RTV EXAM 2 STUDY GUIDE Structuring 2 D Field INTERPLAY OF SCREEN FORCE 6 Types of Screen Force 1 Main Direction 2 Magnetism of the Frame 3 Asymmetry of the Frame 4 Figure Ground 5 Psychological Closure 6 Vectors 1 Graphic Mass Magnetic Force 2 Vectors 3 Stages of Balance 4 Object Framing 5 Unusual Compositions 6 Multiple Screens 7 Dividing the Screen Key to structuring 2 D field is manipulating forces to portray events with clarity impact THE FIELD CAN BE STABILIZED THROUGH DISTRIBUTION OF GRAPHIC MASS VS GRAPHIC WEIGHT Mass is the The Thing Weight is the on screen description of The Thing i e color orientation shape location SCREEN POSITION CENTER centering an object in the frame eliminates magnetism OFF CENTER An unbalanced shot when the object is farther to one side than the other COUNTERWEIGHTING Multiple different sources of information on the screen in different boxes DISTRIBUTION OF VECTORS o Noseroom Index vectors space between subject and screen border in a still shot o Leadroom Motion Vectors space between subject and screen border in film shots o Psychological discomfort internal feeling of discomfort from strange screen space o Motion Vectors without adequate lead room cause the viewer discomfort and leave a blank environment with no subject in the shot o Converging vectors two index vectors coming together balance each other out 1 o Graphic vectors the lines of graphic vectors can be used for stabilization STAGES OF BALANCE Balance does not always maximum stability Can be achieved through camera movement or composition Types o Static balance Stable symmetrical structuring of visual elements graphic mass magnetism vectors are the same on all screen sides used for news o Dynamic balance Graphic elements asymmetrically distributed but still appealing generally used in fictional TV shows meant to look natural has more energy and can be more entertaining o Golden section Division of the screen in two unequal parts by a real or imaginary dividing line 3x5 0 61 hard to use with moving images better for still shots o Rules of Thirds Does not center the object instead divides it into three used in film and TV o Labile Balance Disorienting unstable shot that causes the audience high graphic tension high energy distribution of graphic weight frame magnetism vectors that are pushed to the limit Several techniques Overload one side of screen Provide vectors with insufficient space Make high energy vectors converge Tilt the horizon line OBJECT FRAMING patterns o Facilitating Closure arrange visual content so the viewer can organize it into recognizable o Premature Closure caused by improper framing leads o Natural Dividing lines cause premature closure when the upper lower screen edge coincides with natural dividing lines eyes noes mouth Frame people so that these lines fall either inside or outside the upper and lower screen edges Partial on screen placement partially obscuring the object in the shot This requires the viewer s mind to fill in what they can t see using psychological closure o Illogical closure tendency to create patterns make complete images from parts that do not go together MULTIPLE DIVIDING SCREEN o Screen Within a Screen multiple frames within the screen Secondary frame a smaller frame inside the primary frame Z axis split screen 2 screens both subjects are looking at the camera insinuates conversation Need to have similar lighting framing Index and motion vectors matter with multiple frames Brady bunch o Lower Thirds text on the bottom of the screen speaker s name title 2 o Unusual Composition used to startle the viewers and make them pay attention to something can sharpen your message unbalance shot o Graphic Blocks 3 D FIELD DEPTH VOLUME o The Z axis describes depth from camera to infinity o The X axis and the y axis define width and height of a 2 D plane like a TV screen o The Z axis describes depth from camera to infinity It is an imaginary line that extends from the front of the camera lens to the horizon Although z axis is illusory it is the most flexible screen dimension Zh axis Zv axis o Things moving toward screen is positive and away is negative GRAPHIC DEPTH FACTORS 1 Overlapping planes object in front overlapping another object in the back 2 Relative size knowledge of object size contributes to perceived distance 3 Height in plane camera shooting parallel to the ground will make an object appear more distant the higher it moves up in the picture field unreliable Position in frame can indicate depth All objects look progressively smaller the farther away they are The vanishing point is eye on camera level on the horizon Linear perspective perceptions 4 Linear Perspective Perceptions objects look smaller the farther away they are The vanishing point is eye or camera level on the horizon Parallel vertical and horizontal lines become more crowded as they move toward the vanishing point Crowding effect cram objects into a frame depth action movies Forced perspective artificial distance making objects appear smaller through Z axis placement Blocking and stacking help understand distance 5 Areal perspective image has more contrast saturation in the foreground less in the background Warm colors in front and cold in back scenery background bluer and less sharp than foreground objects LENS CHARACTERISITICS Focal length affects overlapping planes relative size linear perspective areal perspective 3 Wide angles lenses v Telephoto lenses Zoom lenses v Prime lenses Longer focal length Important for portraits wide angle lens would be bad Influence of focal length o Areal perspective wide angle lens aerial perspective is de emphasized A narrow angle lens emphasizes aerial perspective Everything but the one object you focus on will appear out of focus o Relative size wide angle lens stretches the z axis closer larger Telephoto lens compresses the z axis o Overlapping planes Wide angle lens expanded distances not strong indicator of depth Telephoto lens Objects seem closer look squeezed major depth cue o Linear Perspective The z axis space is elongated the lines come together more than when seen normally creating the Illusion of stretching an object Wide angle lens accelerates the convergence of parallel lines WIDE ANGLE vs NARROW ANGLE Field of view the amount of the scene included in the frame A wide angle lens has a greater field of view than a telephoto lens Telephoto lens decreases range Depth of field the area along the z axis that appears in focus Shallow
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