A master shot is a long take that keeps all actors in frame from start to finish. It establishes the scene before more close-up coverage shots. Composition involves the arrangement of elements to convey meaning. The rule of thirds suggests placing subjects along an imaginary three-by-three grid. Lighting techniques like deep focus, shallow focus, and focus pulls direct viewer attention by manipulating what is in and out of focus. Headroom, lead room, and filters are other compositional and technical tools.

1. RULE OF
COMPOSITION &
LIGHTING
WARDA MARYAM
WARDA.CHOUDRY@OUTLOOK.COM

2. MASTER SHOT
• A master shot is a film recording of an entire
dramatized scene, from start to finish, from an angle
that keeps all the players in view. It is often a long shot
and can sometimes perform a double function as an
establishing shot. Usually, the master shot is the first
shot checked off during the shooting of a scene—it is
the foundation of what is called camera coverage,
other shot that reveal different aspects of the action,
groupings of two or three of the actors at crucial
moments, close-ups of individuals, insert shots of
various props, and so on.

3. COMPOSITION
• Composition can be defined as the orderly arrangement of elements in a
scene which, when taken as a whole, conveys intent and meaning. (How's that
for a genuine textbook-type definition?)
• Television production involves both static composition and dynamic
composition.
• Static composition covers the content of fixed images, such as paintings or
still photos.
• Dynamic composition goes a step further and takes into consideration the
effect of time — moment-to-moment change. This change can be within a
single shot (including camera or talent moves), or it can apply to the
sequence of scenes created through editing.

4. THE RULE OF THIRDS
• The rule states that an image can be divided into nine
equal parts by two equally-spaced horizontal lines and
two equally-spaced vertical lines. The four points
formed by the intersections of these lines can be used
to align features in the frame. The rule of thirds can be
applied by lining up subjects with the guiding lines.

6. DEPTH OF FIELD
• The term "Depth of Field" describes the range in a
photograph, from near to far, that appears to be in
focus. Everyone knows that the more a lens is stopped
down, the more depth of field there will be,
(true). Most people also believe that wide angle
lenses have more depth of field than telephoto lenses
(false).

8. DEEP FOCUS
• Deep focus is a photographic and cinematographic
technique incorporating a large depth of field. Depth
of field is the front-to-back range of focus in an image
— that is, how much of it appears sharp and clear.
Consequently, in deep focus the foreground, middle-
ground and background are all in focus.

9. DEEP FOCUS

10. SHALLOW FOCUS
• Shallow focus is a photographic and cinematographic
technique incorporating a small depth of field. In
shallow focus one plane of the image is in focus while
the rest is out of focus. Shallow focus typically is used
to emphasize one part of the image over another.

11. THE FOCUS PULL
• The focus pull (AKA rack focus) is a creative camera
technique in which you change focus during a shot.
Usually this means adjusting the focus from one
subject to another.
• The focus pull is useful for directing the viewer's
attention. For example, if there are two people in shot
but only one is in focus, that person is the subject of
attention. If the focus changes to the other person,
they become the subject. This is often used in drama
dialogues — the focus shifts backwards and forwards
between the people speaking.

13. HEADROOM
• In photography, headroom or head room is a
concept of aesthetic composition that addresses the
relative vertical position of the subject within
the frame of the image. Headroom refers specifically
to the distance between the top of the subject's head
and the top of the frame

14. HEADROOM
• The amount of headroom that is considered
aesthetically pleasing is a dynamic quantity; it
changes relative to how much of the frame is
filled by the subject. The rule of thumb taken
from classic portrait painting techniques,
called the "rule of thirds“ is that the subject's
eyes, or the center of interest, is ideally
positioned one-third of the way down from
the top of the frame.

15. HEADROOM
• Headroom changes as the camera zooms in or out,
and the camera must simultaneously tilt up or down
to keep the center of interest approximately one-third
of the way down from the top of the frame. The closer
the subject, the less headroom needed. In
extreme close-ups, the top of the head is out of the
frame,but the concept of headroom still applies via the
rule of thirds.

16. LEAD ROOM
• lead room, or sometimes nose room, is the space in front,
and in the direction, of moving or stationary subjects. Well-
composed shots leave space in the direction the subject is
moving. When the human eye scans a photograph for the
first time it will expect to see a bit in front of the subject.
• For example, moving objects such as cars require lead room.
If extra space is allowed in front of a moving car, the viewer
can see that it has someplace to go; without this visual
padding, the car's forward progress will seem impeded.

17. • CA (Cutaway)
A shot of something other than the current action.

18. • Cut-In
Shows some part of the subject in detail

19. 180˚ SYSTEM
• Space of scene constructed along axis of action
• Center line
• 180˚ line
• Scene’s action assumed to take place along discernible
and predictable line
• Axis of action determines half-circle (180˚ area) where
camera can present action

20. 180˚ SYSTEM
• Violation to shift to camera shot on opposite of axis
• 180˚ System ensures relative position of objects and
characters remains consistent
• 180˚ System ensures consistent eyelines
• 180˚ System ensures consistent screen direction
• Characters moving in logical and understandable ways

21. 180˚ SYSTEM
• 180˚ System claims to organize space clearly
• Viewers can trust location (and relative location) of characters
• Viewers can trust their own locations and relative locations
• 180˚ System ensures and advances continuity system

22. FILTERS
• Two classifications of filters are used in production: glass
or gel filters and post-production or electronic filters.
• Glass filters consist of a transparent, colored gel
sandwiched between two precisely ground and
sometimes coated pieces of glass
• A type of filter that's much cheaper than glass is the gel,
which is a small square or rectangular sheet of optic
plastic used in front of the lens

23. TYPES OF LIGHTS
• These are some common types of light you'll often hear about in film,
video and photography:
• Blonde Lights
A blonde light is basically a bigger version of a redhead. Power rating
can be 1000 to 2000 watts, although the term generally refers to a
2000w open-face unit.
• These are powerful lights, useful as key floodlights for lighting large
areas.

25. RED HEAD LIGHTS
• Red Head is a term used to describe general-purpose
lights common in visual media work. Power rating is
around 650-1000w, typically 800w.
• Red heads can be used as a key flood light for large
areas, but are also useful as fill and backlights.

27. PEPPER LIGHTS
• Pepper lights are small lights, around 100 - 1000w
(200w is common). They can be used as key or fill
lights in small areas, or to light a certain feature, create
lighting contrast and effects, etc.
• Pepper lights can be also be used to accent a person's
eyes.

29. HMI LIGHTS
• HMI (Hydrargyrum Medium-Arc Iodide) is a type of light which uses
an arc lamp instead of an incandescent bulb to produce light.
• HMI lights are high-quality and correspondingly expensive. They are
popular with film and television production companies but their
price puts them out of reach of those with modest budgets.
• HMI lights require a ballast, an electronic (or magnetic) device which
provides the ignition pulse and regulates the arc.

31. HALOGEN WORK LAMP
• Halogen work lamps are designed for workplaces and similar
situations where a flexible means of providing strong lighting is
required, e.g. builders, mechanics, etc. Work lamps come in various
sizes and configurations, from portable units with handles to stand-
mounted multi-head versions. Power rating is generally 150w to
500w.
• Halogen work lamps are sold by trade suppliers and DIY stores.
• Work lamps can be a cheap option for video lighting. They are useful
as a key flood light for lighting fairly large areas.

33. MODES OF LIGHTING
• Basically, there are two types of light:
• Natural: The Sun is a natural light source.
• Artificial: Video lights, candles, fires, bedside lamps.
Anything man-made.

34. STYLES OF LIGHTING
• There are essentially only two types of lighting
style: Low key and High key.
• Low Key: Areas of high contrast, strong shadows.
Film Noir of the 1940's used Low Key lighting to
great effect. If you want to create an atmosphere
of tension, this is ideal. (See illustration 1 in Guide
to Lighting).
• High Key: With high key lighting, shadows are
obliterated, or softened, by areas of fill or
reflected light.

36. THREE POINT LIGHTING
• Point 1: The Key Light. this is your main light source. It could be the
Sun, or a street light. It is the strongest light, and is usually set up to
the front side and slightly above your key subject.
• Point 2: The Fill Light. This light, as its name implies, eliminates or
softens shadows. This is placed on the opposite side of the subject to
the Key light.
• Point 3:Back Light. The back light is positioned behind the subject in
a high position, and produces a halo effect around the head.
• There is one more lighting set- up... you could call it Point 4... The Set
Light. This lights a part of the set behind the actors.

37. BACKGROUND LIGHT
• The background light is used to illuminate the background area of
a set. The background light will also provide separation between the
subject and the background. In the standard 4-point lighting setup,
the background light is placed last and is usually placed directly
behind the subject and pointed at the background.
• In film, the background light is usually of lower intensity. More than
one light could be used to light uniformly a background or
alternatively to highlight points of interest.
• In video and television, the background light is usually of similar
intensity to the key light because video cameras are less capable of
handling high-contrast ratios.

38. FILL LIGHT
• In television, film, stage, or photographic lighting, a fill light (often
simply fill) may be used to reduce the contrast of a scene and
provide some illumination for the areas of the image that are in
shadow. A common lighting setup places the fill light on the lens
axis, roughly perpendicular to the key light.
• The fill light is often softer and, by definition, less intense than the
key light. The ratio between light and shadow depends on the
desired effect. For example, a fill light that is a small fraction of the
power of the key light will produce very high-contrast or low-key
lighting, while filling with half or more of the key light power will
produce a high key, low-contrast tone.

39. KEY LIGHT
• The key light is the first and usually most
important light that
a photographer, cinematographer, or other scene
composer will use in a lighting setup. The
purpose of the key light is to highlight the form
and dimension of the subject. The key light is not
a rigid requirement; omitting the key light can
result in a silhouette effect. Many key lights may
be placed in a scene to illuminate a moving
subject at opportune moments.