Composition:

Framing of shots
Lead Room

If a character is looking frame left, then he should be

positioned frame right. This makes the framing
comfortable because the subject is looking at the open
space in front of him. This open space is called lead
room or lead space.
If the actors were frame left, looking frame left, then the empty space would be
behind them. This doesn’t feel right because they would be looking at the edge of
the frame. The proximity to the frame would generate a claustrophobic undertone
that could disconcert some viewers.

You may have notice in other movies that when two shots of two actors in different
sides of the screen are cut together, the audience surmises that the actors are
looking at one another, regardless of where they are.
Rule of Thirds
 Another basic composition notion is the Rule of Thirds. To follow it, you have to imagine the
frame with two vertical lines and two horizontal lines, thus creating three vertical sections of the
same dimensions and three vertical sections also of the same size. The result is something like
this:
The intersections of the lines are points of interest,
where important objects are placed in the screen.
These points of interest are comfortable to the eye,
thus the middle portion of the frame are sometimes
kept “empty” or clear.
 Rules Meant to Be Broken
 Filmmakers, like any other group of artists, like to break rules. The guidelines
explained in this pages are just some basic concepts that any
cinematographer or camera operator should know and apply. In some
circumstances, however, it’s okay to stray away from these rules.
 Overlooking the norm is acceptable with motivation and purpose. With
practice, you should be able to conceptualize extraordinary compositions
and make them work in your favor. Consider, for example, the two types of
composition below.
Static Composition
 Compositions with the majority of lines being horizontal and/or vertical are called Static
Composition. In theory, horizontal and vertical lines are somewhat soothing, calm, tranquil
Dynamic Composition
When a composition has many diagonal lines it is called Dynamic Composition. The
dynamism or excitement comes from the fact the diagonals are somewhat unsettling
(as opposed to a static compositions that communicate peace and tranquility).
Shot Composition
Background
 Should not distract the audience
 Can add to depth, feeling, interest
Mergers
 Background objects
that appear to be joined
to the people or a person
in the shot

IVCP: Shot Composition 10

Shot Composition
Closure
 How our imaginations fill in spaces we can't actually see on
the screen
 Shot will look awkward if you don't supply enough visual
information for your viewers to project what lies outside
the frame.
Natural Cut Off Lines
 Should be avoided
 Shots should include the area slightly above or below
these natural body joints.

IVCP: Shot Composition 11

Shot Composition
Depth
 More appealing that flat images
 Create depth by including objects in the foreground,
middle ground and the background.

IVCP: Shot Composition 12

Shot Composition
Rule of Thirds
 Divide the screen vertically and horizontally into 3 equal
parts.
 Put the subjects on these lines where they cross
 By locating your main subject at one of the four
intersections you give the subject more emphasis than if it
was in the middle of the picture.

IVCP: Shot Composition 13

Shot Composition
Rule of Thirds

IVCP: Shot Composition 14

Shot Composition
Rule of Thirds

IVCP: Shot Composition 15

Shot Composition
Leadroom- The space left in front of a person looking
toward the edge of the screen

IVCP: Shot Composition 16

Shot Composition
Leadroom- The space left in front of a person looking
toward the edge of the screen

IVCP: Shot Composition 17

Shot Composition
Headroom
 The space left between the top of the head and the upper
screen edge

IVCP: Shot Composition 18

Shot Composition
Perspectives
 Objective- The camera watches
the scene. The talent acts as if
they are not in front of the camera

IVCP: Shot Composition 19

Shot Composition
Perspectives
 Subjective: The camera is used as the eyes of the talent. It
allows the audience to see what the talent is seeing.
(Point-of-View Shot)

IVCP: Shot Composition 20

Shot Composition
Angles
 High Angle - The camera is elevated above the action using
a crane to give a general overview. High angles make the
object photographed seem smaller, and less significant

IVCP: Shot Composition 21

Shot Composition
Angles
 Eye Level - A fairly neutral shot; the camera is positioned
as though it is a human actually observing a scene, so that
the actors' heads are on a level with the focus.

IVCP: Shot Composition 22

Shot Composition
Angles
 Low Angle -helps give a sense of powerlessness within the
action of a scene.
 Height of the dominating object helps to inspire fear or
insecurity in the viewer.

IVCP: Shot Composition 23

Shot Composition
Angles
 Bird’s Eye View -directly overhead; higher than a high
angle view
 This shot can put the
audience in a godlike
position, looking down
on the action.

IVCP: Shot Composition 24

180 degree rule
 180 Degree
Rule
The 180 rule ensures
directional consistency
from shot to shot
 Focus Pull
 Focus pull is useful for directing the viewer's attention. For example,
if there are two people in shot but only one is in focus, that person is
the subject of attention. If the focus changes to the other person,
they become the subject. This is often used in drama dialogues — the
focus shifts backwards and forwards between the people speaking. A
slightly more subtle trick is to focus on a person speaking then pull
focus to another person's silent reaction

 By change focus during a shot. this means adjusting the focus from
one subject to another. The shot below begins focused on the plant
in the foreground, then adjusts focus until the girl is sharp.
Deep Focus
 A a technique which
incorporates a large depth of
field so the foreground,
middle ground and
background are all in focus
and clear.
Deep Focus

Here's another example from In Bruges, with Brendan Gleeson and Colin Farrell sitting by a river. When
put in context of the plot (Colin's character accidentally shoots a child during a hitman job), it has a
profound resonance: sitting by a calming spot of nature, it's framed so that Brendan Gleeson's frame
appears bigger than Colin's, as he takes on a surrogate father figure role
American History X
American History X analysis
• The camera is framed so Ed Norton appears much larger than
Edward Furlong. It's a deliberate attempt to make him out as the
older, wiser brother (he's straight out of prison at this point).
• Edward Furlong's character is slouched back against the table, but
crucially, rather than framing him against the right side of the shot,
he's more centred. This close distance helps to illustrate that they
are brothers, and that there is a warmth and respect there that
later enables Edward Furlong's character to overcome the racist
views he has been taught after listening to his brother explain
about his time in prison.
• A wide-angle lens is used to show how cramped the house is
rather than a purpose-made set. Connotations that they are poor.
Pulp Fiction

• Analyse the framing of this shot and the connotation.

Shallow Focus

This shot from film Michael Clayton and is an example of shallow focus, which is the
opposite of deep focus. The person in the foreground is sharp, but the man in the
background is a blur.
Shallow Focus
An OTS shot from Indiana Jones . The depth of field is not as shallow as that used
in In Bruges, whilst blurred, it still retains some sharpness.
• Aside from using these types of shots in films for focus pulls and intense close-ups, they can be used to illustrate a
character's state of mind - a great example of this is in American History X.

This can illustrate factors such as Ed Norton's haziness and slightly concussive state: he's just been attacked
by the Aryan Brotherhood members because he began to disassociate himself with them, is in great pain,
and is starting to realise the mistakes he has made in his life that have landed him in jail. He is also having
serious second thoughts about his white supremacist views, and if you want to get really artistic, the shallow
depth of field can visually illustrate the short-sightedness of those views. Again, these are both close-up
shots.