Picture composition for film and television by PETER WARD

By PETER WARD

In the back of every one shot there lies an idea or objective. while developing a shot, the digital camera operator can hire a variety of visible concepts that might truly converse the assumption to an viewers. Composition is the bedrock of the operator's craft, but is seldom taught in education classes within the trust that it really is an intuitive, own ability. Peter Ward indicates how composition will be realized, to augment the standard of your paintings. in keeping with the author's personal sensible event, the booklet offers with the equipment to be had for resolving useful construction questions reminiscent of: Does the shot composition adequately replicate the concept initiated the shot? Will the content material and approach to offering the topic correctly show the belief? significant techniques in tv and movie construction because the past version have affected the forms of composition, reminiscent of wide-screen and using mini DV cameras. those new applied sciences and their implications for photograph composition are addressed during this new version. a brand new color plate part is usually being incorporated to replace the part on color. while you're a practicing digital camera operator, trainee digital camera operator, pupil or lecturer on a tv or movie creation direction, or just a video fanatic wishing to development to a extra expert ordinary you'll find this booklet crucial in improving the standard of your paintings. * study the secrets and techniques of winning composition from an skilled digicam operator * thoroughly rewritten together with compositional implications of widescreen, DV cameras * Teaches via diversified examples of useful situations and problem-solving

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This is the tendency for the perceptual system to compensate for changes in the retinal image with viewing distance. As a retinal image, a person walking away from a static observer halves in size as their distance from the observer doubles. The relationship between image size and distance from the observer is a constant, but in normal perception it is not seen as a constant. Perception adjusts the perceived size to match our knowledge of the size of the receding subject. The lens, the eye and perception 29 We habitually underestimate the change in size of a person walking towards or away from us and mentally picture them modified in size but only with a slight alteration to their ‘normal’ size.

Audiences often assume that a film can only have one set of conventions. But not only audiences. Many film/TV programme makers assess the competence of a production by how well it employs standard visual conventions. 22 Picture Composition for Film and Television Why people dislike the rejection of standard conventions Camerawork that appears to ignore traditional invisible technique may be thought of as either lacking in knowledge or ability or wilfully ignoring such technique out of a perverse desire to be ‘different’.

A culture without trains or people not familiar with the dress codes in the image may make completely different deductions. Are these people involved in some kind of religious or ceremonial activity? Is that large black moving shape (the train) benevolent or threatening? The relevance of an image, like perception, is dependent on what the observer brings to their understanding of the shot as well as its factual content. It is often erroneously believed by film makers that all audiences will understand their chosen visual storytelling methods.

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