newMediaImages IAT 202 2007

1. Class Instructor: Aaron LevisohnTeaching Assistant: James Chung Room: 3130 newMediaImagesIAT 202 2007

2. Composition What is composition ? Composition is creating a skeleton on which to ‘hang’ the individual elements of your work. Goal of composition? To create unity between elements. Goal of composition is to focus viewer attention (center of interest) and create a visual hierarchy (movement between elements). There are many ways of doing this. How you do it will depend upon how you want the composition to support Character and Meaning.

3. Still vs. Motion Picture Composition Still Image: May suggest motion but deals in “space” relationships (singular frame). Motion Picture Composition: A motion picture, on the other had, is composed in both space and time. For This lecture we are dealing with Single Frame (still Image) composition.

4. Still vs. Motion Picture Composition

5. Still vs. Motion Picture Composition The Principles (the how) • Balance • Contrast • Movement • Emphasis • Pattern • Proportion • Unity The Elements (the what) • Line • Shapes • Forms • Space • Color • Texture

6. Good Camera Work Begins with Composition Pitfalls: Hold viewer attention through movement – sometimes necessary but can be over used. Good: Thoughtful composition and purposeful movement.

7. Composition: An Approach • Center of Interest • Visual Hierarchy • Balance

8. Center of Interest Dominant Placement Placement: Each picture should have only one principal idea, topic, or center of interest to which the viewer's eyes are attracted. Subordinate elements within the picture must support and focus attention on the principal feature so it alone is emphasized.

9. The African Queen, cinematography Jack Cardiff

10. Center of Interest Creating Dominant Placement Isolation: is a kind of placement -- where something is put. An item that stands apart from its surroundings will be more noticeable. This is not likely to make an item be noticed first but can make one item stand out.

11. Center of Interest Contrast: Tonal, Colour, Light Contrast: addresses the notion of dynamic tension, the degree of conflict that exists within a given design between the visual elements in the composition.

12. Center of Interest Positioning the Center of Interest

13. Center of Interest Techniques to achieve and/or switch Center of Interest • Position • Lighting • Tonal values (contrast) • Colours • Selective focusing • Movement • Action • Sound

14. Colour contrast http://www.sfu.ca/~sclement/101/ blade runner.WMV Tonal contrast http://www.sfu.ca/~sclement/101/WingsOfDesire.WMV

15. Visual Hierarchy: Movement A still photographs freezes the Decisive Moment . It can only suggest motion. Still Photograph: Composed in Space Motion Picture: Composed in Space & Time

16. Visual Hierarchy: Movement Movement: Direction & Rhythm Movement: Movement in an image is made up of both Rhythm between the elements and the Direction in which the eye moves. In Motion Pictures movement may be both suggested and depicted.

17. Visual Hierarchy: Movement Significant Movement Good motion picture scenes are the result of thoughtful compositionsand significant movement. Undesirable Movement distracts from the primary action.

18. Still from Seven Samurai 1954 – Suggested Movement

19. Camera movement http://www.sfu.ca/~sclement/101/ReservourDogs.WMV Object movement http://www.sfu.ca/~sclement/101/SkyCaptain.WMV

20. Balance Balance: The arrangement of the objects in a given design as it relates to their visual weight within a composition. Balance usually comes in two forms: symmetrical and asymmetrical. Factors Affecting Balance: -Size, -Location -Isolation -Brightness -Color -Movement

21. Balance A balanced composition is sub-consciously agreeable. An unbalanced composition is unsettling or disturbing. Balanced Unbalanced

22. Balance Formal Balance: Approximate Symmetry Formal Balance: Formal or Symmetrical balance occurs when the weight of a composition is evenly distributed around a central vertical or horizontal axis. When symmetry occurs with similar, but not identical, forms it is called approximate symmetry.

23. Balance Informal Balance: Visual Weighting InformalBalance: Informal Balance is achieved when the elements within a composition are of differing weights, tones, colors, and placement. Balance is achieved by equalizing the force of the elements within the frame.

24. Balance

25. Mass The Pictorial weight of an Object Single Mass: An isolated object Unified Mass: A group of objects or figures in close proximity that combine into a dominant element. Characteristics of Mass: -Contrast -Color -Size -Lighting -Compactness

26. Mass Diane Arbus

27. Form Physical Forms:The shape of a physical object created by it contour lines. Abstract Forms:The shape created by the spatial arrangement of players and objects in relation to one another. Common Forms: -Triangle -Circle -Cross -Radiating Lines -L-Shaped

28. Form Fay Wray in The Most dangerous Game (1932)

29. Lines The most basic element of design Compositional Lines: Contour lines are created by the people, props, trees, architecture and other objects in a scene. Imaginary Lines: Transitional lines are created by the eye while watching objects and people moving around in space.

30. Lines

31. Unity Perfect integration of all cinematic elements in a scene. Technical, aesthetic, and psychological elements should be correlated in order to convey a unified emotional feeling.

32. Perspective The appearance of objects relative to one another based on their distance from the viewer. Linear Perspective: Produces a convergence of parallel lines Aerial Perspective: A gradual lightening and softening of distant outdoor objects, caused by intervening haze

33. Perspective How to increase the sense of Perspective • Choose camera angles that portray the greatest number of planes or facets of the subject. • Choose a combo of camera angle and lens focal length which produces the greatest linear convergence without distortion. • Partially overlap objects. • Place moving actors at varying distances from the camera. (Motion Parallax) • Move actors towards or away from the camera.

34. Composing in Depth Adds 3-Dimensionality to Your Compositions Place the camera in the midst of the setting rather than looking in from a distance. Place objects and figures at varying distances from the camera. Citizen Kane – Orson Welles

35. Backgrounds The Background should contribute to the authenticity of the story. Background should not overpower the actors Figures should not merge with the background

36. Eye Scan An ongoing activity done by viewers as they continually search a picture for meaning. Within Frame: Directing the user to a specific element within the frame Between Frames: Viewers make connections between adjacent frames.

37. Dynamic and Suspenseful Composition Dynamic Composition:Sudden appearance of a new element. Suspenseful Composition:A significant action is hidden, absent or prolonged by the manner in which it is staged.

38. Keep it Simple Keep your compositions clutter free Can any elements be removed without destroying the scenes effectiveness? Is the meaning of the frame easy to understand?