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by: Ginikachi Anosike


Marketplace > University of Connecticut > > Composition_and_Framing pdf
Ginikachi Anosike

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About this Document

These notes cover the first two classes of the course and will be on the mid-term.
Class Notes
frames, composition
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This 5 page Class Notes was uploaded by Ginikachi Anosike on Thursday September 22, 2016. The Class Notes belongs to at University of Connecticut taught by in Fall 2016. Since its upload, it has received 4 views.


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Date Created: 09/22/16
Drama 1110: Film Composition and Framing- Sept. 2-5 2016 th Prof: Andrew Scott UConn Hartford Campus Persistence of vision  The process of the way our eyes and brains are connected. The brain retains the image longer than the eye records it. Phi Phenomenon  Images presented in rapid succession are perceived as fluent movement. Critical Flicker Fusion  How fast do images have to move to get rid of the black flickers o At 12fps flickers start to be removed o At 46fps flickers are almost completely removed. Its removed to the point where you can't take notice to it. o The faster the frame is moving the more your brain registers it as a single image How do movies tell their story?  Shot - a single uninterrupted run of the camera.  Drama - the mode of expression; things are being enacted rather than being  Films feed on the cultural cues of the culture it’s made in. when it comes to movies that are sensational internationally it is because the cues in the movie were relatable by all the viewers around the world.  Willing suspension of disbelief : o As an audience we are willing to go along with the illusion of movies because we willingly want to live in that illusion.  The suspension of our mind telling us that what we are seeing is not real.  Movies o Plot o Core idea o Narrative o Editing o Cinematography o Mise-en-scene (Putting on scene) Framing  Controls what we see and how we see it  Communicates information and meaning  Shapes out emotional and intellectual responses through: o Camera movement o Camera angle o Composition  Implies a point of view  Omniscient  Neutral point of view  Single character  Looking through the eyes of a character. Seeing thing through his/her states of being.  Group  Rather than seeing through a single character you perceive events through the views of multiple characters. Composition  The organization, distribution, balance and relationship of actors and stationary objects with in the frame.  Rule of Thirds  The division of frames into thirds, horizontally and vertically; in movies this is done in depth as well.  The placement of an object in movement at the intersection of points creates a more interesting, engaging, and revealing sense.  Head room position of eyes  Leaving room for the head and placing the eyes are the top line of the grid.  Lead room  The placement of the character in a way that give room for the perception of the space that the character will eventually move through.  Eye Room or looking room  Placing a character at the far end of the fram so that there is space for the looking space that the character will be utilizing.  Balance or Symmetrical composition  The balance between two or more characters in the same frame.  Asymmetrical or unbalanced composition  Suggests a world that is out of harmony  Used to hint that at a character’s psychological state  This is considered to be a compositional stress  Used in horror films and films that have a level of suspense.  Composition in Depth or deep space composition  Middle ground, foreground, and background being all balanced in one frame.


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