Chapter 6: Composition

Chapter 6 covered the basics of framing a shot, otherwise known as composition.  A camera can only film a section of a given set, so many considerations must be taken in order to establish the message a scene is supposed to convey.  In many -- if not all -- ways, composition is identical with artistic traditions of contrast and balance.

Notes:
2 ways to view a film; passive and active
- passive - just watches
- active - analyzes it

The Frame
- a cropping device used to break up a scene into digestible pieces

Considerations for "the frame"
positive/negative space
- equally important

depth
- overlap - foreground/background give depth
- focus - depth of focus helps in emphasis
- scale - forced perspective increase scale

symmetry
- angle of reflection - around an axis
- radial symmetry - around a point
- asymmetry - no symmetry (duh)

balance
- the "weight" of objects in the frame
- play with size, scale, value, and color

series
- repetition of an object
- the viewer looks for the oddball

randomness
- most difficult to look natural
- skillful blocking is the key

lines, shapes
- lines give direction
- shapes form interest within the frame

texture
- makes scenes more realistic and interesting

contrast
- dark=far; light=near

Cinema verite'
- handheld shots
- framing is not as important

Summary of Chapter 5: The Extended Frame

Sometimes a storyboard panel is not enough to convey a scene, especially one that takes place over time, or include special camera movement.  This is where the extended frame comes in.  An extended frame is an extension of the rectangular storyboard frame that contains camera information, such as zooms, dolly, pans, etc.

Although a regular storyboard would suffice, extended frames in a storyboard help in expediting the storyboard process by combining two or more frames into one.

Following the explanation of extended frames, an interview with VP of Platinum Studios explains the process of planning out a project, and how storyboard style can often have direct influence over a film production, as was the case with Men In Black.

The chapter ends with an anecdote of a request by an TV producer for a quick-and-dirty storyboard sequence.  TV productions rarely use storyboards, due to time constraints.  However, this particular sequence had an extremely tight schedule, and the set designers required a shot setup so they wouldn't waste time on building props that wouldn't appear in the final shots.

Summary of Chapter 4: The Aspect Ratio

While the 4:3 ratio was widely accepted for filmmaking, it was not the standard.  Many differing technologies and aspect ratios were used, depending on the filmmaker's desires.  New technologies, such as adding sound, took precious real estate from the viewing screen.  The Academy of Motion Picture Arts and Sciences, in an effort to standardize the film industry, created the "Academy Standard" of 1.33 or 4:3.

Still, new technologies and new dramatic effects pushed the aspect ratio beyond the 4:3 aspect ratio.  Several "standard" aspect ratios emerged as a result:

1.33:1 - TV or computer screen
on paper, 3"x4"

1.66:1 - 16mm film (European Projection)
on paper, 3"x5"

1.85:1 - American Projection
on paper, 3"x5.5"

2.35:1 - Widescreen Super 35
on paper, 3"x7"

1.78:1 - High Definition (16:9)

1.43:1 - IMAX