Cinematic Compositions Flashcards
Positive Negative
Figure/Ground - Balance
Usually a Stable Figure/Ground.
Through emphasizing the relationship between subject and environment, this shot helps audiences become attuned to the spaces around and between objects.
Figure/Ground - Balance
Shadows Reveal Shapes
A high contrast shadow of the subject must be at the top of Hierarchy. The subject’s shadow must reveal more of the subject’s form than the actual subject. Often times achieved by placing the subject out of frame, with the shadow cast into frame. Not always aerial view.
Focusing on a reverse projection of the subject, this shot adds a sense of sophistication through mystery.
In And Out Of Shadow
A Reversible or Ambiguous Figure/Ground. A focus on the subject’s level of readability within the composition. Objects connected in shadow tend to merge as one, while singular objects with parts out of shadow tend to separate apart.
By obscuring the division between subject and environment, this shot challenges audiences to rethink the objects they perceive—encouraging analysis.
Depth
An arrangement of similarly sized subjects, but at different distances from the camera. May include Selective Focus.
This shot uses camera proximity to create a hierarchy between similarly sized subjects—closer to the camera, the more important.
Interesting Division Of Space
A composition with divisions of space interesting enough to briefly detour audience attention away from subject and towards the environment. Subject could be in anything from a Close up to a Wide Shot. Composition could be symmetrical or asymmetrical.
This shot creates a dynamic balance between subject and environment by keeping hierarchy ambiguous.
Frame Within Frame
The subject must be graphically trapped on all sides. So long as the audience perceives that it is a frame, the frame can be made of multiple objects, at multiple depths.
This shot gives the subject a sense of inescapable confinement or exalted presence.
Interesting Framing
Similar to Frame Within Frame, but with a passage of escape leading to some edge of the composition. If the frame is made from a subject, the subject must appear environmental, so as not to be confused with Depth or Size Difference Reverse. Also not to be confused with Out Of Focus Foreground.
This shot creates a sense of confinement (or exalted presence) to the subject but with the possibility of escape.
Size Exaggeration
Effect achieved by Zooming in from a far distance towards multiple objects that are at different levels of depth (technique starts at 6:40). A very powerful zoom lens is required to achieve this effect. Size exaggeration usually occurs between two objects—whether two subjects, two environmental elements, or one of each.
This lens-effect gives the background object a sense of impending power over a foreground object.
Dimensions
A Very Wide Shot emphasizing Scale.
This shot emphasizes a powerless subject or magnificent environment.
Open Space
Not a typical Extreme Wide Shot or Very Wide Shot—must have a single overpowering area of open space that occupies at least four-fifths of the composition. Arranging environmental areas according to the widely used Rule Of Thirds will not constitute an Open Space composition.
While similar to Dimensions, the differentiating factor for this very wide shot is its ability to create a strong sense of isolation or freedom.
Changing Horizons
Transition between two shots that emphasize Open Space (or Dimensions) in different ways.
The juxtaposition between two consecutive environmental shots creates an opportunity to reinforce an idea by lingering on a moment between major story events—providing an opportunity to pause and reflect.
Size Difference Reverse
This shot uses camera proximity to reverse actual scale with artificial scale. The foreground subject must clearly appear graphically larger in the composition than the background subject. Not to be confused with Out Of Focus Foreground or Interesting Framing.
This shot shifts hierarchical importance onto what in reality is a smaller subject—the unimportant become important.
Size Difference Reverse Out Of Focus
Similar to Size Difference Reverse, but with a Selective Focus on the larger subject occupying the background—making the smaller subject in the foreground out of focus. Not to be confused with Out Of Focus Foreground or Interesting Framing.
This shot focuses on a (larger) subject made unimportant through artificial (scale) means.
Close Up–Cut Off
Neither a Close Up or an Extreme Close Up—but somewhere in-between. Considered by some as another type of American Shot.
By revealing more detail than in a general Close Up, this shot invites the audience to become more intimate with the subject.
Beauty Of Nature
Usually an Aspect Shot, which is a Close Up of some aspect in the environment. Sometimes an Aspect Shot of a prop, never an Aspect Shot of the subject. The purpose of this composition is to veer away from the story’s main subject and action, allowing time to modify story through emphasizing a specific mood. Beauty Of Nature is not limited to elements within nature—can be man-made or abstract.
Through revealing environmental details not seen in a wider composition, this shot is able to reinforce an idea despite not incorporating the story’s main subject.
Interesting Cutting
Cutting between shots that have extreme distance between them, and that both deal with the same subject. One of the shots, either a Wide Shot or Very Wide Shot, will prioritize the environment over the subject, while the other shot, somewhere between an Extreme Close Up to a Medium Shot, will prioritize only the subject.
The juxtaposition between two consecutive shots with very different camera proximities creates a forced dialogue between a subject and its environment.
Implied Direction
Can be achieved in a number of ways:
Counter directions or multiple reinforcing directions
Negative space in front or behind the subject.
The direction the subject is looking towards can also Imply Direction.
Leading lines, Converging lines, Perspective lines, or lines implied by a pattern or series of points that act as visual arrows.
This shot gives the composition a sense of flux, regardless of the subject’s state of motion.
Different Levels Depth
A Very Wide or Extreme Wide Shot that utilizes overlapping shapes. Sometimes accompanied by a high contrast foreground with soft background, or objects that diminish in size. The shot will create a Flattened Perspective, which compresses or reduces visual depth in a depth-driven composition. Converging lines or Perspective lines cannot be present.
This environmental shot creates a sense of crowded-vastness.
Motion Parallax
Different Moving Speed Depth. Each level of depth should have moving objects—either by objects moving on their own, or with a Parallax Scrolling effect, created when a camera is Booming, Tracking, Dollying while objects stay still. The shot will create a Flattened Perspective, which compresses or reduces visual depth in a depth-driven composition.
This shot uses lateral movement to bring attention to every level of depth within a composition.
Dramatic Down
Can be a High Angle Shot, but more dramatic as a Bird’s Eye View, or from a seemingly omnipotent vantage point—converging perspective lines help create drama. Perspective lines often act as a Radial Grid. Non-converging parallel lines are sometimes okay—so long as the dramatic effect is maintained.
Dramatizes the shot by making the subject appear weak or giving the audience a sense of omnipotence.
Dramatic Up
A Low Angle Shot that dramatizes subject. Though not required, a Worm’s Eye View is especially Dramatic. Converging perspective lines help create drama. Perspective lines often act as a Radial Grid. Non-converging parallel lines are sometimes okay—so long as the dramatic effect is maintained.
Dramatizes the shot by giving the subject a sense of omnipotence or making the audience feel weak.
Dutch Angle
A tilted camera, creating a dramatic angle. Usually includes a subject, but not required. While the resulting effect is similar to Diagonals, the execution is different.
This camera angle creates a sense of energy or instability to the subject and/or environment, regardless of the subject’s state of motion.
Diagonals
While the resulting effect is similar to Dutch Angle, the execution is different. Whether through emphasizing the natural diagonals that exist in a composition, or using ambiguous orientation to hide the fact that the camera is at a Dutch Angle. While a subject may be present, often times it is not a part of what makes up diagonals in the composition.
The focus on geometry in this shot creates a sense of energy or instability specific to the environment.
Still Patterns
Patterns built into the environment, some movement okay, so long as objects remain anchored to a localized area.
This shot creates a sense of structured complexity.
