more vigorous effect can be achieved than with a formal head-on flat shot.

Depth Staging

Include a prominent foreground piece in your shot to separate the foreground, middleground, and background.

Z-Axis Staging

camera

z-axis

Lateral staging along the x-axis is two-dimensional and flat...

Z-Axis Staging

Z-Axis Staging

...while z-axis staging introduces the impression of depth.

Motion Leadroom

Don’t trail himLead the subject

Camera Moves

Tilt up

Tilt down

Pan right Pan left

Truck right

Arc right

Truck left

Arc left

Dolly in

Dolly out

Pedestal up

Pedestal down

Cant

Crane or boom up

Crane or boom down

Tongue right

Tongue left

Camera Movement

In general, the viewer should not be aware of camera movement

It should unobtrusive, transparent to the viewer

Television Graphics

Title Beyond Essential Area

On the preview monitor, you can still see the complete title, although it comes close to the edges.

When viewed on the home receiver, the information that lies outside the essential area is lost.

Out-of-Aspect-Ratio Graphic

When trying to frame this out-of-aspect-ratio graphic in its entirety, most of the information becomes difficult to read if not totally illegible.

When you try to get a closer shot, all information outside the aspect ratio is lost.

Aspect Ratio Problem

Normal writing on a whiteboard can present a typical aspect ratio problem. The camera cannot show a close-up of a message that spans the full width of the whiteboard.

Proper Use of Aspect Ratio

If the whiteboard is divided into proper aspect ratio fields, the camera can see the entire message even in a close-up.

Matching STV & HDTV Aspect Ratios

Making the entire frame of a wide-screen movie fit into the 4 x 3 aspect ratio of STV results in empty screen space at the top and bottom of the screen.

When showing a standard 4 x 3 television picture on the 16 x 9 screen, there are empty dead zones, or side bars, on both sides of the screen.

letterbox pillarbox

Aspect Ratio: STV vs. HDTV

Shooting for Multiple Aspect Ratios

Shooting for Multiple Aspect Ratios

Screen Clutter

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This screen has so much unrelated information that it is difficult to make sense of it amid the visual clutter.

Proper Structure of Multiple Screen Elements

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This arrangement of these multiple screens and information areas makes it relatively easy to seek out the desired information.

Block Organization of Titles

When titles are arranged in blocks, related information is graphically organized for easy perception.

Scattered Titles

When titles are scattered, the information is difficult to read.

Bold Letters Over a Busy Background

This title reads well despite the busy background. The letters are bold and differ sufficiently in brightness from the background.

High-Energy Colors

The energy of color is determined by its saturation. High-energy colors are highly saturated hues, usually at the red and yellow end of the spectrum. They are especially effective when set against a low-energy background.

Low-Energy Colors

Low-energy colors are desaturated hues. Most pastel colors are low-energy.