In this activity, you will review the terms and concepts described in your workbook and respond to the reading questions.
In film, the word composition refers to the elemental makeup of each frame. It can be used as an umbrella term for many components that we will be reviewing in your workbook. Similarly, the word aesthetic is an umbrella term that can generally refer to the way something looks and/or what underlying principles were applied to execute a particular look.
Every frame of a film has a composition — that is, it has subjects, objects, a foreground, and a background that are presented in a particular way. Every frame also has aesthetic qualities that are used to create the overall aesthetic for the entire film. All of these qualities exist within a shot — that is, they are captured by a filmmaker at a particular point and from a particular angle. We will dive into all of this and more in the assigned workbook pages.
By the end of this assignment, you will be able to identify and understand foundational concepts of the filmmaking practice.
Review pages 2-23.
3. Write your responses to the following reading questions in the submission field below. Your answers should be 3-5 sentences each:
- Describe one term that you had never heard of before encountering it in the reading. Explain what you learned.
- Describe one term you were already familiar with before the reading. Explain if you learned anything new about it or if you have any further information to share that wasn’t covered in the reading.
- Explain your biggest takeaway from the reading and how it will apply to your work in this class.
1.4 Reading — Composition, Aesthetic, Shots, & Angles
MCM 230: Digital Audio & Video Production
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Composition & Aesthetic
In film, the word composition refers to the elemental makeup of each frame. It can be used as an umbrella term for many components that we will be reviewing in the following slides.
Similarly, the word aesthetic is an umbrella term that can generally refer to the way something looks and/or what underlying principles were applied to execute a particular look.
Every frame of a film has a composition — that is, it has subjects, objects, and a foreground and a background that are presented in a particular way. Every frame also has aesthetic qualities used to create the overall aesthetic for the entire film.
Review the example on the next slide and notice the specific style of the frame.
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MCM 230 — ASSIGNMENT 1.4 — READING
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Frame taken from The Grand Budapest Hotel (2014), directed by Wes Anderson.
Think about the style of this frame and any words that come to mind to describe it. Review it again after you’ve finished reading the slide deck. How has your description changed?
MCM 230 — ASSIGNMENT 1.4 — READING
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Composition & Aesthetic
Key Terms
Rule of Thirds
Simplification
Filling the Frame
Framing
Color
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Your quiz will cover each of these terms. Carefully read the definitions on the following slides. All quiz questions will come directly from the slides.
Contrast
Leading Lines
Balance
Depth
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Rule of Thirds
The Rule of Thirds refers to the process of dividing up your shot evenly following an imaginary grid. This grid divides the frame into three sections vertically and horizontally.
Following the Rule of Thirds will help you create balanced and visually appealing shots.
Review the example on the next slide and notice how the subjects and background fit within the grid.
MCM 230 — ASSIGNMENT 1.4 — READING
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Rule of Thirds: Example
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Simplification
Simplification is just what it sounds like: the process of simplifying a set so that only necessary elements are in the shot.
Unless the narrative calls for it, you generally don’t want to distract a viewer from the main action of a shot.
Limit props, set dressing, actors, and other elements to only what you need. Avoid cluttering a shot.
Review the example on the next slide and notice how isolated the person looks.
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Simplification
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Filling the Frame
If you want to draw the viewer’s attention to a specific person or item in a shot, you can do so by filling the frame with that person or item.
This can be done using a close-up shot or a zoom in.
The person or item that you want to focus on should take up most, if not all, of the frame.
Allowing a subject to dominate the shot can create the effect of signaling power or heightening the emotion of a scene.
Review the example on the next slide and notice how the closeness of the subject makes you feel.
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Filling the Frame
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Framing
Every shot exists within a frame — meaning it has boundaries that constrict and limit the movement of subjects on four sides. You can think of it like a picture frame hung up on the wall: the picture cannot exceed the limits of the frame’s edges.
When you arrange subjects within a frame — whether they are people or objects — you are doing something called framing.
Framing allows you to create your composition and think about the space that your subjects can reasonably take up. Look at whatever is in front of you and hold your fingers up to create a box in front of your eye. Whatever is in the box will be in your shot, but anything outside of the box will not be.
Review the example on the next slide and notice how some of the car is out of frame.
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Framing
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Color
Color can be used for setting the visual mood or tone. Bright colors can suggest a happy tone while desaturated colors suggest a somber tone.
Color can also be used to establish a time period. Adding a black and white filter to your shot can suggest that something happened in the past. Muted colors may signal a flashback.
You can alter the colors of a shot to better fit your vision using Adobe Premiere or other editing software through a process called color correction.
Review the example on the next slide and notice how the colors make you feel.
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Color
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Contrast
Contrast refers to the tonal range of colors in an image or shot.
When determining the contrast of your shot, look first at the brightest area of the frame and pick out the color within it that is closest to white. Next, look at the darkest area and pick out the color that is closest to black. Those two colors represent the end points of the image’s tonal range.
If both colors are similar, or close in tonal range, the image has Low Contrast.
If the colors are very distinct, or there is a wide tonal range, the image has High Contrast.
Review the example on the next slide and notice how dark the boat looks compared to the water.
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Contrast
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Leading Lines
Leading lines draw a viewer’s eye to a specific part of a frame. Leading lines can lead you to a certain subject or pinpoint a place.
This is a great trick to use if you want your viewer to notice something within the shot without stating it directly.
You may also create the effect of leading lines by panning your camera toward a specific spot or subject.
Review the example on the next slide and notice how the lines on the wall direct your eye from the person to the window.
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Leading Lines
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Balance
Balance refers to the distribution of subjects or objects in your frame. You can think of this like weight distribution on a scale.
Balance can either be symmetrical or asymmetrical.
Symmetrical Balance means that subjects and/or objects are distributed evenly throughout or on either side of the frame. This can look like two people having a conversation and standing opposite each other.
Asymmetrical Balance means that the subjects and/or objects are distributed more to one side of the frame. This can look like someone standing to the far right or left in a frame with nothing of equal size on the other side.
Review the example on the next slide and notice how the boxes on the left balance out the person.
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Balance
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Depth
Depth is the range of distance in which a subject appears in focus.
At a certain point, objects in your frame appear fuzzy or blurry. You can use this to visually signal to your viewer what they should be looking at.
Review the example on the next slide and notice that even though the person is right in front, the train car catches your eye more.
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Depth
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Shots & Angles
All of the qualities described on the previous slides exist within a shot — that is, they are captured by a filmmaker at a particular point and from a particular angle. We will dive into all of this and more in the assigned workbook pages.
Read the following guide and watch the embedded videos for a deeper dive into different types of shots and how they are used:
studiobinder.com/blog/ultimate-guide-to-camera-shots/
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