Camera Framming

Cameras
Framing &
Composition
Ly Khun hnh & B cc
1 Friday, August 24, 2012
Basic Purpose of
Framing Shots
Mc ch c bn ca vic ly khun hnh cho cc cnh quay
1. Show images as
clearly as possible.
1. Cho thy hnh nh r nt nht c th
2. Present them so that
they convey meaning
and energy.
2. Trnh by hnh nh sao cho c th truyn ti c ngha v nng lng
3. Enhancing the story
visual storytelling.
3. Lm cho cu chuyn hay hn truyn ti ni dung bng hnh nh
Good writers, producers, directors and editors know
the purpose of each and every shot!
Nhng ngi bin tp, ch nhim, o din v dng phim gii u bit mc ch ca tng cnh quay
Every Shot Must Have a REASON!!!!
Mi cnh quay Cn C L DO!!!
Screen size (aspect ratio) & eld of view (wide/narrow) = closely related.
Kch thc mn hnh (t l khung hnh) & trng nhn (rng/hp) = lin quan mt thit
On a large movie screen (16x9) you can show a large vista with a great
amount of event detail.
mn nh rng (16x9), bn c th cho thy vin cnh vi rt nhiu chi tit s kin.
When the same scene is shown on TV, you lose detail of the smaller
details and you lose aesthetic IMPACT of shot so be SURE to get
enough close-ups to tell your story properly!
Khi cng mt cnh c chiu trn TV, bn s mt chi tit ca cc chi tit nh hn v bn b mt i
nhng HIU QU thm m ca cnh quay Do , hy CHC CHN rng bn tip cn gn
truyn ti ni dung cu chuyn mt cch ph hp!
Aspect Ratio
T l khung hnh
Field of View:
Trng nhn
how far or close
the object appears
relative to the
camera
Cho bit vt th gn hoc xa bao nhiu so vi my quay.
5 Shot Categories:
5 C cnh
1. Extreme Long Shot
1. Vin cnh
2. Long Shot
2. Ton cnh
3. Medium Shot
3. Trung cnh
4. Close-Up or Tight Shot
4. Cn cnh
5. Extreme Close-Up
5. c t
Establishing Shot or
Extreme Long Shot
(ELS)
Cnh quay gii thiu bi cnh hay Vin cnh (ELS)
Long Shot (LS)
Ton cnh (LS)
Medium Shot (MS)
Trung cnh (MS)
Close-up (CU)
c t (CU)
Extreme Close Up (ECU)
c t (ECU)
Camera Framing
Ly khun hnh
Two Shot: two people in the shot.

Cnh quay hai: hai ngi trong cnh quay
Over the shoulder shot (O/S): The
camera looks at someone over the
shoulder of the camera-near person.
Quay qua vai (O/S): My quay quay mt ngi qua vai ca mt ngi gn my quay
Cross Shot (X/S): The camera looks
directly at the person with the
camera-near person out of the shot.
Quay cho (X/S): My quay quay trc tip mt ngi m b qua ngi gn my quay
16x9 Aspect Ratio
T l khung hnh 16x9
16x9 aspect ratios make horizontal scenes look
spectacular capturing an extremely wide vista.
T l khung hnh 16x9 khin cho cc cnh quay ng chn tri p ngon mc cho thy trng nhn
cc k rng ln
It is more challenging with 16x9 to accurately frame a
vertical scene, like a tall building.
Vi khung hnh 16x9, rt kh ly khun hnh chnh xc cho nhng cnh theo chiu thng ng, v d
nh ta nh cao tng
Head Room
Khong khng trn u
Too Much Head Room.
Tha khong khng trn u
Proper Head Room
for a CU or MS.
Khong khng trn u va phi cho cn cnh hoc c t

Noseroom
Khong khng trc mi
No Noseroom
Khng c khong khng trc mi
This makes the picture
look oddly out of balance
the person seems to be
blocked by the screens
edge
iu ny khin cho hnh nh trng k quc v mt cn i con ngi dng nh b b buc bi ra ca
mn hnh
The picture is unbalanced.
Hnh nh khng cn i
Noseroom
Khong khng trc mi
Proper Nose
Room
Khong khng trc mi va phi
Leadroom
Khong khng trc mt
No Leadroom
Khng c khong khng trc mt

Without leadroom, the
moving person or object
seems to be hindered or
stopped by the screen edge.
Khng c khong khng trc mt, ngi hoc vt th ang chuyn ng c v nh b ngn cn hoc b
chn li bi ra mn hnh
We like to see where the
person is heading, not where
she has been.
Chng ta u thch xem ni m nhn vt ang ti, ch khng phi l ni nhn vt tng qua.
Graphic Vector: Objects in frame lead the eye
Vector hnh nh: Cc vt th trong khun hnh dn hng mt nhn
Horizontal images
(ocean view with waves
and horizon) present a
calm, peaceful and/or
stable perception.
Cc hnh nh ng chn tri (cnh i dng vi nhng ln sng v chn tri) gi cm nhn yn bnh,
thanh tnh v/hoc n nh.
Vertical images (tall
buildings) present
energy, excitement,
and/or instability.
Cc hnh nh theo chiu thng ng (cc ta nh cao tng) gi t s nng ng, si ng v/hoc s bt
n.
Closure
Gii hn khun hnh
In this CU, there are enough
on-screen clues to project the
rest of the persons head and
body into off-screen space,
thus applying closure to the
total gure.
Trong cnh cn ny, c y cc chng c trong khun hnh cho thy phn cn li ca u v c th
ca nhn vt ang ngoi khun hnh, v th c th p dng cch ly khun hnh ny cho ton b c th
In the rule of thirds, the total image area is divided vertically and
horizontally into three equal sections.
Trong quy tc 1/3, ton b khu vc hnh nh c chia lm 3 phn bng nhau theo c chiu dc v chiu
ngang
The rule of thirds is used by artists of all types, from photographers,
painters to graphic artists. The rule of thirds goes way back.
Painters have beneted from this rule since the time when ancient
Greek artists discovered it.
Quy tc 1/3 c tt c cc ngh s p dung, t nhip nh gia, ha s n ngh s ha. Quy tc 1/3
c t rt xa xa. Cc ha s hng li t quy tc ny k t khi cc ngh s Hy Lp c i pht hin ra.
Rule of Thirds
Quy tc 1/3
Rule of Thirds
Quy tc 1/3
Rule of Thirds

Rule of Thirds
Quy tc 1/3
Rule of Thirds
Quy tc 1/3
Horizon lines should be either in the upper third or the
lower third of the frame.
ng chn tri nn 1/3 pha trn hoc 1/3 pha di khun hnh
Vertical lines shouldn't divide frame into two equal parts.
Cc ng thng ng khng nn chia khun hnh thnh hai phn bng nhau.
Rule of Thirds
Quy tc 1/3
Number of Objects
S lng cc vt th
Control the number of prime
objects in the scene.
Kim sot s lng ca cc vt th chnh trong cnh
Generally, an odd-number of
primary objects provides
stronger composition than an
even number.
Thng thng, s vt th chnh l s l thng c b cc mnh hn s chn.
Number of Objects
S lng cc vt th
Note on the left how the two
matryoshka dolls seem to
divide the composition.
hnh nh ny hai con bp b Nga matryoshka dng nh chia i b cc
When a third object is added,
and space is used, the
composition improves.
Khi vt th th ba c thm vo, v s dng c khong trng, b cc p hn.
Number of Objects
S lng cc vt th
In this illustration, there are
two prime objects, but the
composition has "cohesion"
because the subjects are
looking at each other.
Trong hnh nh minh ha ny, c hai ch th chnh, nhng b cc c s gn kt bi hai ch th nhn
vo nhau
Consider how much
different this scene would
be if the two subjects were
simply looking at the
camera.
Th hnh dung xem cnh ny s khc n u nu hai nhn vt ch n gin nhn vo my quay
Movement and Meaning

S chuyn ng v ngha
Where action comes FROM
and moves TO is significant:
Khi hnh ng i T v chuyn ng N c ngha l
1. Movement from dark areas
to light areas can symbolize
liberation or emotional uplift.
1. Chuyn ng t vng ti n vng sng c th tng trng cho s gii phng v thng hoa cm xc.
2. Upward motion - even
something as simple as an
individual getting out of a chair
- catches attention because it
suggests progress or
advancement.
2. Chuyn ng theo chiu i ln k c ng tc n gi l mt ngi dng ln khi chic gh - cng
thu ht s ch bi n gi v s tin trin hoc tin b.
3. Downward motion often
connotes the opposite - for
example, a man collapsing
into an overstuffed chair.
3. Chuyn ng theo chiu i xung v d, mt ngi n ng phch ngi xung gh m.
Movement and Meaning
Chuyn ng v ngha
Left-to-right movement is generally more engaging
than right-to-left movement (perhaps because
Westerners read left-to-right).

Chuyn ng t tri-sang-phi thng c s kt ni tt hn l chuyn ng t phi-sang-tri (c th l do
cch c ch ca ngi phng Ty l t tri-sang-phi)

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Cameras

Two Shot: two people in the shot.

14 Friday, August 24, 2012

Khng c khong khng trc mt

22 Friday, August 24, 2012

Movement and Meaning

Westerners read left-to-right).

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