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Bull's Eye

A definite ‘NO, NO’ in good composition. When you place the Main Subject right ‘smack’ in the center of the picture area it is called a Bull’s Eye. This should be avoided at all times, unless you have a definite reason for doing it.

With the main subject in the center of the picture frame the eye will go in to the picture and stay in the center of the frame looking at the Bull’s Eye/Main Subject and will not move around in the picture to see and enjoy any other items. The eye will get tired very fast and lose interest in the photograph. Your purpose in making images is to have people look at them, enjoy them, talk about them and buy them. If they cannot get interested in a image they will not bother to look at it and will definitely not buy it. It is best to always have the Main Subject OFF CENTER. Even if it is just a little Off Center it will improve the picture’s composition.

The Rule of Thirds

The rule of thirds is a compositional rule of thumb in photography. The rule states that an image should be imagined as divided into nine equal parts by two equally-spaced horizontal lines and two equally-spaced vertical lines, and that important compositional elements should be placed along these lines or their intersections. Proponents of the technique claim that aligning a subject with these points creates more tension, energy and interest in the composition than simply centering the subject would.

Diagonal

The Diagonal: Perhaps the most striking compositional device, the diagonal principle, was first employed by the Japanese print masters, Katsushika Hokusai and Ando Hiroshige. European artists were dumbfounded by the unconventional kind of depth created by the natural direction of eyes into the distance. In Sudden Rain in Shono by Ando Hiroshige, in which in addition to the diagonal line from bottom right to top left, he elaborates the picture by depicting the rain counter-diagonally, turning the treetops to the left, thereby adding a dramatic effect.

SHOTS

The term shot is often incorrectly applied to the field size of an image which at times is also incorrectly referred to as framing. The field size defines how much of the subject and its surrounding area is visible within the camera’s field of view, and is determined by two factors: Camera-to-subject distance and focal length of a lens.

An identical field size can be achieved at varied camera-subject distances by using a lens with a different focal length, and at varied focal lengths by choosing a different camera-subject distance. Field size differs from framing in that within professional environments where prime lenses are dominant, the latter applies only to camera placement (including camera angle), not focal length.

&

A basic camera angle in which a particular view which was just photographed is photographed from the opposite perspective. In the context of a dialogue between two people facing each other the camera shoots the conversation directed at one of the performers and then records the same dialogue while the camera is directed at the other performer

ANGLES

Take notes and draw

thumbnail images

for all 5 camera angles

Bird's Eye

The scene is shown from directly above. This is a completely different and somewhat unnatural point of view which can be used for dramatic effect or for showing a different spatial perspective.

In drama it can be used to show the positions and motions of different characters and objects, enabling the viewer to see things the characters can't.

The bird's-eye view is also very useful in sports, documentaries, etc.

Eye-Level

This is the most common view, being the real-world angle that we are all used to. It shows subjects as we would expect to see them in real life. It is a fairly neutral shot.

Oblique

Also known as a dutch tilt, this is where the camera is purposely tilted to one side so the horizon is on an angle. This creates an interesting and dramatic effect. Famous examples include Carol Reed's The Third Man, Orson Welles' Citizen Kane and the Batman series.

Dutch tilts are also popular in MTV-style video production, where unusual angles and lots of camera movement play a big part.

High Angle

A high angle shows the subject from above, i.e. the camera is angled down towards the subject. This has the effect of diminishing the subject, making them appear less powerful, less significant or even submissive.

Low Angle

This shows the subject from below, giving them the impression of being more powerful or dominant.

Now:

Let's get to it!

Shots, Angles & Composition

A BAD COMPOSITION!

(cc) photo by Franco Folini on Flickr

(cc) photo by Metro Centric on Flickr

(cc) photo by jimmyharris on Flickr

Composition

(cc) photo by Metro Centric on Flickr

Take notes and draw

thumbnail images

for all 3 compositions in your sketchbook.

ECU (Extreme Close Up)

Take notes and draw

thumbnail images

for all 10 camera shots

The ECU gets right in and shows extreme detail.

AKA: Choker

Your Notes are

a Resource!

EWS (Extreme Wide Shot)

The view is so far from the subject that he/she isn't even visible. It is often used as an establishing shot. Sets the place and mood.

You are learning the techniques to create your own animation!

Be patient, there is much to learn!

Two Shot

A shot of two characters, framed similarly to mid shot.

Over-the-Shoulder Shot

(OSS)

Looking from behind a person at the subject.

Storyboards

WS (Wide Shot)

Reverse Angle Shot (RAS)

Storyboards are next!

The storyboard helps us plan out our animation.

You will use the terminology from this lesson to create your storyboard.

So make sure your notes and sketches are thorough.

The subject takes up the full frame or at least as much as comfortably possible.

AKA: long shot, full shot.

Point-of-View Shot (POV)

Shows a view from the subject's perspective.

MS (Mid Shot)

Shows some part of the subject in more detail while still giving an impreson of the whole subject.

CU (Close Up)

A certain feature or part of the subject takes up the whole frame.

MCU (Medium Close Up)

Half way between a

MS and a CU.

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