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Look at these thumbnails by David Gemmill, observe how each slide portrays an action that illustrates movement and a desired story but it also ensures your eye focuses on an intended location. This is how we use rules of composition when creating a visual message.
Assignment # 4 - MOVIE SEQUENCE
You are going to demonstrate an understanding of the design phase of film/video production, through the development of a storyboard based on a 1-minute continuous sequence from an age appropriate favourite movie or web series. You must a link to the clip or video in your final document (a link to the video, on YouTube or another site accessible from the school computers).
Your storyboard must include the following information:
• Visual Image (hand drawn/or digital version)
• Shot description, including: o Shot Type (medium close-up, etc.) o Angle Type (low, etc.) o Camera movement (pan, dolly, etc.)
• Sound Design (Music, SFX)
• Dialogue (Breakdown of what is being said).
Assignment #4
1) Download a copy of "Assignment #4-MOVIE SEQUENCE"
2) Include a copy/link to your selected video.
3) Take a photo to digitize your written storyboard.
4) Upload your final product to the TEAM assignment folder.
5) Done! Enjoy.
Your storyboard must include the following information:
• Visual Image (hand drawn/or digital version)
• Shot description, including: o Shot Type (medium close-up, etc.) o Angle Type (low, etc.) o Camera movement (pan, dolly, etc.)
• Sound Design (Music, SFX)
• Dialogue (Breakdown of what is being said).
Assignment #4
1) Download a copy of "Assignment #4-MOVIE SEQUENCE"
2) Include a copy/link to your selected video.
3) Take a photo to digitize your written storyboard.
4) Upload your final product to the TEAM assignment folder.
5) Done! Enjoy.
Assignment - MOVIE SEQUENCE
You are going to create your a storyboard, script and sound FX outline from your favourite movie or web series.
Understanding Camera Angles
he Close-UpWhen the emotion or the reaction of the character is especially important , it's time to cut to a close-up. A close-up can best be defined as a head-and-shoulders shot There's no real room for the character to move, so the audience can focus on the expressions and emotions of the characters. The way characters act and react is always very important to understanding the story.
A common mistake of less experienced storyboard artists is framing their shots too tightly. Even a close-up should have a bit of breathing room, unless it is the rare occasion of an extreme close-up. This also has to do with pacing... it's best to save those high-impact shots were the moments in the story that have the greatest impact. If a storyboard artist were to fill their board from start to finish with lots of crazy angles, fancy camera moves and extreme close-ups, it would leave no room for the artist to show any real impact when it's really needed. It's all about contrast.
The Pan
This term is short for "Panorama Shot," a camera move in which we move the viewer from left to right, or right to left, or vertically or diagonally.Here are samples of various camera move combinations and how to display them in your boards.
The Cut
The general principle to use is to always try and get as close as possible to show whatever is most important at that moment, while still leaving enough room for any actions that might occur in that scene.
The general principle to use is to always try and get as close as possible to show whatever is most important at that moment, while still leaving enough room for any actions that might occur in that scene.
Source: http://cartoonsnap.com/blogspot/images/WhentoCUTStoryboardCommentaryVideo3_8B5E/Hey_Arnold_SallysCometUTurn.jpg
That may mean that the shot is very wide -- for example: if I need to show somebody driving a car around the corner, the shot needs to be wide enough to see all of that action. If I'm trying to show a guy sitting in a restaurant drinking a cup of coffee, I would want the framing to include just the guy, the table, and the cup of coffee.
Source: http://storyboardsecrets.com/blog/wp-content/uploads/2010/06/Hey_Arnold_SallysCometbroadcast.jpg
Cut from Gerald talking on a radio microphone to the broadcast tower, spreading his message across town.
Factors to always remember when you are first planning your shots:
Subject Placement
To hold the attention of the viewer, give your pictures a bold and dramatic arrangement. Avoid putting your subject directly in the center of the picture unless you are striving for a formal arrangement in which the subject firmly commands attention.
Move it from the middle:
One of the most common mistakes of amateur photographers is placing the subject smack dab in the middle of the frame. This makes a picture more static and less interesting. That's why one of the most popular guidelines in photography, painting and cinematography is the Rule of Thirds.
Imagine a tic-tac-toe board over your viewfinder and position the subject along one of the lines or at one of the intersections. If your subject fills most of the frame, position a focal point at one of the intersections.
With landscapes, keep the horizon along the lower third to give a feeling of spaciousness. Position the horizon along the upper third to give a feeling of nearness or intimacy.
Subject Placement
To hold the attention of the viewer, give your pictures a bold and dramatic arrangement. Avoid putting your subject directly in the center of the picture unless you are striving for a formal arrangement in which the subject firmly commands attention.
Move it from the middle:
One of the most common mistakes of amateur photographers is placing the subject smack dab in the middle of the frame. This makes a picture more static and less interesting. That's why one of the most popular guidelines in photography, painting and cinematography is the Rule of Thirds.
Imagine a tic-tac-toe board over your viewfinder and position the subject along one of the lines or at one of the intersections. If your subject fills most of the frame, position a focal point at one of the intersections.
With landscapes, keep the horizon along the lower third to give a feeling of spaciousness. Position the horizon along the upper third to give a feeling of nearness or intimacy.
Source: http://3.bp.blogspot.com/_ZjegWyumtIU/ShsljoBr9yI/AAAAAAAAMw0/U3V6udTNwbc/s1600-h/img_movemiddle_1.jpg
Lines That Lead
Lines are everywhere around us. In people, trees, walls, shadows-you just have to look for them. These natural lines can strengthen composition by leading the viewer's eyes toward your subject. Diagonal lines can add energy. Curved lines can add soft elegance. Using a road or path as a leading line can add depth.
For Converging Lines: Interest at the point of convergence is the purpose, experiment with the positioning of your subject and your point of view to create a center of focus.
Lines are everywhere around us. In people, trees, walls, shadows-you just have to look for them. These natural lines can strengthen composition by leading the viewer's eyes toward your subject. Diagonal lines can add energy. Curved lines can add soft elegance. Using a road or path as a leading line can add depth.
For Converging Lines: Interest at the point of convergence is the purpose, experiment with the positioning of your subject and your point of view to create a center of focus.
Source: http://www.flickr.com/photos/vividiti/2177749598/
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Source: http://digital-photography-school.com/wp-content/uploads/2007/02/lines-converging1.jpg
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Create Depth
Framing your subject with elements in the foreground can also add scale and depth to pictures. Overhanging tree branches, doorways, anything that covers at least two sides of the photo can give a three-dimensional effect that invites viewers into the image.
Framing your subject with elements in the foreground can also add scale and depth to pictures. Overhanging tree branches, doorways, anything that covers at least two sides of the photo can give a three-dimensional effect that invites viewers into the image.
Source: http://3.bp.blogspot.com/_ZjegWyumtIU/Shsn98TyivI/AAAAAAAAMx8/m7PxZ6ZHo5Y/s1600-h/img_circle_plane.jpg
Experiment with different angles
Eye level is great for a lot of shots. But if you want more from your photos, you have to explore. Get close and fill the frame. Crouch down and shoot up at your subject or shoot along the floor. Get up on a chair or table and shoot from above. Just be careful or you might be icing your ankle while viewing the results.
Open space
When a person moves across your camera's field of view, the final image usually has much more impact when the subject is off-center. Leave the open space in the direction in which the subject is headed. Similarly, if a subject is looking off to the side, it's best to leave more space in that direction.
Eye level is great for a lot of shots. But if you want more from your photos, you have to explore. Get close and fill the frame. Crouch down and shoot up at your subject or shoot along the floor. Get up on a chair or table and shoot from above. Just be careful or you might be icing your ankle while viewing the results.
Open space
When a person moves across your camera's field of view, the final image usually has much more impact when the subject is off-center. Leave the open space in the direction in which the subject is headed. Similarly, if a subject is looking off to the side, it's best to leave more space in that direction.
Source: http://1.bp.blogspot.com/_ZjegWyumtIU/ShsmNllFA0I/AAAAAAAAMxU/nd3zst0Vf8s/s1600-h/img_focus_on_good.jpg
Rule of Thirds
Source: http://halcyonrealms.com/blogpics/702.jpg
In simple terms, the Rules of Thirds states that there are certain "hotspots" - areas of intensity that exist within any given image, and if one were to align the subject within the range of influence of these hotspots, it will make for a more energetic and interesting composition. The image above illustrates the rule; the 4 "hotspots" where the red lines intersect, and where Morgan Freeman stands. The intensity of the shot is further increased by a small depth of view and the dynamic, diagonal lines that the fluroscent lights form.