VISUALIZATION

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 Essential area All essential information must be contained in this area. Overscan area

3. Essential or Safe Areas

4. Long Shots vs. Close-ups

5. Long Shots vs. Close-ups

6. STV (NTSC) Aspect Ratio 3 units 4 units Theaspect ratiois the width-to-height proportion of the picture. The4:3ratio 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.

7. HDTV Aspect Ratio 3 units 16 units 4 units 9 units 16 units HDTV uses a16:9aspect 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.

8. Aspect Ratio: STV vs. HDTV

9. Matching STV & HDTV Aspect Ratios letterbox pillarbox 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.

10. STV & HDTV Aspect Ratios

11. STV & HDTV Aspect Ratios

12. STV & HDTV Aspect Ratios

13. Shooting for Multiple Aspect Ratios

14. Shooting for Multiple Aspect Ratios

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

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

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

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

19. Screen Forces–Frame Edge

20. Screen Forces–Frame Edge

21. Screen Forces–Headroom

22. Screen Forces–Headroom

23. Screen Forces–Headroom The longer the shot, the more headroom it should have.

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

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

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

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

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

29. 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.

30. 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.

31. Symmetry and Balance Symmetrical Balance Asymmetrical Balance

32. Symmetrical Balance

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

34. Symmetry and Balance Symmetrical Balance Asymmetrical Balance

35. Asymmetrical Balance

36. Asymmetrical Balance

37. 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.

38. Equilibrium and Balance Stable Neutral Unstable

39. Stable Equilibrium

40. Stable equilibrium has little pictorial tension

41. Equilibrium and Balance Stable Neutral Unstable

42. 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

43. 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.

44. Noseroom or Leadroom

45. Noseroom or Leadroom BAD BETTER BEST 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

46. Noseroom or Leadroom

47. Equilibrium and Balance Stable Neutral Unstable

48. Unstable Equilibrium

49. Unstable equilibrium has high pictorial tension

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