1. VISUALIZATION  Also called composition, it is the framing of a single shot  Cropping, Essential Area, and Aspect Ratio  Balance, Symmetry, and Equilibrium  Depth and the Z-axis  Psychological Closure  Movement  Graphics

2. Cropping & Essential Areas All essential information must be contained in this area. Essential area Overscan area

3. Essential or Safe Areas

4. Long Shots vs. Close-ups

6. STV (NTSC) Aspect Ratio The aspect ratio is the width-to-height proportion of the picture. The 4:3 ratio was consistent with motion pictures that predated the wide screen aspect ratios used in CinemaScope, Vista-Vision and Panavision films Although the number of scanning lines may have varied, all of the television systems had the same 4:3 aspect ratio. 4 units 3 units

7. HDTV Aspect Ratio 16 units HDTV uses a 16:9 aspect ratio, which is a multiple of the 4:3 ratio. The most commonly used wide-screen movie format is slightly larger than 16:9 (although the difference is insignificant). However, at 2.35:1 the CinemaScope aspect ratio is considerably wider than 16:9. 16 units 4 units 3 units 9 units

8. Aspect Ratio: STV vs. HDTV

9. Matching STV & HDTV Aspect Ratios Making the entire frame of a wide-screen movie fit into the 4 x 3 aspect ratio of STV results in empty screen space at the top and bottom of the screen. When showing a standard 4 x 3 television picture on the 16 x 9 screen, there are empty dead zones, or side bars, on both sides of the screen. letterboxpillarbox

10. STV & HDTV Aspect Ratios

13. Shooting for Multiple Aspect Ratios

15. Converting wide-screen formats shoot and protect letterbox squeezed pan and scan

16. Field of View LONG SHOT (LS) MEDIUM SHOT (MS) CLOSE-UP (CU) EXTREME CLOSE-UP (ECU) EXTREME LONG SHOT (ELS)

17. Television pictures are two-dimensional You must create the impression of depth.

18. Television pictures are moving pictures You must consider the effects of motion.

19. ` The cameras should not be more than 45 degrees from a head-on shot for a good close- up. Optimum angles for close-ups 45° camera 1 always on the left camera 2 always on the right Crossing camera angles 1 2

20. Screen Forces–Frame Edge

22. Screen Forces–Headroom

24. The longer the shot, the more headroom it should have.

25. Screen Forces–Graphic Vectors Graphic vectors suggest a direction through lines or a series of objects that form a line.

26. Vertical lines invoke a sense of energy, instability, or excitement. Screen Forces–Graphic Vectors Horizontal lines suggest calmness, and tranquility.

27. Vertical vectors are usually stronger visual forces than horizontal vectors. Screen Forces–Graphic Vectors

28. Screen Forces–Index Vectors Index vectors point unquestionably in a specific direction.

29. Screen Forces–Motion Vectors Motion vectors are created by an object or a screen image in motion.

30. Stage subjects for the most pleasing shot Two prime objects can divide composition. An odd number of prime objects (one, three, or five) is generally better.

31. Balance  is the relative structural stability of the various picture elements (objects or events)  balance can be symmetrical or asymmetrical  balance can be stable (little pictorial tension), neutral (some tension), or unstable (high pictorial tension)  one picture element does not outweigh the other, either in mass, color, or movement.

32. Symmetry and Balance Asymmetrical Balance Symmetrical Balance

34. This is not a good shot......unless something is added to balance the frame

35. Symmetry and Balance Asymmetrical Balance Symmetrical Balance

36. Asymmetrical Balance

38. Asymmetrical Balance and the Rule of Thirds If major pictorial elements are placed at the points where the lines intersect, the result is a more pleasing balance than if perfect symmetry is achieved.

39. Equilibrium and Balance StableNeutralUnstable

40. Stable Equilibrium

41. Stable equilibrium has little pictorial tension

42. Equilibrium and Balance StableNeutralUnstable

43. Neutral Equilibrium When somebody looks, points, or moves in a particular direction other than straight into the camera, you must leave some space in that direction. Stable Neutral

44. Neutral Equilibrium When someone points to screen-right or screen-left, you must leave room in the direction of the pointing to balance the picture.

45. Noseroom or Leadroom

46. without noseroom the person seems to be blocked by the screen edge, and the picture looks unbalanced the more profile the person shows, the more space you must leave in front of the person to maintain proper balance BADBETTERBEST

47. Noseroom or Leadroom

48. Equilibrium and Balance StableNeutralUnstable

49. Unstable Equilibrium

50. Unstable equilibrium has high pictorial tension

51. Psychological Closure mentally filling in spaces of an incomplete picture

52. Psychological Closure

55. Facilitating Closure Beyond The Frame In this shot we perceive the whole figure of the person and her guitar although we see only part of them. This shot gives us sufficient clues to project the figure beyond the frame and apply psychological closure in the off-screen space.

56. Avoid natural cutoff points

57. Waist Neck (Chin) Nose Elbows Eyes Mouth Knees Ankles

58. Avoid natural cutoff points

59. Concentrate on the upper part of the body

60. Framing for close-ups

61. Camera Position High camera position: looking down Low camera position: looking up Normal camera position is at eye level

62. Closure — group subjects in familiar geometric patterns

63. Geometric patterns add interest and often represent leading lines. Closure— familiar geometric patterns

64. Patterns are interesting and pleasing to look at. Ideally, they should also set the scene and supply a visual context for the story.

65. Closure Isn’t Always Positive– Illogical Closure

66. This ad appeared in the Arkansas Democrat-Gazette. The unfortunate photographic illusion was quickly noticed (look at the bike seat) and action was taken to correct the advertisement, but not before the image made it to the news stand. They should have used a bike seat that was not tan in color! This was also featured on the Tonight Show with Jay Leno.

67. Closure Isn’t Always Positive– Illogical Closure

69. Background

70. Depth Use a strong foreground and distinctive middle and background... z-axis x-axis y-axis and utilize z-axis staging.

71. Depth Staging The over-the-shoulder shot is more dynamic, interesting, and aesthetically pleasing than the flat two-shot. By shooting the person from an angle, a more vigorous effect can be achieved than with a formal head-on flat shot.

72. Depth Staging Include a prominent foreground piece in your shot to separate the foreground, middleground, and background.

73. Z-Axis Staging camera z-axis

74. Lateral staging along the x-axis is two-dimensional and flat... Z-Axis Staging

75. ...while z-axis staging introduces the impression of depth.

76. Motion Leadroom Don’t trail him Lead the subject

77. Camera Moves Tilt up Tilt down Pan right Pan left Truck right Arc right Truck left Arc left Dolly in Dolly out Pedestal up Pedestal down Cant Crane or boom up Crane or boom down Tongue right Tongue left

78. Camera Movement  In general, the viewer should not be aware of camera movement  It should unobtrusive, transparent to the viewer

79. Television Graphics

80. Title Beyond Essential Area On the preview monitor, you can still see the complete title, although it comes close to the edges. When viewed on the home receiver, the information that lies outside the essential area is lost.

81. Out-of-Aspect-Ratio Graphic When trying to frame this out-of-aspect-ratio graphic in its entirety, most of the information becomes difficult to read if not totally illegible. When you try to get a closer shot, all information outside the aspect ratio is lost.

82. Aspect Ratio Problem Normal writing on a whiteboard can present a typical aspect ratio problem. The camera cannot show a close-up of a message that spans the full width of the whiteboard.

83. Proper Use of Aspect Ratio If the whiteboard is divided into proper aspect ratio fields, the camera can see the entire message even in a close-up.

84. Matching STV & HDTV Aspect Ratios Making the entire frame of a wide-screen movie fit into the 4 x 3 aspect ratio of STV results in empty screen space at the top and bottom of the screen. When showing a standard 4 x 3 television picture on the 16 x 9 screen, there are empty dead zones, or side bars, on both sides of the screen. letterboxpillarbox

85. Aspect Ratio: STV vs. HDTV

86. Shooting for Multiple Aspect Ratios

88. Screen Clutter letterboxpillarbox This screen has so much unrelated information that it is difficult to make sense of it amid the visual clutter.

89. Proper Structure of Multiple Screen Elements letterboxpillarbox This arrangement of these multiple screens and information areas makes it relatively easy to seek out the desired information.

90. Block Organization of Titles When titles are arranged in blocks, related information is graphically organized for easy perception.

91. Scattered Titles When titles are scattered, the information is difficult to read.

92. Bold Letters Over a Busy Background This title reads well despite the busy background. The letters are bold and differ sufficiently in brightness from the background.

93. High-Energy Colors The energy of color is determined by its saturation. High-energy colors are highly saturated hues, usually at the red and yellow end of the spectrum. They are especially effective when set against a low-energy background.

94. Low-Energy Colors Low-energy colors are desaturated hues. Most pastel colors are low-energy.