Orgeron - Chapter 2 Framing and Video Laws

Chapter 2Chapter 2
The TV Frame & ShotsThe TV Frame & Shots

The Frame
The illusion of three dimensions in two dimensional space.
•The rectangle’s outline is
the frame
•The space inside (the
screen) is “inside the
frame”
•The black space of the
theater or your home is
“outside the frame”

FOREGROUND &
BACKGROUND
CAMERA SHOTS AND COMPOSITION
OBJECTS OR ACTION CLOSEST TO THE
CAMERA IS FOREGROUND
OBJECTS OR ACTIONS AWAY FROM THE
CAMERA IS BACKGROUND

TWO SHOT
FRAMING OF TWO PEOPLE

THREE SHOT
FRAMING OF THREE PEOPLE

ESTABLISHING
SHOT
SHOWS OBJECTS
FROM A GREAT
DISTANCE. USUALLY
ESTABLISHES THE
LOCATION OF WHERE
THE SCENE WILL
TAKE PLACE

LONG SHOT
OBJECT SEEN FROM FAR AWAY OR FRAMED
LOOSELY
SIGNIFIES: CONTEXT, SCOPE OR PUBLIC DISTANCE

MEDIUM SHOT (MS)
Brings subject matter closer to the viewer than a
long shot and begins to isolate it from the overall
environment.
*Typically Waist to Head
SHOWS: PERSONAL
RELATIONSHIP

MEDIUM CLOSE -UP
SHOT (MCU)
USUALLY FRAME FROM SHOULDERS TO TOP OF THE
HEAD.
SHOWS: IMPORTANCE!

CLOSE -UP SHOT
(CU)
OBJECT OR ANY PART OF IT SEEN AT CLOSE RANGE
AND FRAMED TIGHTLY. USUALLY FRAMED FROM
CHIN TO MIDDLE OF FOREHEAD.
SIGNIFIES: INTIMACY

EXTREME CLOSE UP
(ECU)
SHOWS THE OBJECT WITH VERY TIGHT FRAMING

OVER THE
SHOULDER SHOT
CAMERA LOOKS OVER A PERSON’S SHOULDER AT
ANOTHER PERSON (SHOULDER AND BACK OF HEAD
INCLUDED IN SHOT)

OVER THE
SHOULDER SHOT

180 DEGREE
RULE
CAMERA SHOTS AND
COMPOSITION
IMAGINARY LINE ON ONE SIDE
OF THE AXIS OF ACTION IS
MADE AND THE CAMERA MUST
NOT CROSS OVER THAT LINE,
OTHERWISE THERE IS A
DISTRESSING VISUAL
DISCONTINUITY

180 DEGREE
RULE
CAMERA SHOTS AND
COMPOSITION
Camera ACTORS

POSITION:
You can emphasize a compositional element by the
way in which you position it within the frame.
In any composition, the upper left quadrant attracts the
eye first because that is where we automatically look to
start reading a new page of text.

Advanced TelevisionAdvanced Television
POSITION:
11 22
33 44

POSITION:

Shot
• The single, continuous take of material that is recorded each
time the camera is turned on until it is turned off.

Visual Grammar
• The rules that govern the visual reconstruction of events,
including the raw material shot and recorded in the field and
the process of editing the material for broadcast.

1st Law of the video world:
Everything outside of the television
frame doesn’t exist!

By having a small number of spectators sit close
together and not shoot the empty seats around
them you can make an audience seem bigger
then it really is.
Since all the empty seats are outside the frame,
they do not exist.

By framing off the many well-kept homes in the
neighborhood and framing only the few run-down
houses, you can make an area look like a slum.
In the video world the attractive homes outside the
frame do not exist.

THE LANGUAGE OF VIDEO EXPRESSION
*Image (Frame)
*Shot
*Scene
*Sequence

*An Image (Frame) is much like a Single Word

*A Shot is like a Complete Sentence

*A Scene is like a Paragraph

*A Scene is like a Paragraph
*A Sequence is like a Chapter

2nd Law of the video world:
Height and Width are determined solely by
the frame and depth is only an illusion

Height and Width are determined solely by
Width
Height
Depth

Height and Breadth are determined solely by

Height and Breadth are determined solely by
North
EastWest
South

3rd Law of the video world:
In the actual world objects keep the same
size and position; but in video space
nothing is fixed. You can use this fact to
your advantage.

3rd Law of the video world:
In the actual world objects keep the same size and
position; but in video space nothing is fixed. You can use
this fact to your advantage.

4th Law of the video world:
Direction is determined solely by the frame

4th Law of the video world:
In this law, a character climbs six flights of stairs, in
actual shooting, a single flight was used repeatedly,
with different floor number signs and camera angles.

VIDEO TIME:
Taking a real world event and condensing it down to
fit the time required

VIDEO TIME:
Example:
If you presented a program in real world time - say a
2 hour bike ride would actually last two hours long,
the audience would be profoundly bored long before
the video ends

SCREEN TIME:
Screen time is the length of real-world time in which
a video program is actually displayed on-screen

Screen Space
• The space that surrounds subjects in the frame, including
headroom, gaps between people, and the space into which
subjects move.
• Improper use of screen space results in visual imbalance.

HEADROOM
THE SPACE LEFT BETWEEN THE TOP OF THE HEAD
AND THE UPPER SCREEN EDGE

LEADROOM
THE SPACE LEFT IN FRONT OF A PERSON OR
OBJECT MOVING TOWARD THE EDGE OF THE
SCREEN

Lookroom
THE SPACE LEFT IN FRONT OF A PERSON LOOKING
OR POINTING TOWARD THE EDGE OF THE SCREEN

Tilt Shot
• The camera moves up or down to reveal new action or subject
matter.

Pan Shot
• Moving the camera in a horizontal motion left to right or vice
versa

Dolly Shot
• A shot made from a camera mounted on a
wheeled conveyance that is moved either
toward the subject or away from it.

Truck Shot
• A shot made from a camera mounted on a
wheeled conveyance that is moved either left or
right, either following the subject or revealing
new information to the viewer.

CAMERA ANGLE
THE POV (POINT OF VIEW) CHOSEN TO
PHOTOGRAPH A SUBJECT

Reaction Shot
• A shot that shows a subject’s reaction to an action in the
previous shot.

Point of View Shot
• The view as seen through the subject’s eyes.

Shot / Reverse Shot
• The back and forth of shots using the 180 degree rule

Interior Shot
• A shot made inside a building or other interior location.
Exterior Shot
• A shot made outdoors.

Dutch Angle
• This is the process where a camera is angled so that the
horizontal frame line is not parallel to the horizon
• A cinematic tactic often used to portray the psychological
uneasiness or tension in the subject being filmed

Jump Cuts
• An action that is seen to jump unnaturally into a new position
on the screen.

LOW-ANGLE SHOT
SHOT IN WHICH THE SUBJECT IS FILMED DIRECTLY
FROM BELOW AND THE CAMERA POINTS UP

LOW-ANGLE SHOT
SHOT IN WHICH THE SUBJECT IS FILMED DIRECTLY
FROM BELOW AND THE CAMERA POINTS UP
*MAKES THE SUBJECT APPEAR LARGER, MORE
FORMIDABLE AND MENACING, PERHAPS TALL AND
REGAL

HIGH-ANGLE SHOT
SHOT IN WHICH SUBJECT IS FILMED FROM ABOVE AND
THE CAMERA POINTS DOWN AT ACTION

HIGH-ANGLE SHOT
SHOT IN WHICH SUBJECT IS FILMED FROM ABOVE AND
THE CAMERA POINTS DOWN AT ACTION
*MAKES THE SUBJECT APPEAR WEAK, SMALL, AND
POWERLESS

RULE OF THIRDS
UNDERSTOOD CAMERA TECHNIQUE THAT DOESN’T
PLACE THE FOCUS OF ATTENTION IN THE DIRECT
MIDDLE OF THE SCREEN

SPEED WITHIN A SHOT:
Editors control video time speed in two ways:
*They slow time down by Overlapping action
*They speed up time by Omitting action.

SLOW MOTION
In slow motion, the lovers float lazily toward each other
across a flowery field.
Moderate slow motion imparts a dreamlike effect. The
feeling may be pleasant or romantic.

FAST MOTION
Clowns skitter around in the screen in a comedy type
effect.

FLASHBACK:
To jump backward in time and then resume its forward
direction

FLASHBACK:
To jump backward in time and then resume its forward
direction
*It is not a flashback when a character in a program
actually travels through time. In a flashback, it is
the story, rather than the character, that changes
position in time.

VOICE OVER:
A voice off-screen that fill in gaps and provides necessary
information for the viewer

Orgeron - Chapter 2 Framing and Video Laws

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