RTV3001 EXAM TWO Chapter 8 03 05 2016 Chapter 8 Structuring the 2D Field Making screen forces work for you to show clarity and impact Stabilizing the 2D Field 1 Distribution of Graphic Mass and Magnetic Force Balancing the forces of graphic mass and magnetism of the frame can stabilize the field Graphic Mass vs Graphic Weight Graphic Mass The thing Graphic Weight The onscreen description of the thing color shape orientation Graphic Mass and Magnetic Force If the objects are close enough to each other that the attraction of mass comes into play we tend to combine the weights of both objects The closer the object is to the edge of the screen the more powerful the magnetic force will be regardless of its relative weight Screen Positions Screen Center The most stable position for any object surrounding areas and magnetic forces are evenly distributed Off Center As soon as you move an object out of the center of the frame its graphic weight and the magnetism of the frame come into play The shot may begin to look unbalanced Counterweighting Center your object through camera or object movement Counterweight the object with another or a graphic element with similar weight 2 Distribution of Vectors Vectors are so powerful they can easily cause you to override relatively subtle structural forces and cause you to perceive a different pattern Noseroom vs Leadroom Noseroom The space in front of a person looking or pointing toward the edge of a screen A wider noseroom not only neutralizes the magnetism of the frame but also creates enough space around it to divert our attention away from the edge Leadroom The space in front of a person or an object moving toward the edge of the screen A lack of leadroom will make the motion look cramped and hampered If you do not sufficiently lead the moving object the screen edge toward which the object moves will appear as a barrier Converging Vectors Two index vectors coming together balance each other out Graphic Vectors Although weak the lines of these vectors can be used for stabilization 3 Stages of Balance Static Balance Solid Stable symmetrical structuring of visual elements Graphic mass magnetism and vectors are the same on both sides of the screen Dynamic Balance An asymmetrical balance where the graphic weight and vectors are not equal on both sides of the screen Increases aesthetic energy due to tension as well as dynamic energy Using the dimensions of the golden section can create neutral balance Golden section it is a way to divide the artistic space into a small section and a large section Division of the horizontal screen in two unequal parts by a real or imaginary dividing line 3x5 0 616 1 Rule of Thirds The objective is to keep the subject s and areas of interest such as the horizon out of the center of the image by placing them near one of the lines that would divide the image into three equal columns and rows ideally near the intersection of those lines 3 Types of Balance Stable Neutral and Labile Stable unlikely to change symmetric Neutral some tension present Labile unstable and about to become unbalanced 4 Object Framing Facilitating Closure Arrange your visual content so that the viewer can organize it into recognizable patterns Premature Closure Improper framing leads to this Occurs when the vector field within the frame entertains such easy psychological closure that the image no longer compels us to extend it beyond the screen Illogical Closure When we make complete images out of objects that do not go together looking behind the main subject to see if possible objects are in the background Natural Dividing Lines Eyes mouth chin shoulders elbows hemline etc of a person Always try to frame a person so these lines fall either within or outside the screen edges Partial On Screen Placement Viewer will not be able to see every part of whatever object you use when you frame your screen 5 Unusual compositions Breaking the rules for effect Used to startle the viewers and make them pay attention can sharpen the message 6 Multiple screens that extend the frame Increased Information Density Makes a variety of information available to viewers and lets them pick and choose Dividing the Screen We can place a number of secondary frames of various aspect ratios within the primary screen Secondary Frame A smaller frame inside the primary frame Z axis Split Screen 2 screens in which both subjects are looking at the camera insinuates conversation Graphic Blocks Provide up to the minute information in news production Lower Thirds The text on the bottom part of the screen that identifies the speaker s name and title RTV3001 EXAM TWO Chapter 9 03 05 2016 Chapter 9 Z axis An imaginary line that extends from the front of the camera lens to the horizon describes depth Graphic Depth Factors 1 Overlapping planes You have one object in front overlapping another object in the background called occlusion which creates the illusion of depth 2 Relative size 3 Height in plane Knowledge of object size perceived distance If the camera is shooting parallel to the ground an object will appear more distant the higher it moves up in the picture field until it reaches the horizon line This depth cue is not the most reliable because the mobility of the camera causes the horizon line to constantly shift 4 Linear perspective All objects look progressively smaller the farther away they are The vanishing point is eye or camera level on the horizon o Vanishing Point Parallel vertical and horizontal lines become more crowded as they move toward it o Crowding Effect Used to stimulate depth multiple overlapping heads o Forced Perspective Artificial distance making objects appear smaller through z axis placement 5 Aerial perspective The image has more contrast and saturation in the foreground and less contrast and saturation in the background Lens Characteristics 1 Wide Angle Short Lens Fish Eye 9mm through 40mm 2 Normal Lens for 35mm film cinematography 50mm 3 Narrow Angle Telephoto 75mm through 500mm and longer Focal Length Affects overlapping planes relative size linear perspective aerial perspective How it affects the following Aerial Perspective wide angle lens greater depth of field so aerial perspective is de emphasized Aerial Perspective narrow angle lens emphasizes aerial perspective Relative size wide angle lens The wide angle lens stretches the z axis Relative size telephoto lens The telephoto lens compresses the z axis Overlapping planes wide angle lens Expanded
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