An

exercise in basic framing and composi2onal rules for new lm makers

Basic Visual Syntax II

School of Crea2ve Arts

Townsville | Cairns

NM3302 : Visual Syntax II

Perspec2ve Deep Space Composi2onal Rules Punch Drunk Love The Sopranos

2001 : Space Odyssey | Kubrick | 1968

"Some2mes the appropriate response to reality is to go insane." Philip K Dick

Depth Plane Frame Plane Geographic Plane

One Point Perspective

One Point Perspec2ve

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In essence the frame plane (or frontal plane) has no depth because it lacks perspec2ve.

One Point Perspec2ve

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Depth can be created by merely shiSing camera posi2on and crea2ng a point of perspec2ve.

This is a common form of one point perspec2ve.

One Point Perspec2ve

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If we now follow the guidelines of the shape, they disappear to a point on the horizon. This is known as a vanishing point.

What is important here is the crea2on of a longitudinal plane on one side of the shape it appears quite close on the opposite side it appears to be further away, when in fact it is just a 2D shape on a completely at surface.

One Point Perspec2ve

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Another drama2c example of one point perspec2ve is the railway track.

This is a good example of convergence which again - creates a cue to illusory depth on a 2D surface. The more the rails converge the further away they appear.

Two Point Perspective

Two Point Perspec2ve

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The next level of perspec2ve is two point perspec2ve, in which there are two vanishing points. (To illustrate this, extra lines have been added to the diagram to make the convergence more obvious).

NB The longitudinal plane s2ll has only one vanishing point.

Two Point Perspec2ve

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The longitudinal plane can be given a second vanishing point if the camera angle is then raised or lowered.

The sides of the longitudinal plane are no longer parallel.

Two Point Perspec2ve

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There are now two vanishing points: The longitudinal lines converge towards a point above the frame. While the top and bo_om of the plane converge towards a vanishing point beyond frame leS.

Two point perspec2ve can also be achieved by u2lizing two planes. In this example we are using the corner of a building.

Two Point Perspec2ve

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The top and bo_om of each longitudinal plane converge to separate vanishing points.

Two point perspec2ve can also be achieved by inver2ng the two planes. In this example we are using the corner of an interior.

Two Point Perspec2ve

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Although the vanishing points are hidden behind the longitudinal planes, they are s2ll converging lines.

Three Point Perspective

Three Point Perspec2ve

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Three point perspec2ve is slightly more complex to achieve.

In this example, all the visible lines on the exterior of this building are all converging to one of three vanishing points.

Three Point Perspec2ve

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One vanishing point will appear above the building. The 2nd and 3rd vanishing points will appear on the horizon to the leS and the right of the building.

Three Point Perspec2ve

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In this example we are s2ll seeing three point perspec2ve; this 2me from an angle above the building.

Utilizing the Rules of Perspective

U2lising the Rules of Perspec2ve

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Horizon lines, vanishing points and longitudinal planes can be applied to any object, character or frame.

If the camera is at eye level, the human form can appear at and 2 dimensional.

U2lising the Rules of Perspec2ve

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When the camera is lowered and 2lted up, the actor becomes a longitudinal plane.

U2lising the Rules of Perspec2ve

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The converse is also true a high angle is used and the camera is 2lted down on an actor.

U2lising the Rules of Perspec2ve

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A viewers a_en2on will usually be drawn to on-screen vanishing points. This is evident by the placement and our perspec2ve of the two walls below.

U2lising the Rules of Perspec2ve

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In this example a_en2on is split between the actor and also the vanishing points between the two walls.

U2lising the Rules of Perspec2ve

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Here, a_en2on is drawn to the actor and is re-enforced by the vanishing points of the two walls. Perspec2ve in this situa2on helps to keep an audiences a_en2on focused on the actor.

Deep Space

Size Dierence

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As a familiar object gets smaller it appears further away. As a familiar object gets larger it appears closer

This shot has depth because the three actors have been placed on three dierent planes.

Size Dierence

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One actor is placed on FG (foreground) plane, one on the MG (mid-ground) plane and the third on the BG (background) plane.

Separa2ng objects (or actors) on FG, MG & BG planes creates size dierence.

Diusion

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This is an example of textual diusion. The crowd members in the FG have texture and detail. The crowd in BG are reduced to 2ny dots and have lost their texture and detail.

Objects with more detail appear closer and objects with less detail appear further away. This image also features other depth cues, such as size change and perspec2ve.

Tonal Separa2on

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Tone refers to black and white and grey scale. The grey scale contains no colour, it represents the tonal steps from black to white.

Tonal separa2on deals with a viewers percep2on of depth due to the brightness of objects. Usually lighter objects appear closer and darker objects appear further away.

Even though two objects are of iden2cal size, the viewer will see the brighter object as closer and the darker object as further away

In this example, even though the red and blue rectangles are exactly the same size, the red rectangle appears closer.

Up/Down Posi2on

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Even though these two actors are the same size, the viewer will perceive the actor on the lower level to be in the FG

Up/Down Posi2on

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If there is a horizon line involved, the up/down posi2on becomes more complex.

Objects near to the horizon line appear more distant, while objects further from the horizon line appear to be closer.

Overlap

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When one object overlaps another illusory depth is created.

Focus

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Focus and depth of eld can also inuence a viewers percep2on of depth.

In this example, the FG is in sharp focus, while the BG is s2ll in rela2ve focus to the FG. It loses its deep space and becomes at.

Focus

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Focus and depth of eld can also inuence a viewers percep2on of depth.

In this example, the FG is in sharp focus, while the BG is blurred. The BG may appear to create depth, but this is not necessarily deep space. Some objects s2ll need to be in focus to create cues of depth.

Frontal Plane

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In these following examples there are numerous depth cues, including size dierence, texture dierence and colour separa2on.

However the strongest indicators of depth, perspec2ve and convergent planes are missing. This is an example of frontal plane separa2on.

Frontal Plane

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In these following examples there are numerous depth cues, including size dierence, texture dierence and colour separa2on.

However the strongest indicators of depth, perspec2ve and convergent planes are missing. This is an example of frontal plane separa2on.

Here we can see the frontal planes separated into FG, MG & BG. Usually there are two or three frontal planes, anymore than this and it can be dicult for the viewer to discern between the planes and determine depth.

Here we can see the frontal planes separated into MG & BG. Usually there are two or three frontal planes, anymore than this and it can be dicult for the viewer to discern between the planes and determine depth.

REFRESH Compositional Rules

The Rule of Thirds

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Good composi2on can be obtained by placing the centre of interest in the geometrical centre of the picture. This technique is the excep2on to the rule and is oSen used as visual metaphor or for drama2c eect. Generally however, this is not a good idea, because it divides the picture into equal halves, which makes the image uninteres2ng and is dicult to balance with the plane of depth. By dividing the picture area into thirds, both ver2cally and horizontally, and loca2ng the center of interest at one of the intersec2ons of the imaginary lines, you can usually create a feeling of balance to the composi2on

Dynamic Symmetry

Balance of Symetry

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The centre of interest when applied by the rule of 3rds is denoted by the circles. A balance of symmetry can be achieved by drawing a line from one corner of the frame to an opposing corner; and then drawing a second line perpendicular to the rst to an opposite corner Where these two lines intersect is generally the centre of interest.

Punch Drunk Love (PT Anderson), Revolu2on Studios, 2003.

Punch Drunk Love (PT Anderson), Revolu2on Studios, 2003.

Punch Drunk Love (PT Anderson), Revolu2on Studios, 2003.

Punch Drunk Love (PT Anderson), Revolu2on Studios, 2003.

Punch Drunk Love (PT Anderson), Revolu2on Studios, 2003.

Punch Drunk Love (PT Anderson), Revolu2on Studios, 2003.

Punch Drunk Love (PT Anderson), Revolu2on Studios, 2003.

Punch Drunk Love (PT Anderson), Revolu2on Studios, 2003.

Punch Drunk Love (PT Anderson), Revolu2on Studios, 2003.

Further Reading: Block, B, (2007) The Visual Story: Crea9ng the Visual Structure of Film, TV and Digital Media. New York: Focal Press