4 Introduction to Framing & Composition
As with photography, in videography there are some basic principles and conventions in framing and composition. Where the two crafts differ is in the area of movement. Whilst photographers will frame some pictures to indicate movement, video is a moving medium so has to allow for the subjects to move within the frame and, in some instances, to move the camera’s point of view within the same shot. However, before we move on to detailing any rules of framing and composition, you must remember that videography is an art form, and pleasing shots can also be obtained by ignoring these rules – but the basic rules and conventions should be learned, understood and mastered before they can be broken.
4.1 Rule of Thirds
The Rule of Thirds is the basis of aesthetically framing both still and moving subjects. Essentially, the Rule of Thirds works by dividing the screen into nine equal parts with two-equally spaced horizontal lines and two equally-spaced vertical lines. These lines, and the four points where these lines intersect, are then used to line-up features of subjects or scenes being filmed.
When filming landscapes, either the top or bottom ‘thirds’ line should be used to line up the horizon – depending on which feature of the landscape you are trying to highlight. The reason for aligning subjects to the thirds line as opposed to a central line is that it provides the viewer with foreground information, which in turn gives them a sense of perspective.
The top thirds line should also be used when filming people where, regardless of the shot size, their eyes should always be aligned with the top thirds line.
The vertical thirds lines are used as framing points for subjects which are moving – such as if you were filming someone walking from left to right and tracking their movement. In this situation, framing them so that their back is aligned on the left-hand vertical thirds line (with their eyes on the top horizontal line) will give the viewer a heightened sense of direction. It will also tell the viewer that the area of action is in front of the walker. If you framed them to the center or even more extremely, to the right vertical thirds line, then you will be implying to your audience that something was going to come into shot behind the subject.
The unoccupied part of the frame is referred to as the ‘walking room’ or ‘looking room’, and gives the viewer a sense of the line of action. This is also employed when filming an interview whereby each participant is framed with opposing looking room to demonstrate their position in relation to each other.
4.2 Fore and Background Information
As video is a two-dimensional medium, videographers should also use every means possible in their framing to help add the missing third dimension to images. This is achieved by ensuring that the shot includes either foreground or background information (or both) so that the viewer can place the subject in the third dimension and get a sense of perspective from other items within the frame.
4.3 Headroom
Mostly, videographers will use what is called the ‘Eye Level’ angle of filming. This positions the camera lens and plane of filming at the height that a human would normally view the scene. When filming standing characters, or general scenery, the camera should be set about five to six feet from the ground. When filming seated characters, the height of the camera should be lowered to around three to four feet, and so be level with their eye line. However, a variety of camera angles can be used but always be aware of the emotion or effect these angles will have on the viewer – they should never be used without due consideration. In each of the following examples, the more severe the angle being used the greater the given effect will be on the viewer.
4.4 Camera Angles
Mostly, videographers will use what is called the ‘Eye Level’ angle of filming. This positions the camera lens and plane of filming at the height that a human would normally view the scene. When filming standing characters, or general scenery, the camera should be set about five to six feet from the ground. When filming seated characters, the height of the camera should be lowered to around three to four feet, and so be level with their eye line. However, a variety of camera angles can be used but always be aware of the emotion or effect these angles will have on the viewer – they should never be used without due consideration. In each of the following examples, the more severe the angle being used the greater the given effect will be on the viewer.
4.4.1 High Angle (Dominant)
Any shot giving the impression of looking down on the subject is a High Angle shot. This can range from just a foot or so above eye line; to what is referred to as a Birds Eye shot which looks down on the subject. The result of any High Angle shot is to demonstrate a character’s relationship, or the viewer’s relationship, with the subject. Looking down on the subject will make it appear smaller, less significant or less imposing.
4.4.2 Low Angle (Submissive)
The complete opposite to the High Angle shot – but can also give the audience a sense of confusion. With little background information (as in extreme cases it will be just sky or ceiling) it will act to disorientate the viewer.
4.4.3 Oblique / Canted Angle / Dutch Tilt
This is generally an effects shot, where the camera is placed at an obvious angle to the subject’s level plane. It is especially effective for POV (Point-of-View) shots where you want to show how characters view other characters or features within a scene. It can also be used for abstract compositions and to add drama.
4.5 Shot sizes
Shots sizes are classified by the amount of a person or subject that can be seen in the picture, and understanding the terminology is essential if you wish to discuss your ideas with other video professionals. The following examples are based on basic standing interview framing. As a general rule, subjects should not be ‘cut off’ by the frame exactly at joints of the body (knees, waist, elbows, neck, etc). Ensure the cut-off is either slightly above or below a ‘joint’.
4.5.1 Very Long Shot (VLS) / Wide Shot (WS)
The Very Long Shot is, as the name implies, even further out than the Long Shot (see below).
4.5.2 Long Shot (LS)
The Long Shot covers the whole height of a person and also gives viewers a chance to see something of the background.
4.5.3 Medium Long Shot (MLS)
The Medium Long Shot cuts the body at about knee level and is sometimes called a ‘Knee Shot’
4.5.4 Mid Shot (MS)
The Mid Shot cuts just below the waist line. Commonly used for introductory or establishing shots in interviews.
4.5.5 Medium Close Up (MCU)
The Medium Close Up cuts between the waist and nipples. This is the standard shot size for interviews.
4.5.6 Close Up (CU)
The Close Up cuts at the nipples or slightly above.
4.5.7 Big Close Up (BCU)
The Big Close Up is essentially a very close shot of the eye line and is normally only found in drama productions.
4.5.6 Crossing the Line (Line of Action)
Almost every scene will have what is called a ‘Line of Action’ which is essentially the direction of action between two subjects in the frame. In a two-person interview situation this line will be directly between the two people, and can be visualised by imagining a line drawn from face to face. To enable the viewer to locate characters within space, multiple camera positions should always be placed on the same side of that line of action.
In the interview scenario, character ‘A’ facing from screen left to right should be matched to character ‘B’ who is facing from screen right to left. This helps establish to the viewer that character ‘A’ is talking to character ‘B’ and where they are positioned in relation to each other.
You should also never cross the line when filming sports events such as football. In this situation the line of action runs between the goal posts. The cameras should be positioned on the same side of the pitch so that the viewer can appreciate the direction of play as you cut from one camera to another. However, in some situations where a replay of close detail of the action is required, a camera placed on the opposing side of the pitch is often used but with a caption telling the viewer that this was filmed using a ‘Reverse Angle’.