Today’s lecture was quite a content intensive one, we went
into greater detail on the field of visual communication, and how composition
is the placement and arrangement of visual elements or ingredients which is
distinct from the actual subject of the work. This is often found in ‘good’
design or work. In particular, we covered the Fibonacci numbers, the Rule of
Thirds, and Subject Composition. This week, due to the nature of the content, I’ll
be giving a bullet-pointed summary first before going into application,
reflection and takeaways. So sit tight yeah! :)
Fibonacci Numbers
Fibonacci Numbers
- First 21 numbers
- The beginning of the sequence (Fibonacci sequence): 0, 1, 1, 2, 3, 5, 8… each number is the sum of the 2 preceding numbers
- Fibonacci number in a way is the basis of space division/growth in nature
- E.g. petals on flowers, geometry of crystals and chemical compounds, skeleton of animals and branching of veins
- Use of proportion in artistic endeavours/visual communication
- Proposed as universal law
Golden Ratio or Golden Mean (1.618034, also
represented by phi or p)
- Dervied from the Fibonacci numbers
- Dividing each number in the series by the one preceding it produces a ratio which stabilises around 1.61
- Unique ratio such that the ratio of the whole to the larger portion is the same as the ratio of the larger portion to the smaller portion
Fibonacci Rectangle or Golden Rectangle
- Said to be the most visually satisfying of all geometric forms
 |
| Image Reference: D/DX Art. (2016). Retrieved from: http://ddxart.co.uk/wp-content/uploads/2016/02/ddx-site-catalogue-Fibonacci-rectangles.png |
Other shapes include:
Golden Triangle
Pentagram and Pentagon
Shell Spiral or Fibonacci Spiral
- In art and design, major compositions fall along major intersections of the spiral
- Quite difficult to apply when framing an image/photo/film but it is easier for artists/designers who are starting with a blank canvas
Rule of Thirds
Golden mean incorporated into the rule of thirds
- One of the most cardinal photographic rules of composition
- Guideline when you are uncertain with the framing
- Pleasing and balanced arrangement in both horizontal/vertical orientation
- E.g by placing object of interest at one intersection and counterpoint in opposing intersection
From this section onwards, we go into Subject Composition
Long Shot
Extreme Long Shot
- Gives viewer geography
- Usually at beginning of film/new storyline is introduced for the viewer to become more familiar with the plot
- Not so much for a personal feel
Long Shot
- Whole height of the person/character
- May show character interacting with the environment
- Feel more involved in the story now/might anticipate what is happening in the location
Mid Shot
Mid Shot
- Cuts off at waist
- Good shot to introduce character to viewers
Medium Close Up
- Cuts off at Chest
- Standard news interview shot
- Main focus of shot is subject’s emotions
- Can have personal r/s or emotion or feeling with character
Close Up
Close Up
Extreme Close Up
- Generally more intimate shots/intimacy
- Great for use in dramatic moments
- E.g. horror
- Shows intensity of feelings/actions/emotions, suspense makes the audience wants to ask questions
Framing Visual Angles
High Angle
- Subject of high angle shot looks small, weak, vulnerable or insignificant
Low Angle
- Shows power of certain character/subject
Eye-Level
- Subject of eye-level shot is a fairly neutral/familiar shot
Other Framed Views
Dutch (Canted Views)
- Pivot the camera over(?) frame to distort the horizon line
- Creates imbalanced view of action
- Used to create sense atmosphere of anticipation and dread
- Seen in Lost in Translation
General View
Bird Eye View
- Gives viewer the greatest power
Ant/Worm’s Eye View
- Makes all subjects look very large even though they are small in reality
- Subjects are presented in a way as if they hold power over the viewer
- Make the viewer feel vulnerable, even though the subject itself isn’t terrifying
Point of View
- First person shooter
Over the Shoulder Shot
- Looking over the shoulder from one character’s POV to another
- Helps to establish the position of each character and get the feel we are looking at one person from another POV
- These types of framing is popular when 2 characters are having a discussion
- Creates sense of mystery as we do not see the reaction of one character
- Creates dynamic/dramatic irony for the audience
Reaction Shot
- Gives dialogue meaning
- Important to hold plot together at main parts of the narrative
- Feel immediate sympathy/happiness for character
- Feel involved in character’s life
Next, I went to revisit some of my favourite movies to have
a fresh perspective on how the directors and cinematographers applied these
principles of visual communications and subject composition in their works.
Turns out that they do frequently use them, but some of them have reconvened
traditional methods to put a new spin on how people typically compose their
shots. Here’s a cinematography analysis of the Theory of Everything (2014), a British biographical film about the
life of Stephen Hawking, which really is one of my favourite movies to date.
The cinematography in the Theory of Everything is intentional and meticulous. One of the best
examples is when the doctor tells Stephen about his disease. We’ve seen plenty of
these scenes before, and oftentimes an over-the-shoulder shot is used when two
characters are deep in a discussion, or when a character is delivering
important news to another. It helps in moving the plot forward although we don’t
feel the emotional intensity of the scene, and the news delivered doesn’t hit you
as hard as it should. In short, the scenes simply bounce back and forth between
2-3 blank shots of the characters, without adding anything visually or assist
in pushing the emotions of the scene.
The first shot here is an establishing shot. This is when
the doctor delivers the news to Stephen of his debilitating disease. Notice how
the doctor and Stephen sits side by side and not across each other. It gives us
the sense that the doctor is not an opposing force, but rather is here to help
Stephen.
 |
| Retrieved from: Theory of Everything (2015) |
The camera slowly pushes in as the doctor explains Stephen’s
disorder to him. Distortion of the walls and wash-out green look gives sickness
to the shot.
We cut to an extreme close-up of Stephen, which is good for
establishing intimacy with the audience and for dramatic effect. This is
because his reaction to the problem is important in helping the audience
understand the severity of the issue.
 |
| Retrieved from: Theory of Everything (2015) |
Fear and confusion sets in his eyes as the doctor explains
the disease.
We then cut to the wide-angle close up of the doctor. I’m not too sure how they did it but the scene looks somewhat warped – perhaps they have made use of a different lens, let’s say a wide-angle lens for a close up shot (I’m no photographer!). This is to good effect as it makes him look distant and the distortion gives him a weird, stretched look, signalling to us that we are looking at the doctor through Stephen’s eyes. Everything looks eerily strange and alien to him, because the horror the news distorts Stephen’s view. This further pushes the audience to sympathise with Stephen, and the sense of stress is almost palpable.
 |
| Retrieved from: Theory of Everything (2015) |
Notice how the doctor’s face only take up 1/3 of the screen.
There is a vast expanse of space, or negative space to the left, that is
off-putting. I think this has to do with psychology – I’ve read before that our
minds naturally perceive left to right as positive, and right to left as
negative. The placement of the doctor’s face, from the right, as well as the
overwhelming empty space contributes to the negativity and weight of the
situation.
The scene concludes with Stephen sitting by himself as the
camera pans back to a long shot, serving to not just transition to the next scene,
but also to show that Stephen is sitting in the corridor all by himself, alone
with the terrible news of his impending death.
 |
| Retrieved from: Theory of Everything (2015) |
This entire scene in which the doctor delivers the news to Stephen is short, totally about a minute and a half long, but the intentional cinematography nails the feeling of despair and helplessness Stephen feels. I am certainly looking forward to applying these principles of subject composition in my future works, whether it be how to frame my images or the placement of elements!
Also, go watch the Theory of Everything if you haven’t. It’s
a really good, but also really underrated movie, trust me!
Comments
Post a Comment