Composition
In this module, we’ll learn how to compose Shots – a skill that allows filmmakers to create meaningful and aesthetically pleasing images. Mastery of Shot composition dramatically impacts how the viewer feels about and relates to the subjects and their story.
Video Transcript:
When I’m shooting a Scene, in this case of two people playing cards, I’m constantly making decisions about where to position the camera. These choices affect both the composition and the Point of View (POV) of the Shots. While I briefly introduced Point of View (POV) in the shooting demo of someone reading, we’ll now explore its impact more thoroughly.
Shots recorded from positions like this, outside the subjects’ line of view, create an “objective” or “observational” Point of View (POV). We’re looking at the subjects, observing their activities like a spectator.
In contrast, the cameraperson can shoot from a “subjective” or “character’s” Point of View (POV), allowing the viewer to feel more like a participant in the Scene – or at least like a privileged insider. It’s standard practice to shoot both subjective and objective Points of View (POVs) and to purposefully combine them in the edit.
Each time the cameraperson selects a shooting position, they must also decide how high to set the camera in relation to the subjects’ eyes. This is called the “Angle of View (AOV).” And don’t forget to check the level of the camera every time you move the tripod. This assures that your compositions are not crooked.
In these Shots the camera is set at the same height as the subjects’ eyes. This Angle of View (AOV) is called “Eyeline.” It places the viewer at eye level with the subjects – replicating the way we communicate most comfortably. Shooting on Eyeline is another technique that positions the viewer to feel like they are with the subjects, rather than looking at them.
Shots that look down at the subject are called High Angle (HA). When a High Angle (HA) Shot is from outside the subject’s Point of View (POV), the perspective accentuates the viewer’s feeling of being separate from the subjects’ world, and looking at them.
When a High Angle (HA) Shot is used to convey the subject’s Point of View (POV), the camera is positioned close to the subjects and from a height that replicates their downward view of the cards. The viewer feels like they’re seeing the action from the subject’s perspective.
Low Angle (LA) Shots are used to replicate the view of one subject looking up at another. They’re also used to create a sense of discomfort.
Subtle use of Angle of View (AOV) can influence the viewer’s perception of the subjects. Here, a slight Low Angle (LA) view looking up at the subject, empowers them, while a slight High Angle (HA) view, looking down, can make the subject feel weaker. In this way, understated camerawork can effectively convey subtext.
As you practice your shooting, pay careful attention to the impact of the first two decisions you make about every Shot – the Point and Angle of View (POV and AOV).
The third decision is about how to compose each Shot, which is also the third command in our mantra: Focus, Expose, Compose and Hold.
This mantra is a simplified reminder of the steps involved in shooting each Shot. In practice, the order of these steps may vary depending on the shooting situation. For instance, we often have to make basic compositional decisions, like selecting the Point and Angle of View (POV and AOV), before focusing and exposing. Nonetheless, our final step before we press record – and hold our Shot – is to finalize all aspects of our composition – Focus , Expose, Compose and Hold.
Video Transcript:
Let’s continue our discussion of composition with framing. I’ve decided on the position and height of the camera and now I need to determine what each Shot should include or exclude.
My framing shouldn’t arbitrarily cut through the subjects. For example, as I compose this Full Shot (FS) I shouldn’t allow the frame to cut across the subject’s head and feet. When framed correctly the subject is fully included in the frame. My framing shouldn’t cut through the activity of the Scene, in this case the playing of cards. The hands and cards should either be fully in the frame as in these Medium Shots (MS) or completely out of the frame as in these Medium Close Shots (MCS).
Too little space around your subjects can make them feel constrained, while too much space can make them appear diminished. Aim for enough space around your subjects so that they feel comfortable and well balanced in the frame.
This assumes that the subjects are at ease in the story. If they aren’t, then use the appropriate compositional choices to accentuate the desired feeling.
Another principle of framing is called “Headroom,” which refers to the amount of space at the top of the frame. Too much Headroom or too little Headroom makes the Shot feel awkward.
The Rule of Thirds is a guide for positioning subjects in the frame. This principle of design divides the frame into horizontal and vertical thirds. Rather than centering the subjects, position them toward the outer third to create a more dynamic composition.
If the subject is looking to the left, position them toward the right vertical line; if they’re looking right, place them near the left line. This placement is known as providing “Lead Room,” which allows the subject to gaze and move into the story space of the composition.
Placing them on the other side removes the Lead Room, causing the inactive story space behind them to dominate the frame.
For the horizontal thirds, aligning the subject’s eyes with the upper third of the frame strengthens the composition. If the eyes are too high, the subject feels compressed; if too low, it feels like they need to be pushed up into the frame.
As we compose our Shots, we also must think about the three planes of the image, defined as the foreground, midground and background.
While film is a two dimensional medium, our goal is to use visual techniques that emphasize the third dimension. In most Scenes, like this one, the action occurs in the midground, while the foreground and background inform us about the character of the space.
One technique for adding depth to the composition is to include foreground elements, like this table and chair. Without these foreground elements, the Shot appears flatter. Be careful, however, not to overwhelm the composition with elements in the foreground. The background should have depth, but activity in that plane should not distract the viewer from the primary action.
Another way to enhance depth is by using diagonals. Positioning the camera so that objects like the table and wall are diagonal to the frame, emphasizes the feeling of the space receding into the background. This feeling of depth is reduced when the subjects and objects are positioned parallel to the frame.
As you develop your skills as a cameraperson, focus on the precision of each composition to maximize your audience’s engagement. Learn the rules of composition, but remember that you can bend or break these rules when it serves your story’s intentions. What’s most important is that your compositional choices remain consistent throughout your shoot.