..

6.2
FramingEffectiveShots
,
Thebasic purposeof frami nsiii shot is 10showimagesas
possibl eandtopresentthemsothattheyconv('y
meaningandenergr Es.sf: ntiall y, you clarifyandintensify
theevent beforeyou. Whenworkingiii camcorder,)'00 are
Iheonlyonewho sees thetelevision picturesbefoft they
are videotaped. You therefore ca nnot rdyon a director
10 tell you how to frameeverypiclur\" for ma:x..i mum ef
fectivencss.
The more you knowabout picture composition, rhe
moreeffecti ve yo urdarifi cati onandintensificationofthe
e"entwi!!be.But even ifyo uare workingasiii cameraop-
eral orduringiI multica merasiudioshoworalargeremote
where the director can preview aUthe cUlIera pictures.
yo u still need \0 1010\\1 how to compose ('(rective snOI S.
Thedirectormight beabk10 correct someofyoursnots,
bUI heorshe will certai nl ynot have lime to leachyouIhe
fundamentalsofgoodcompos ition.
ThissectiondescribesIhl" majo rcompositional prin-
ciples and explains how to frame a ., hOI for m.o:illJum
clarityand impacL
... SCRW:SiltAND FlHD OF V1(W
Ope,arinqwirh andmtdNftl s/loufa/he! lho" Iot>g
shotsondelfl(tme/oflglhou
.... FRAMING ASHOT:STANDARD TY AND HOTV
ASPEn RATIOS
000""9 wil h Mlgh/ andwi<lIh, fromi"'} Madroom.
l)O.!eroomand /eodroom.Ond
... DEPTH
Crt(l fi119 lilt illuJiOflof a Ihlrddimtnsion inborh rOlios;
choice of /ftlf.pmirion"'901objrf. tkplh of MId.and light
ing andcolor
... SCREEN MOTION
Z..clUjmarion(moW'menrIOwtlrO and owoy f,om Ihe <omf,ol
and lareral fflOW'mtn! inbolh fOlioSI
SCREEN SIZE AND FiElD OF VIEW
Screen size and field of vie.... 3re closely relatro. On the
large movie screen, you can Snnw a relatively large vi sta
wi th agreatamountofevent detai l. "''henthesallH'scent'
is shown on tcl l'vision, howevl' r, you will nOI onl yhave
diffi cult ymakingout thesmall erevent dClails but, more
important ,you wi ll lose theaest heti c impact ofthe
This is why some firm cri tics suggest seeing a parti cular
fitm"on{hebigscreen:'
SCREEN .SIZE
Mosllel cvisionsetshavearelati velysmaUscrttn,especiall y
whencomparedwith theaveragemovie screen. To reveal
eventdetails.youmustshowthemindose-upsrat herthan
longshots. Inot nf' rwords.yourfield ofvie\vmustgener-
all y be tighter on television Ihan on the motion picture
scr\."Cn.Suchadose-upapproachnecessi tateschoosingand
emphasizing{hosedetail sthat(,.'Ontributemosteff:tively
to theoverall even!.
FIE.LD OF VIEW
Field of view ref(' rs to how wide Of how cl ose Ihe object
appearsrela tive10 thecamera,thatis,howcloseitwill ap-
peartotheviewer.Itisbasicallyo rgani 7.ed imo five .mps:
( 1) eXfreme /ollg shot (ELS), also ",lied tsU!blis IJi,rg $hol;
(2) long sho, (LS) . alsocall edft lll shot orestablishilJg SIIOI;
(3) medi,m' 5/JOI (MS),alsocaUE'd w(l ist shol; (4) close- lip
(CU); and (5) extreme close- lip (ECU). SEEUIE:D
CAMERA-+ Composition'"lieldofview
Fourotherwaysofdesignatingconventionalshot sare:
bust sllOl,\'I hich (ramesIhe subject from the upper torso
tothetopofthehead;krleesll ot, which framesthesubj t'(t
from jusl above orbelow the knees; two-S /IOl , wi th two
pl:opleorobj:tsin theframe;and IIlree-sllot, wit h three
peopleorobjc<tsinthe frame.Although mortablod::j ng
arrangement than a field of "iev>', yoo should alsokilO....
twoadditionalshots: theover-the-shouldershotand Ihe
L Fo! all (h,,"uj.SlOn of (Oft"and how lhey a ll bf
for dfliv(p;cturtcomposi tion. sHnbcll Zcul. Sighl
So""d NotiOtI. 4t hcd (Belmont.Cali f.: Thormon ....orth.
2005).PI'.'H-l94.
115
116
6.6 FIELD-Of -VIEW STEPS
The shot designations (ange
from ELS(extreme long shot)
t o f eU (extl eme
Chap t er 6 CAMERA OPERATION AND PICTURE COMPOSITION
...--
.
.. \ ....
.: "
Ex tremelong shot (EL5), long ;/101 (lSI, or fuU ;hot Medium (MS),
or 5t.lblMing
'n- -

OW -IJi! ( U)
cross-sho!. I n the over-thc-shoulder shot (DIS), the camera
looks at someone o\'er the shoulder of the
person. I n a cross-sllot (XIS), the camera looks al ternat ely
at one or the other person, With the camera-near person
completely OUI of the shot SU6.7
Of course, exactly how to frame depends
not onl y on your sensitivity to composition but also on the
director's preference.
FRAMING ASHOT: STANDARD TV
AND HDTV ASPEn RATIOS
Many high-end studio cameras, ENG/ EFP carneras, <l. nd
even some high-quality consumer camcorders have 01
switch for changing the aspect ratio from the standard
<I x 3 format to the HDTV 16 x 9. Allhough t he aspect
6.7 OTHER SHOT
DESIGNATIONS
Other common shot designa-
lions are the shot. knee
shot, two-shot, three-shot.
over-t he-shoulder and
cross-shot. Note that the bust
shot is similar to the MS ;md
that the knee shot is similar
to the lS.
,.,JJa
Bust shot
\!/\lt\'/
_l..1riI 1
---=:..: .
Thret-shOl (1 hrrt' ptfSOM Of
objet:t sln frame)
ratios of standard television and HDTV are quit e different
and requ ire different technical mani pul ations, many of
t he aesthet ic. principles of good pi cture composition ap-
pl y to both. Nevertheless, in framing effect ive shots some
aestheti c principles need to be adjusted to the speci fic
requirements of the aspect rati o. This section tak('s a closer
look at ( I ) denling with height and wid th, (2) framing
cl ose-ups, (J) headroom, (4) noseroom and leadroorn ,
and (5) closure.
DEALING WI'TH HEIGHT AND WIDTH
You will fi nd that the 4 x 3 aspect rat io is well suit ed to
frami ng l4. venical such as a high - ri se building, as
well as a horizontall y oriented vista. SEE6.8ANO 6.9 It is also
ret"tivel y easy to accommodat e a scene that has both wide
and hi gh SEE6.10
koee lhot {two per;ooS 01 objfcts
inft amel
Over-IIle-shouldel shot (01$) ClOsS-Shol: (XIS)

Secrlon 6.2 Flaming Effective Shots
6 .8 FRAMING AVERTICAl VIEW 6.9 FRAMING AHORIZONTAl VIEW 6.10 FRAMING HEIGHT
The 4 x ] aspect ra tio allows you to The 4 x ] aspect ratio readily accommo
AND WIDTH IN ASINGlE SHOT
frame a vertical !>Ceoe without havil'l9 to dat es a horizontal vhlcl.
The 4 x ] aspect ratio easIly accommo'
use extreme camera di stance or angles.
dat es both horizontal and venical vistas.
6.11 FRAMING AHORIZONTAl VIEW
IN THE HOTV ASPECT RATIO
The 16 x 9 format is ide,-I/ for framing wide horizont al vi stas.
Although the horilOntaUy strelched 16 x 9 aspect ratio
makes horilOnlalsccnes look quil e spectacul ar, il presen ts
a formidable obstacle to framing a vertical vie\.\'. SEEI. l1
You can either tilt the camera up to reveal the height of
the object or shoot from belol-.' and carll the ca mera to
make the subject fit into the diagonal screen space. SEU. U
Another freq uently used film technique for dealing with
vert ica l objects is to have other picture elements block the
sid('s of the screen and, in effect, give you a vertical aspect
rati o in which to frame the shot. SEE6.1J
F-RAMIN.G CLOSE-UPS
Close-ups (eUs) and extreme close-ups (EeUs) are com -
mon el eme tns in the vi ma! !all guage of tel evision beCaU!i e,
co mpared I-.' ilh the large motion picture scr('en, even large
television screens are rel atively st nall . The 4 x 3 as?,cl ratio
and the small screen of the standard television receiver are
6.12 FRAMING AVERTlW VIEW IN THE HOTV ASPECT RATIO
The 16 )( 9 formilt makes it quile diffi cuh 10 frame a vertiCilI
obj ect. One way to frame a tall obj ect i ~ to ~ o o t it from below
and canl the camera.
6.13 NATURAl MASKING OF THE SCREEN SIDES
IN THE HOTV ASPECT RATIO
You ( an use parIS of the ncllUral environment to bl ock the sides
of the wide 16)( 9 screen to creat e 0) vertical sp.lce in which to
fr ame the vertical object. In thi s shot the foreground buil dings
creat e a vertical aspect ratio for the t1 igh-rise building.
117
..
118 Chaprer 6 CAMERA OPERATION AND PICTURE COMPOSiTION
6.14 FRAMING A CLOSE-UP 6.15 FRAMING AN EXTREMECLOIE-UP
The nOl"mal close-up shows the head of the Inan closeup, you shouldcrop the
personand partoftheshoulders. topofthehead whi lekeepingthe upperparr
theidea lcombi nation(orcl ose-upsandextremedoseups
ofpeople's heads. SUi'.1.
As you cansee, the normaldose-up shows thecus-
tomaryheadroom and part ofthe upper body. The ECU
issomewhat trickier to frame: the top screen edge cuts
across the tOp part ofthe head,and the loweredgecuts
just below the top part ofthe shoulders. SEE6. 15
dose-ups
When you Iryto frame theSil me shot in the 'H DTV
16 x 9 aspect ratio. however. rOil are left with a great
ofleftover space on both ofthe subject's
fa ct. The close-ul> looks somewhat lost in the \", jde-
screen format,and theextremeclose-up looksas though
it is squeezed berween the topand boltomscreen
$(6.16AND 5.17 Youcansolvethisproblemrelati vely
ofthe i.... the
byincl udingsomevisualelement sin theshot that fill the
emptyspacesoneitherside. SEE6.I. Somedire-clorssi mply
ti ltthecameraorthetalentsomewhatso thattheshotoc-
cupiesmoreofthehorizontalspace.OntheothNhand,the
HDTV aspectratio lets youeasilyframe doseupsoftwo
proplefac( to-face.Suchanarrangementisquitedi fficult
inthetraditio nalforma!beC<luset hetwodialoguepart ners
mustslill1d uncomfortablyd ose toget her. SEE6."
HEADROOM
Because theedges ofthe televisionframeseem to attract
like I"halever isdose to the m,leave somespace
above people's heads- call ed It eadroom- in normal
longshot s. medium shots, and close-ups. SU6.10 Avoid
having the head "glued"10 the uvpcr edge ofthe frame.

6.16 FRAMING ACLOSE-UP IN THE HOTV ASPECT RATIO
.... (rami ....g ume inthe16x9formilt,both
sideslook
6.17 FRAMING AN EXTREME ClOSE-UP
IN THE HOTV AS PECT RATIO
Inlhe16)( 9fOlmal,theEeUofthepersonseemsoddly
squeezed berweentheupperdnd lowerscreenedges.
Sec ti on 6.2
Fram;ng Effective 5ho15
6. 18 NATURAL MASKING OF ACLOSE-UP
IN THE HOTV ASPECT RATIO
To avoid excessive empty space when framing a screen-
center d ose-up of a person in the16 )( 9 for mat, you can
mask the sides with objects from the actual environment.
I
\ (.
t -
I

6.19 FACE-TO-FACECLDSE-UPS
IN THE HOTV ASPECT RATIO
The 16 x 9 (ormat makes it relatively easy to have two
people face each other on a (loseup without havmg to
stand uncomfOrl ebly cl ose together.
6.20 NORMAL HEADROOM
Headroom cOI.lnters the ITl<Ignetic pun
of t he upper fram e. The person appeMs
comfortabfy placed ;n the frame.
6.21 TOO LITTlE HEADROOM
Wit h no, or \ 00 little, headroom, the
person looks cramped in the frame. The
head seems \0 be glued to the upper
screen edge.
SEIE6.H Because you lose a certain amount of pict ure area
in videotaping and transmi ssion, you nt't"d to leave a litt le
more headroom t han feeiscomfo rtab!e. Leaving too much
head roo m, however, is just as bad as too littl e. SEE 6.11 If
your camer;} is so equipped, you can use the (rame guide
in t he viewfinder to see the ricture area that <l ctually ap-
pears on the television screen. The he"d room r ul e appli es
equaUy to bo th aspect ratios. Em)oCAMERA-+ Compositlon-+
headroom
6.22 TOO MUCH HEADROOM
With too much headroom, the pull of the
bottom edge the piclufe bott om-
heavy end wa ngely unbalanced.
NO$EROOM AND LEA.DROOM
Somebody looking or point ing in a part ic ul ar direction
other Ihan into Ihe camera creates ol screen ro rce
call ed an index vector. Yo u must com pen sate for this fo rce
by leaving some space in from of the ve<:! or. When some-
one: looks or points screen Jeft or sc reen-right , the index
vector needs to be wit h Ifoserootn. A lack o f
noseroom or leadroa m makes Ihe pict ure look oddly out
119
T
I
120 Chapt e r 6
6. 23 PROPER NOSEROOM
To <lbsorb the force of the strong index vector created by the
person's looking toward the screen edge, you need to leave
some noSeroam.
- . -
- - 'Wa
I"


'..

'*f' ..
.. '-
6.25 PROPER lEADROOM
Assumi ng that the cyclist is actually moving, his mOlioo vector
is properly neut ralized by the screen space in front of him. We
liketo wherethepersonisheading. 001wherehe been.
Note that ast ill picture unno! show a motion vector. What you
see hereisan index vector.
of balance; the person set>ms to be blocked by Ihe scre-en
edge. SU: loll 6.14
Screen mot ion creates a molion lIeerc,. \Vhen someone
or something moves in a screen-ri ght or screell -Ieft direc-
ti on, you muslleave Itadraom to balance the force of the
motion veCIOr. SEE6..lS Even ina still photo you can sthat
wi thout proper leadroon! the cycl ist see ms to becrashing
into right screen border. SlE6..l6 To avoid such crashes, yo u
must always lead tbe moving object I..)t h the camera rather
than foUow it. After all , I"e want to see where the moving
objE'<:t is going, not where it has been. Notf' , however, Ihat
nei ther of the leadroom examples here repre5f' nt actua l
moti on vectors because they afe still pictures; because they
CAMERA OPERATION AND PICTURE COMPOSITION
6. 24 LACK Of NOSEROOM
Without noseroom the seems 10 be blocked by the
screen edge, and the pi cture looks unbalanced,
--

..
.,'
- -'
,
i .--....=
. .'
[J
,, --
( " ,'\ -:---....,
l '
J ft . :"'- " ..
1-
. .
6.26 LACKOf LEADROOM
Without leadroom the moving person or object to be
hindered or stopped by ' he screen edge.
don', move but simply point in a specificdireclion, they are
index vectors. teadroom
CLOSURE
Closure. short for pj),cllOlogrcal closure. is the process by
whi ch our minds fill in information Ihat we cannol aCl u-
all y Set' on-screen. Take a look around you: you see only
parts of the objects that li e in your field of vision. There is
no way you (a n ever see an object in it s entirety unl ess the
object moves around you or ro u move around the objecl.
Through experience' we have learned 10 mentall y suppl r the
missing paris, all ows us to perceive d whole I"orld
Sec Cion 6. 2 Fr aming Effec l ive ShOls
6.27 FACIlITATING ClOSURE
BEYONO THE FRAME
In this shot we perceive the whole figure
of the person and her guitar although we
~ only pan of them. This shot gives liS
suffi cient dues to proj ect the fi gure beyond
the frame and apply psychological dosure
in the off- screen space.
6.28 TRIANGLE CLOSURE
We tend to organize things into easil y (e<ognizable
patt erns. Thi s group of simila( objects farms a triangle.
6.29 SEMICIRClE CLO SURE
These objecu organize the screen sp<tCe into
a semkirde.
although we aduaUy~ o nl y a fraction of it. Be<:au.se cIose- the figure beyond thl: screen edges ilnd perceive II sensible
ups usually show only pan of an object, your psychological whole. SEU .21 To organize the visual world around us, we
closure mechanism must work overti me. al so aut omaticall y group things together so Ihat theyfurm
a se nsible pattern. 5U6.lIAND6.29 You woul d be hard-
Positivedolure To f3ci litale closure you should always pressed Ilor 10 perceive figu re 6.28 as a triangul ar pattern
frame 3 shot in such a way that Ihe viewer can easilyexlend and figure 6.29 as a semicircl e.
121
122 Chapter 6 CAMERA OPERATION ANO PICTURE COMPOSITION
6.30 UNDESIRABLE CLOSURE WITHIN THE fRAME
This shot is badly framed blKause we apply closure within
the frame wi thout projecting the rest of the pei"son into
off-screen space.
OFF-SCREEN SPAn
In this ECU there afe enough on-screen d ues to project ttle
rest of the person's head and body inl O off'S(rl?e(l space.
6.32 ILLOGICAlCLOSURE
Although W ~ know benet. we perceive this reponer as
balancing 3 street ~ i n on his head.
thus applying cklsur e to the total figure.
Negati vII closure This closure automation can <1lso
work agair/ 5tgood composition. For exampl e, when fram
ing a dose-up of a face without giving prominent visual
clues to help viewers project the image beyond the screen
edges, the head seems oddl)' cut off from its body. SEf:6.30
You t herefore need \0 provide enough vi5u:lJ dues to Ie-old
the viewers' eyes beyond the frame so they cail apply
closure and perceive the complete person in off-screen
space. Sl1E6.1t
Our mechanism to o rganize our environment into
simple patlt'rns is so strong thaI it often works agai nst
reason. In the excitement of getting a good story and an
interesting shot, it is easy to forget to look behind the objeCl
of attention, bu t it is ohen the background that spoils a
good picture composit ion. SlE1E6.ll As you can sce in figure
6.32, we tend to perceive the background as part oflhe fore-
ground. The reponer seems to be balanci ng a street sign

Stctlon 6.2
onhis head.Mostoftenyoumustguard againstcomposi-
tionswherein backgroundobjectsseem tobegrowingout
ofthe foregroundpeople'sheads. Aslightlytilted horizon
lineisanothercommoncompositionalproblem.OnceyOll
ateawareofthe background,it is rel ativel yeasy 10 avoid
illogicalclosure. closure

DEPTH
Because the tel evision sacen is a flat , two-dimensional
piece of glass upon which the image appears, we must
create the illusion ofa third di mension. Fotlunalcly, the
principlesforcreating the illusionofdep(hon a fwo- di -
mensi onalsurface have been ampl yexpl ored and eSlab-
lished by painters and photographers over lheyea rs. For
creatingandintensifyingtheillusionof depthont hemost
basiclevel, try10 establishadeardivisionoftheimage inl O
foreground, middleground, and background.To do Ihis
you need toconsiderthefoll owing (actors:
Choiceoffells.Awi de-angle lOom positionexagger-
at es depth.Narrow angleposit ionsred\Ke theillu-
sionofa third dimension.
Posi liofl illgofobjeas. Thezaxis-Ihelinefepre
sentjogane.xtensionofthelensfrom the ca merato
thehori zon-ha:. significalll bearingonperceiving
depl h.Anyt hingpositioned al ong lhezaxi srel a1.ive
to thecamerawill createtheillusionof depth.
Dcplhoffi eld. A slightl yshall owdepthoffield is
usuallymoreeffecti vetodefinedepthbecausethe
in-focusforeground object is more setoff
against theoutof-focusbackground.
Lighti ngCHId color.AbriglHl ylightedobjectwith.
strong(highlysaturat ed)colorseemscloser than
onethat isdiml yli ghted andhaswashed-out (low-
saturation)colors. stu.u B!Z!>CAMERAOO) Picture
deplh-+ zaxi s!tenschoice !perspectiveanddi st ortion
SCREEN MOTION
Contrary 10 the painter or the stin pholOgraphe(, \"ho
deal s wilh the of static images within th...
picturefr ame, Ihetelevisioncameraoperatormustalmost
alwayscope with framin gimagesin moti on. Composing
Framing Effective Shots 123
6.33 FOREGROUND, MIDDlEGROUND, AND BACKGROUND
Ingefl eral, trytodivide thez-a"is(depthdimension) intoa
prominent (deadvee).middleground(pinetrees).
andbackground(skil un). Such11 dil/i sionhetpscrealethe
ofscreendepth.
movingimagesrequiresquickreacti onsaod fullattent ion
throughout the tdecaSLThestudyof the moving image
isan import ant part oflearni ngthe fi ne<HI oftel evision
and film produ(li on; here we look at some ofits most
ba. sicprinciples.
\%en fr aming for lhe tradit ional <I x 3 aspect rati o
and slllall screen, movementsalongthe z-axis(Io,",'ardor
awayfrom thecamera)arestronger thananyt ypeoflater,,1
motion (from onescreent'dgeto theother).
they are also the easi est to frame: yOll si mply keep the
cameraassteadyas possibleand!mlkesurethat themov-
ing objlXt does nOl go out offocus as il approaches the
camera. Rememberthat awide-;mgle lOomlensposition
givestheimpressionofacceleralcdmotionalongthez-axis,
whereas a narrow-angleposition slowsz axismotion for
lheviewer.
When working in the 16 x 9 HDTV u5pecI mtio,
however. latera! movement takes 011 morc
Al thoughIhestret ched.screcnwidthgivesyO\!ali ll k man:
breathi ngroom,youmuststill hal"{'properIcadroOIlldur-
ingtneentirepan.Asmentioned,lhevi ewerwants toknow
wherethcobject isgoing,notwhere it has been .
Ifyou areall J close-upandthl'subjectshift sbackand
forth,don'tt;ylofOUO,",' e.1Wmjtlorwi ggle.You might run
the ri skof making viewersseasick;at l nevcryJe3st, they
will notbeableloconceni tate onthesubject forverylong.
Keeptheca mefa pomtedatthemajoract ioil areaorlOom
out(orpull back)toasli ghtl ywidushoL

124 Chapter 6 CAMERA OPERATION AND PICTURE COMPOSITION
6.34 TWO PERSONS SAYING
If in a two-shot the people walk away from each other toward
the screen edgE'S, don't try \0 keep both people in the shot.
\Vhen one of the persons in a fwa-shot moves OUI of
the frame, do not try to keep both people in the frame-
stay ....,llh jU5t one of them. 5[(6.34 ,IIN06.35
SCleen mot lon.o) Iialeral l close-ups
Ji even after extensive rehearsals you fi nd that ;n an
over-the-shoulder shot the person closer 10 the camera
blocks rhe other person, who is fart her away from the
camera, you can solve the problem by trucking or arcing
to the ri ght or left. 56.]6""OU7
6.35 CAMERA STAYS WITH ONE OF THEM
You must decide which per son you will keep in the frame and
let the other move off-carner,.
Whatever you do to organize screen motion, do it
smoothly. to move thccamera as little as possible unless
you need to follow a moving object or dramatize a ShOT
through motion. IJecause you can move a camcorder so
easily, it may be tempting to "animate" a basically stati c
scene by moving the camera with great fervor. Don't do
ie Excessive camera motion is a telltale sign of an amateur
camer<loperatOr.
6.36 CAMERA FAR PERSON BLOCKED
In an over- the-shoulder you milY find that the "Imera-
near person bloch the camera-far person.
6.37 CAMERA TRUCKS TO CORRECT
To correct lhl5 over-tnc-shoulder shot so tha I the camera-far
pem)(l can be seen, simply truck Of 11K tnt' camera to the right.
Section 6.2
M.; . _
Becausethetelevi sion screensizeisrelat ively small,we use
mOleclose-upsandmediumshoes thanlongshots.When
shootinglofwide-aspe<t -fatio,large-screenHOTV.youcan
use moremedium,hotsand longshots.
FieldofviewreferstohowmuchofaKeneyoushowinIhe
viewfinder,thaIis.howclosetheobjectappearsrelaliveto
theviewer.Thefieldof view is intofive steps:ESL
(extremelongshotorestablishingshot), L5 (long shot,or
funshotl. M5{mediumshot,orwaiSIshOl }.CU
and ECU(exuemeclose-up).
Alt ernateshotdesignationsincludethebustshottheknee
shot.t hetwo-shol.the,tu('e-shol.theoveHhe-shoulder
shot(0/5). andthe(fou -shot(XI S).
In organizingthescreenalea(orthetraditional4x 3ilnd
theHOTV 16x9aspectratios, themajorconsiderat ions
are:dealingwithheightandWidth.fril mingclose-ups,
headroom,noseroomandleildroom, andcl osure.
Inorganizingscreendepth,asimpleandeffe<:llvewayis10
adr Slrn(lforeground,middlegroundandback-
ground.
In creatingtheIll usionofathirddimension(depth).you
needtoconsiderthechoiceoflens.positioni ng01 obje<lS,
depthoffi eld,andligh\ingandcolol.
Inorganizingscreenmotionfor the4x3aspectratio,
z-axismotion(movement towardoraway fromthecamera)
Is thanlateralmovement(fromonesideofthe
totheother).Whenworking in the16x 9aspeCt
ra(i o,lateralmovementbecomesmore prominent.
Framing Effective Shots
Fa.................:..:]
Fo(yO\Jr reference,or10tr ackyourwork. eachVideo-
Lab programcueinthischapterislistedherewithilS
correspondingpagenumber.
B!lD nel dofview 115
fl!IDo CAMERA'7Composition-T close-ups 110
EE:D headroom ".
m:D Composition-T leadroom ".
B!ID CAMERA'7 closure 123
m!') PrCWfedepth-Tl-alosI
lenschoiceI and distortion
12'
El!ID Screen z-axisI
lateralIclose-ups
'2'
125