VISUALIZATION Also called composition it is the framing

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 Essential area All essential information must be contained in this area. Overscan area

Essential or Safe Areas

Long Shots vs. Close-ups

Long Shots vs. Close-ups

STV (NTSC) Aspect Ratio 3 units 4 units 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 Cinema. Scope, 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.

HDTV Aspect Ratio 3 units 16 units 4 units 9 units 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 Cinema. Scope aspect ratio is considerably wider than 16: 9.

Aspect Ratio: STV vs. HDTV

Matching STV & HDTV Aspect Ratios letterbox 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. pillarbox 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.

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 EXTREME CLOSE-UP (ECU) MEDIUM SHOT (MS) LONG SHOT (LS) CLOSE-UP (CU) 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.

` The cameras should not be more than 45 degrees from a head-on shot for a good close-up. Crossing camera angles camera 1 always on the left 45° 1 2 Optimum angles for close-ups camera 2 always on the right

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.

Screen Forces–Graphic Vectors Horizontal lines suggest calmness, and tranquility. Vertical lines invoke a sense of energy, instability, or excitement.

Screen Forces–Graphic Vectors Vertical vectors are usually stronger visual forces than horizontal 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 Symmetrical Balance Asymmetrical Balance

Symmetrical Balance

This is not a good shot. . . unless something is added to balance the frame

Symmetry and Balance Symmetrical Balance Asymmetrical 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 screenleft, you must leave room in the direction of the pointing to balance the picture.

Noseroom or Leadroom

Noseroom or Leadroom BAD without noseroom the person seems to be blocked by the screen edge, and the picture looks unbalanced BETTER BEST the more profile the person shows, the more space you must leave in front of the person to maintain proper balance

Noseroom or Leadroom

Equilibrium and Balance Stable Neutral Unstable

Unstable Equilibrium

Unstable equilibrium has high pictorial tension

Psychological Closure mentally 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 Nose Neck (Chin) Eyes Mouth Elbows Waist Knees Ankles

Avoid natural cutoff points

Concentrate on the upper part of the body

Framing for close-ups

Camera Position Normal camera position is at eye level High camera position: looking down Low camera position: looking up

Closure—group subjects in familiar geometric patterns

Closure— familiar geometric patterns Geometric patterns add interest and often represent leading lines.

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. . . x-axis y-axis z-axis and utilize z-axis staging. z-axis

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 z-axis camera

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

Z-Axis Staging . . . while z-axis staging introduces the impression of depth.

Motion Leadroom Lead the subject Don’t trail him

Camera Moves Cant Tilt up Tilt down Crane or boom up Pan left Pan right Pedestal up Arc right Pedestal down Crane or boom down Truck right Tongue right Dolly out Arc left Dolly in Truck left 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, When viewed on the you can still see the home receiver, the complete title, although it information that lies comes close to the edges. 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 letterbox 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. pillarbox 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.

Aspect Ratio: STV vs. HDTV

Shooting for Multiple Aspect Ratios

Shooting for Multiple Aspect Ratios

Screen Clutter letterbox pillarbox 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 letterbox pillarbox 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.