Tone and Space
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Tone and Space

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Tone and Space Tone and Space Presentation Transcript

  • Tone  and  Space    Cinematography  and  Visual  Language  
  • Rule  of  Thirds    
  • Tone    •  Tone  refers  to  black  and  white  and  the  grey  scale.   The  gray  scale  contains  no  colour.  It  is  a  series  of   tonal  steps  from  black  to  white.        •  Varia?ons  in  light  or  tone  are  the  means  by  which   we  op?cally  dis?nguish  the  complicated  visual   informa?on  in  the  environment.  In  other  words,   we  see  what  is  dark  because  it  overlaps  what  is   light,  and  vice  versa.        
  • Tone,  Greyscale  and  the  Zone  System    
  • Tonal  Separa?on    •  Tonal  separa?on  deals  with  a  viewer’s   percep?on  of  depth  due  to  the  brightness  of   objects.  Usually  light  objects  appear  closer   and  darker  objects  appear  farther  away.  •  Two  objects  of  iden?cal  size,  a  viewer  will   usually  see  the  brighter  object  as  closer  and   the  darker  object  as  farther  away.    
  • Tonal  Separa?on    
  • Colour  Separa?on    •  Colour  can  be  used  as  a  depth  cue  by   classifying  them  into  warm  and  cool  groups.   The  warm  colours  are  red,  orange,  and  yellow,   while  the  cool  colours  are  blue  and  green.  •  Warm  colours  usually  seem  closer  to  the   viewer  and  cool  colours  appear  farther  away.    
  • Colour  Separa?on    
  • Up/Down  Posi?on    •  The  ver?cal  loca?on  of  objects  in  the  frame   affects  their  apparent  distance  from  the   viewer.  Objects  higher  in  the  frame  appear   farther  away,  and  objects  lower  in  the  frame   seem  closer.    
  • Up/Down  Posi?on    
  • Contrast  and  Affinity    •  The  greater  the  contrast  in  a  visual   component,  the  more  the  visual  intensity  or   dynamic  increases.  The  greater  the  affinity  in  a   visual  component,  the  more  the  visual   intensity  or  dynamic  decreases.  
  • Simply  stated  •  Contrast=  Greater  Visual  Intensity  •  Affinity  =  Less  Visual  Intensity    
  • Affinity  of  Space      
  • Affinity  of  space    •  A  surface  division  divides  the  frame  in  half  and   both  halves  are  flat  space.  Although  the  frame   is  divided,  both  halves  are  spa?ally  similar,   crea?ng  an  affinity  of  space.        •  Affinity  of  space  represented  in  these  two   shots  which  are  both  flat.    
  • Flat  Space    
  • Contrast  of  Space    
  • Contrast  of  Space    •  The  surface  division  separates  the  deep  and   flat  halves  of  the  picture.    
  • Deep  Space    
  • Four  Types  of  Space    •  Deep  Space  •  Flat  Space    •  Limited  Space    •  Ambiguous  Space      
  • Flat  Space    
  • Flat  Space    •  Flat  space  is  not  an  illusion.  Flat  space   emphasises  the  two-­‐dimensional  quality  of   the  screen  surface.  •   The  walls  are  frontal,  and  there  are  no   longitudinal  planes  or  converging  lines.  Actors   are  staged  on  the  same  horizontal  plane,  they   are  the  same  size.    
  • Deep  Space    
  • Deep  Space    •  Deep  space  gives  the  illusion  of  a  three   dimensional  picture  on  a  two-­‐dimensional   screen  surface.  There  are  several  longitudinal   planes,  one-­‐point  perspec?ve,  shape  change,   size  difference,  colour  separa?on,  tonal   separa?on,  up/down  posi?on.    
  • Limited  Space    
  • Limited  Space    •  Limited  Space  the  depth  cues  in  the  shot   include  size  change,  up/down  posi?on  and   tonal  separa?on.  There  are  no  longitudinal   planes,  only  frontal  surfaces.  
  • Ambiguous  Space    
  • Ambiguous  Space    •  The  lights  are  off  in  the  hall,  some  stray  light   illuminates  the  stairs,  and  the  two  actors  are   somewhere  in  the  dark.  The  picture  is   ambiguous  because  it’s  impossible  to  tell  the   actual  size  and  spa?al  rela?onship  in  the  shot.