CAMER

A
ANGLES
(THE 5 C’s OF
CINEMATOGRAPHY)
Name: - RABIA
Course: - B.SC MULTIMEDIA & ANIMATION
SINGHANIA UNIVERSITY

DATE-_________

CERTIFICATE
THIS IS TO CERTIFY THAT THE PROJECT WORK
SUBMITTED BY RABIA, HAVING ENROLLMENT NO.
220755220113 TO THE SINGHANIA UNIVERSITY DISTRICT,
JHUNJHUNU, PACHERI BARI, RAJASTHAN-333515 IN
PARTIAL FULFILMENTOF THE REQUIREMENT FOR THE
AWARD OF THE B.SC Spl. Multimedia & Animation HAS
BEEN CARRIED OUT UNDER MY SUPERVISION.
ENDORSED BY
_____________

CONTENTS
1. INTRODUCTION
2. SCENE, SHOT AND SEQUENCE
3. TYPES OF CAMERA ANGLES
4. SUBJECT SIZE, SUBJECT ANGLE & CAMERA HEIGHT
5. CONTINUITY
6. CUTTING
7. COMPOSITION
 INTRODUCTION
A motion picture is indeed made up of many shots,
and each shot requires careful consideration of the
camera angle. The camera angle is influenced by
various factors, including the narrative
requirements of the story being told. The chosen
camera angle determines the audience's viewpoint
and the area covered in the shot.
When setting up a new shot, two important
questions need to be answered: what is the best
viewpoint for filming this specific portion of the
event, and how much area should be included in
the shot? The selection of camera angles is crucial
in constructing a visually engaging and cohesive
picture.
In theatrical film scripts, the type of shot required
for each scene is often designated, while in some
cases, only the action and dialogue are specified,
leaving the choice of camera angles to the
director. The director typically collaborates with the
cameraperson to determine the precise camera
placement, although some directors may leave the
final decision to the cameraperson. However, for
non-theatrical camerapersons and directors, they
might work together or the cameraperson may
have the sole responsibility of deciding the shots.
In documentary filmmaking, the cameraperson
must not only determine the camera angles but
also break down the event into individual shots
and decide the appropriate shot type for each part
of the action. The cameraperson's experience,
knowledge of the craft, and visual imagination play
a significant role in choosing the camera angle.
in highlighting the importance of camera angles in
filmmaking. A production designer plays a crucial
role in creating a storyboard, which consists of
sketches that visually plan out key incidents in a
film. These sketches can range from simple
outlines to elaborate and detailed color renderings,
depending on the budget and requirements of the
production. Camera angles and movements are
carefully chosen in order to convey specific
emotions, perspectives, and dramatic effects to
the audience. They can position the audience
closer to the action for a close-up view, or farther
away to capture the grandeur of a landscape.
Camera angles can also shift to emphasize
different characters or elements in a scene, follow
the movement of a character, or showcase unique
perspectives like micro or macro views. The power
of motion pictures lies in their ability to transport
the audience and present various viewpoints
through the camera work. Ultimately, the choice of
camera angle is crucial in shaping the audience's
experience and understanding of the story being
told.
SCENE, SHOT AND SEQUENCE

SCENE:
A scene refers to a specific location or setting
where the action takes place. In theater, acts are
divided into scenes, each set in a different locale.
In film or video production, a scene can consist of
one continuous event or a series of shots depicting
a continuous event.

SHOT:
A shot refers to a continuous view that is filmed by
one camera without interruption. It is essentially a
single take. If additional shots of the same action
are filmed without any changes in camera setup or
action, they are called re-takes. However, if there
are any changes in the setup, such as moving the
camera, changing the lens, or filming a different
action, it is considered a new shot.

SEQUENCE:
A sequence is a series of scenes or shots that
form a complete narrative unit. It can be contained
within a single setting or span across several
settings. The action or storyline should flow
seamlessly and match across consecutive shots
with straight cuts, creating a continuous portrayal
of events, similar to real life. For example, a
sequence may start with an exterior scene and
continue inside a building as the characters enter
and engage in conversation or perform some
activity.
While the terms can be used interchangeably in
some cases, there are some distinctions between
them.
In scriptwriting, a scene typically refers to a
specific section of a script that takes place in a
specific location and time. It often represents a
continuous action or dialogue involving certain
characters. On the other hand, a shot refers to a
single continuous sequence of the camera
capturing the action from a specific angle or
perspective.
In some cases, multiple shots may be required to
film a scene completely, especially in complex or
dynamic scenes. This is when a master scene
script might be used, where a single scene
number is assigned, and each shot within that
scene is designated by letters like "a," "b," "c," and
so on.
While production personnel may refer to a single
take as a shot, they typically identify it using the
scene number for practical purposes. In addition, a
cut refers to a specific portion of a shot, which is
removed and used separately. This term originates
from physically cutting and removing a piece of
film, but today it refers to editing and separating a
specific section from a continuous shot.
Overall, while the terms "scene" and "shot" can
sometimes be used interchangeably, they have
distinct meanings in scriptwriting and film
production.

TYPES OF CAMERA ANGLES

There are various types of camera angles which
have been mentioned below: -
 1.Objective Camera Angles
2.Subjective Camera Angles
3.Point-of-View (POV) Camera Angles

1. OBJECTIVE CAMERA ANGLES: Objective

camera angles are used to present a neutral and
unbiased view of the scene. The camera is
positioned at eye-level, providing an objective
perspective without any specific emotional or
subjective elements. The objective camera
viewpoint in filmmaking typically captures the
scene from a sideline perspective, allowing the
audience to observe the event as if they are
eavesdropping. This technique is sometimes
referred to as the "audience point of view." The
objective camera angles aim to be impersonal, as
they do not represent the viewpoint of any
character within the scene. People being filmed in
this manner are usually unaware of the camera's
presence and do not make direct eye contact with
the lens. If a player accidentally looks into the lens,
even with a sideways glance, the scene would
need to be retaken to maintain the objective angle.
This technique is commonly used in motion
pictures.
2. SUBJECTIVE CAMERA ANGLES: Subjective
camera angles are used to convey the perspective
or emotions of a specific character or subject. The
camera is positioned from the character's point of
view, offering a subjective and personal view of
the scene. These angles can help the audience
empathize and connect with the character's
experience. Subjective camera angles refer to the
use of camera positioning and movement to
capture the perspective or point of view of a
specific character or observer within a scene. It
aims to make the viewer experience the events
through the eyes of the character, allowing them to
emotionally connect and empathize with their
situation. These angles are often used to intensify
the drama, emphasize a character's subjective
experience, or create a sense of suspense or
urgency. Examples of subjective camera angles
include the use of handheld or shaky camerawork
to depict a character's nervousness, low angles to
showcase a character's power or dominance, or
point-of-view shots to show what a character is
seeing or experiencing. Ultimately, subjective
camera angles can enhance storytelling and draw
the audience further into the narrative.
3. POINT-OF-VIEW (POV) CAMERA ANGLES:
Point-of-view camera angles show the scene from
the perspective of a specific character. They are
often used to immerse the audience in the
character's point of view, allowing them to
experience the scene as if they were the
character. These angles can help create a sense
of identification and involvement with the
character's actions and emotions.

SUBJECT SIZE, SUBJECT ANGLE & CAMERA

HEIGHT

A camera angle is defined as the area and view -

point recorded by the lens. Placemen t of the
camera decides how much area " will be included,
and viewpoint from which the audience will
observe the event. Three factors determine the
camera angle: -
1.camera height
2.Subject size
3.Subject angle

SUBJECT SIZE: -
The image size, the size of the subject in relation
to the over-all frame, determines the type of shot
photographed. The size of the image on the film is
determined by the distance of the c am era from
the subject, and the focal length of lens used to
make the' shot. The closer the camera; the larger
the image. The longer the lens; the larger the
image. Image size may vary during the shot by
moving the camera, moving players, or employing
a zoom lens. The players may move toward or
away from the camera. The zoom lens may be
varied in focal length as the scene progresses.
Thus, a long shot may graduate in to a close-up, a
close-up become a longshot, in a single shot.

Image size may vary during a shot. These players

may walk toward camera as scene progresses.
Or, camera may move closer to them-or they may
he filmed with a zoom lens. A 10119 shot. may
thus graduate into a close-up in a single take.
EXTREME LONG SHOT (ELS)
An extreme long shot depicts a vast area from a
great distance. It may be used whenever the
audience should be impressed with the huge
scope of the setting or event. An extremely wide-
angle static shot is usually more ad ap table for
extreme long shots than is a panning camera
movement. The pan should be employed only
when it increase in interest, or reveals more of the
setting or action, as it progresses.

LONG SHOT (LS)

A long shot takes in the entire area of action. The
place, the people, and the objects in the scene are
shown in a long shot to acquaint the audience with
their over-all appearance. A long shot may include
a street, a house. or a room, or any setting where
the event takes place. The long shot should be
employed to establish all elements in the scene,
so that viewers will know who is involved. where
they are located as they move 26 about, and when
seen in closer shots as the sequence progresses.
Long shots lend scope to a picture, because they
play up the size of the setting. Even a sequence
taking place within a house should open with an
exterior long shot to establish the location. Long
shots are kept to a bare minimum in television
films because of limited size of picture tubes, and
inability to resolve a great deal of det ail. In this
case medium long shots. which cover the players
full length but do not depict the setting in its
entirety, may be substituted. Such scenes are
sometimes referred to as full shots.
MEDIUM SHOT (MS or MED)
A medium shot may be better defined as an
intermediate shot because it falls between a long
shot and a close-up. Players are filmed from
above the knees, or from just below the waist.
Medium shots are excellent for television filming,
because they present all action within a restricted
area in large size figures. Medium shots generally
comprise the bulk of theatrical films, because they
place the audience at a middle distance. The most
dramatically interesting medium shot is the two-
shot, in which two players con front each other and
exchange dialogue. Two-shots may be angled and
played in depth, so that nearest player is turned
slightly away from the camera and the farther
player positioned so that he is filmed in a three-
quarter angle. Or, one player may appear in profile
and the other in a three-quarter angle or facing the
camera. Television employs an unusual variation
of the two-shot in which both players face the
camera: the nearer player looks off screen while
the farther player looks at the nearer player's back.
Two-shots may grow or progress out of medium or
long shots. Two-shots should not be filmed with
both players standing flat-footed toe-to-toe, unless
the script requires such treatment. Th is may occur
in a dramatic confrontation between hero and
villain, in which neither will back away.
CLOSE-UP (CU)
A close-up of a person is generally designated in
the script according to image size. A medium
close-up film a player from approximately midway
between waist and shoulders to above the head; a
head and shoulder close -up, from just below the
shoulders to above the head; a head close-up
includes the head only; a choker close-up includes
a facial area from just below the lips to just above
the eyes.
INSERTS
Full-screen close-ups of letters, telegrams,
photographs, newspapers, signs, posters or other
written or printed matter, are called inserts.
Generally, inserts are filmed so that they overlap
the frame slightly, thus eliminating the background.
DESCRIPTIVE SHOTS
A shot in which the camera tracks along to film
moving players is called a follow shot or a tracking
shot. A low-shot is one in which the camera is
angled upward at the subject, while a high shot is
just the opposite, with the camera looking down. A
reverse shot is a scene made from the reverse
direction of a previous shot.
A cut-in shot is one that cuts directly into a portion
of the previous scene, generally a cut-in close-up
of a person or object.
A reaction shot is a silent shot, ordinarily a close-
up, of a player reacting to what another player is
saying or doing.
The lens used for a particular type of shot m ay be
mentioned, such as a wide angle, telephoto or
zoom shot. The number of players in a scene m ay
also define the shot, such as a two-shot or a three-
shot, or sometimes a group-shot when all players
are included in a single shot.

SUBJECT ANGLE: -
All subject matter has three dimensions. Even flat
objects, such as paper. Whenever an object
presents only a single surface to the eye or the
camera it is said to be fiat - because its depth is
not apparent. The cameraman must record a
three-dimensional world on a two-dimensional film
surface. The solution generally lies in angling the
camera in relation to the subject, so that a depth
effect is recorded.
There are many ways to achieve depth in filming;
with lighting, camera and player movement;
overlapping subject matter; linear and aerial
perspective; use of short focal length lenses, etc.
The most effective method to record depth,
however, is by choosing the proper camera angle.
Angles are the most import ant f actor in producing
illusion of scenic depth. The cameraman should
always strive to position the camera at an angle,
preferably a forty-five degree, or so-called three-
quarter angle, to the subject. Such angling will
record people with roundness, and solid objects
with two or more surfaces, and converging lines
which pro· duce perspective - suggesting three
dimensions. Shooting square-on, so that only the
front or side of people or objects are filmed, should
be avoided.
CAMERA HEIGHT: -
While camera height is as important as camera
distance and subject angle, it is often disregarded.
Theatrical cameramen are very careful about lens
height in relation to subject matter. Many non-
theatrical cameramen merely adjust the tripod so
that the camera is at convenient heigh t for looking
through the finder.
LEVEL ANGLE
A level camera films from the eye-level of an
observer of average height, or from the subject's
eye-level. A level camera views a setting or an
object so that vertical lines do not converge. A
paradox about camera height is that inexperienced
cameramen tend to film from their own eye-levels
rather than from subject's eye-level! This works
well for shots of standing people, but results in
downward angling on seated persons. It is
imperative that cameramen understand this
significance, and strive to position the lens at the
subject's eye-level when filming objective close-
ups. Point-or-view close-ups are filmed from the
subject's eye-level when the players who are
relating with each other are approximately the
same height. The camera must be angled upward
and downward on a pair of back-and-forth p.o.v.
close-ups, in these instances. Such angling need
not be precisely from the opposing person's head
position.
The importance of shooting close-ups at the
subject's eye-level cannot be over-emphasized,
because so many non-theatricals cameramen fail
to lower the camera, particularly when a person is
seated.
While level angles are not as pictorially interesting
or dramatic as higher or lower angles, they are
best for close-ups of people and for shooting
general scene s which should be presented from
norm al eye-level. Eye-level shots provide frames
of reference. They present an easily identifiable
viewpoint, because the audience sees the event
as if on the scene.
There are instances when level camera shots are
more dramatic than angle shots. Shots of a car,
train, or other vehicle rushing head-on toward the
camera give the viewer a subjective impression
similar to a player looking into the lens. The speed,
increase in image size and subjective treatment
can be highly dramatic.
HIGH ANGLE
A high angle shot is any shot in which the camera
is tilted downward to view the subject. A high
angle shot may be chosen for esthetic, technical or
psychological reasons. Placing the camera higher
than the subject and looking down may result in a
more artistic picture; make it easier to keep action
occurring in depth in sharp focus; or influence
audience reaction.
A high, downward angle should be used with
discretion on fast-moving action, such as a horse
or auto race or chase, because movement will be
slowed down.
High angle shots are a welcome departure from
eye-level shots and provide contrast, variety and
dramatic impact even to common place scenes.
High angles should be considered to establish the
story. supply pictorial beauty, or influence
audience reaction to the screen players.
LOW ANGLE
A low-angle shot is any shot in which the camera
is tilted upward to view the subject. l. A low angle
shot may be made of a bug, a building or a baby.
In some instances, it may be necessary to place a
player or object on a pedestal, in order to enable
subject to appear higher in relation to the camera.
Low angles should be used when desirable to in
spire awe, or excitement; increase subject height
or speed; separate players or objects; eliminate
unwanted foreground; drop the horizon and
eliminate the back ground; distort compositional
lines and create a more forceful perspective;
position players or objects against the sky; and
intensify dramatic impact. Low angles cause
people, objects and structures to loom up in the
picture because they are recorded with a broad
base and a diminishing perspective.
When filming players, however, from a low angle
with a "wide angle lens, care must be taken - or a
caricature may result.

A low-angle static shot of an advancing group of players may

provide a dramatic introduction, if they enter from the bottom of
the frame as they approach the camera.

ANGLE·PLUS·ANGLE
An angle-plus-angle shot is filmed with a camera
angled in relation to the subject, and tilted either
upward or downward. Angle- plus-angle shooting
eliminates the two-dimensional flatness of straight on
angling, and the dullness of filming with a level camera.
The camera angling need not be very high or very low,
or from a full three-quarter angle. Very high and very
low angles will present the most drastic effects, and
should be utilized only when highly dramatic results
are required. Wide-angle lenses will increase the
angular effect by recording a more forceful
perspective. Players should be positioned so that they
present a three-quarter view to the camera, and travel
in di agon al lines, whenever feasible. The background
should be filmed at an angle, rather than flat-on, to
produce diminishing com positional lines.
Linear perspective is greatest, and presents the most
interesting series of converging lines when the camera
is placed very high, and shoots downward on streets,
roads, industrial complexes, preferably with a wide-
angle lens. A three-quarter low angle shot is excellent
for filming a moving column of soldiers, a long line of
vehicles or a train. Such movement should approach
the camera, so that it becomes larger as it advances.
Side three-quarter angling, plus the low viewpoint will
produce converging lines, which are made more
interesting by player or vehicle movement.

Angle-plus-angle shooting should be considered

whenever the greatest three-dimensional effect
and greatest convergence of lines are desired.
TILT "DUTCH" ANGLES
In Hollywood studio parlance a ''Dutch'' angle is a
crazily-tilted camera angle, in which the vertical
axis of the camera is at an angle to the vertical
axis of the subject. This results in tilting of the
screen image, so that it slopes diagonally, off-
balance. Such slanted images must be used with
discretion, or they may detract from the story-
telling.
Cameras should never be tilted just a little off
level, so that the slightly slanted image seems
accidental. A tilt should be deliberate, with a
definite slant of sufficient angle to throw the image
off balance, but not so steep as to appear on its
side. The actual angle will vary with subject matter
and action. The camera need not be tilted
throughout the shot. It may start level. and then
abruptly tilt to depict a weird change in events, or
introduce sudden unbalance in player involved. Or,
a tilted shot may return to level when events return
to normal. The camera may, on rare occasions,
rock back and forth during the shot, tilting from one
side to the other.
Dutch angles are most effective if filmed from a
low camera set-up, which throws the images
backwards in a crazy slant. A wide-angle lens,
low-angle tilt, combined with a three-quarter
camera angle is strongest, because such angle
plus-angle shooting with a short focal-length lens.
records the most violent angling, the greatest
separation of subject and background, and the
most. forceful perspective. The effect is further
increased on moving action, because the wide-
angle lens enlarges or diminishes the moving
player, object or vehicle as it moves toward or
away from the camera.

CONTINUITY
Every motion picture should be based on a
shooting plan. A continuity, or shooting script, is a
preliminary motion picture on paper - a continuous
plan for photographing and editing the production.
A motion picture is a record of an event, in fact,
fiction or fantasy. The images should reproduce
real life, or a make-believe world. Sound may be
dialogue and/or narration, accompanied by
appropriate music and sound effects. The prime
purpose of a motion picture, whether theatrical
fiction feature or documentary fact film, is to
capture and hold audience attention - from
opening shot to fin al fade-out. To accomplish this,
the film must be presented in visual images,
inviting viewers to become involved in the screen
story. Motion pictures create and sustain illusions.
The illusion is shattered whenever viewers '
attention or interest is distracted. Smooth, fluid,
realistic continuity can contribute more to a motion
picture's success than any other cinematic device.
CINEMATIC TIME & SPACE
A motion picture can create its own time and
space, to fit any particular story-telling situation.
Time may be compressed or expanded; speeded
or slowed; remain in the present or go forward or
backward; or it may even be held constant for as
long as desired. Space may be shortened or
stretched; moved nearer or farther; presented in
true or false perspective; or be completely re-
made in to a setting that may exist only on film.
Both - or either - time and space may be
eliminated, recreated and presented in any
manner that will help the audience comprehend.
A motion picture can go anywhere in time and
space at any moment. Thus, a story may suddenly
go back into history, or shift across the world; or a
scene may be speeded up; or a setting made to
appear fore -shortened. An event may be
presented in its entirety as it actually happened; or
fragmented into bits in which only highlights or
impressions are actually shown.

DIRECTIONAL CONTINUITY
The direction in which a person or a vehicle
moves, or the direction in which a person looks,
can cause the most vexing problems in motion
picture continuity. A motion picture is made up of
many shots, filmed from different camera angles
and put together in a sequence - a series of shots
which becomes a chapter in the story. In turn, a
series of sequences is combined to make up the
complete narrative. An unexplained change in
screen direction can result in a serio us mis-match,
in which players arc suddenly looking away [rom
rather than toward, each other; and vehicles
suddenly reverse their screen movement, and
appear to be going in the opposite direction! A
motion picture lives in a world of its own. There is
only a single viewpoint: the lens of the camera.
How the camera sees the subject is important - not
how it appears in actuality. In certain instances, it
is necessary to film the subject traveling in the
wrong direction, so that it will appear correctly on
the screen! Action is judged only by its screen
appearance; by the way it should look - and not
the way it actually appears while being filmed.
There are two types of screen directions:
 DYNAMIC (Bodies in motion)
 STATIC (Bodies at rest)
Continuity is merely common sense in coordinated
action. It requires thinking in sequences - instead
of individual shots.
Good continuity is expected by the audience. By
drawing attention to itself, poor continuity detract»
from the narrative. Nothing should interfere with
the illusion through which the audience becomes
involved in the story. These steps are advisable for
better continuity: Learn how to analyze and handle
cinematic time and space. Establish and maintain
dynamic and static directional continuity by proper
employment of the action axis Recognize
differences between controlled and uncontrolled
action. Decide when to shoot single or multiple
cameras for best results. Choose between master
scene an d triple take technique s; or utilize a com
bination of both, to fit the filming situation. Overlap
and match action from shot to shot. so that it can
be edited in a continuous manner. Allow the editor
sufficient overlapping footage to facilitate cutting
on action. Film pictorial and sound transitions to
bridge time and space. A motion picture is a
constantly-changing series of images. By keeping
the images as close as possible to real-life action.
good continuity should be assured. Thinking
continuously will make thoughtful continuity.
CUTTING
Film editing may be compared with cutting,
polishing and mounting a diamond. A diamond in
the rough state is barely recognizable. The raw
diamond must be cut, polished and mounted so
that its inherent beauty can be fully appreciated. In
the same way, a film story is a jumble of odd shots
until, like the diamond, it is cut, polished and
mounted. Both diamond and film are enhanced by
what is removed! What remains tells the story. The
many facets of the diamond, or the movie, are not
apparent until the final cut. Only good editing ca n
bring life to a motion picture! The various shots are
just so man y odd pieces of film until they arc
skillfully assembled to tell a coherent story. Cutting
takes up the slack in the film, by removing all
superfluous footage: false starts, overlaps,
unnecessary entrances and exits, extra scenes,
duplicated action, bad takes. What is left must be
woven into a continuous narrative, to present the
screen story in a manner that captures audience
interest and holds attention from opening scene to
final fade-out. It is the film editor's responsibility to
create the best possible motion picture from
available footage. Often, a good film editor ca n
turn in a picture superior to the director's or the
cameraman's original concept. Only after carefully
considering the combinations of shots possible an
d the effects desired, does the film editor
assemble the scenes.
TYPES OF FILM EDITING
CONTINUITY CUTTING, in which the story-telling is
dependent upon matching consecutive scenes;
COMPILATION CUTTING, in which the story-telling
is dependent upon the narration, and the scenes
merely illustrate what is being described.
EDITORIAL REQUIREMENTS
All footage submitted to a film edit or must meet three
requirements:
 TECHNICAL-The technical elements of a film - such
as photographic treatment, lighting, color,
exposure, sound, etc. - should he uniform in
production quality.
 ESTHETIC- Scenic com positions. player and came
ra movements. light effects. choice of colors,
camera treatment and other pictorial aspects of
settings. costumes. backgrounds and props should
all be integrated on the basis of their cumulative
result when the scenes are finally edited. The good
 cameraman strives to produce the most beautiful
moving images possible.
 NARRATIVE- After the me or plot is introduced and
developed, the narrative must build in interest as
it progresses. Each shot should make a point. All
scenes should be linked together so that their
combined effect. rather than their individual
contents, produces the desired audience
reactions.
Film editors have a motto: "Make them laugh or
make them cry, but make them care!"

CLOSE-UPS
The close-u p is a de vice unique to motion
pictures. Only motion pictures allow large-scale
portrayal of a portion of the action. A face, a small
object, a small-scale action, may be selected from
the over-all scene, and shown full-screen in a
close-up. Close-ups are among the most powerful
storytelling devices available to the film maker.
Close-ups should be considered from both visual
and editorial standpoints.
Close-Ups may be design a ted in the script
according to image size. Or, they may be listed as
close-up or CU. and size left to the discretion of
director or cameraman. close-ups of people.
animals or objects would require different
treatments like medium close ups, head and
shoulder close-ups, head close-ups and choker
close-ups. Close-ups add spice, the ingredient that
enhances dramatic flavor of the finished film.
Audience involvement is most successful when
viewers arc brought into the picture: when they
see players. objects and small-scale actions in
large screen-filling close-ups. A sequence may be
built to move toward climatic close-ups. The
stronger the motive for using a close-up. the- more
the close-up can help make: the story-telling truly
effective!
COMPOSITION
Good composition is arrangement of pictorial
elements to Form a unified, harmonious whole.
Because com position involves artistic taste,
emotional awareness, personal likes, dislikes,
experience and background of the individual
cameraman, strict rules cannot be applied. While
composing a scene is not a mechanical process.
certain mathematical and geometrical factors may
help insure success.
The principal difficulty in com posing for motion
pictures is dealing not only with shape of people
and objects, but the shape of motion. A beautifully-
com posed static. scene may become a senseless
shambles when players. objects, vehicles, or the
camera move! The motion picture cameraman
must remember that rules of static composition
cover still photographs, drawings, paintings,
designs. Because of the static content of many
shots, still compositional rules may he successfully
applied to motion picture scenes with fixed pictorial
elements.
COMPOSITIONAL LANGUAGE
 LINES
 FOMS
 MASSES
 MOVEMENTS

These compositional elements speak a universal

language which trigger similar emotional responses in
almost every viewer.
LINES
Compositional lines may be actual contours of objects
or imaginary lines in space. Viewer interpretations of
various compositional lines follow:
Straight lines suggest masculinity, strength. Softly
curved lines suggest femininity. delicate qualities.
Sharply curved lines suggest action and gaiety.
Long vertical curves with tapering ends suggest
dignified beauty and melancholy.
Long horizontal lines suggest quiet and restfulness.
Paradoxically, they may also suggest speed, because
the shortest distance between two points is a straight
line.
Tall. vertical lines suggest strength and dignity.
Parallel diagonal lines indicate action, energy, violence.
Opposing diagonals suggest conflict. forcefulness.
Strong, heavy, sharp lines suggest brightness, laughter,
excitement.
Soft Iines suggest solemnity. tranquility.
Irregular lines arc more interesting than regular lines.
because of their visual quality.
FORM
All objects, whether natural or man-made, have form
Physical Forms arc easy to recognize. Forms created by
viewer's eye movement from one object to another are
not always easy to recognize, unless pointed out.
MASSES
The words shape, form, mass are often used
Interchangeably. Shape has to do with the spatial
aspects of an object, it’s physical shape as defined by
its contour. Form may be physical or abstract. Mass is
the pictorial weight of an object an area , a figure or
group made up of any of all of these. Masses are either
single unit, such as a large body of water.
Lines and forms can dominate a composition by their
esthetic or psychological value. Pictured masses,
however capture and hold attention through the
power of their heavy pictorial weight. They m ay also
dominate by their isolation, unity. contrast, size,
stability, cohesion, lighting or color.
MOVEMENTS
Com position al movements arc a particularly
important aspect of motion picture photography.
Complete movements may be on suggested in still
photography. They may be both suggested and
depicted in motion pictures. Movements possess
esthetic and psychological properties, which may
convey varied pictorial and emotional connotations to
the viewer. Movement may be created by the eye
going from one point to another within the scene, or
by following a moving object. Such eye movement
results in transition al lines which are similar to
compositional lines.
BALANCE
Ba lance is a state of equilibrium. If all forces are equal,
or compensate each-other, they are said to be "in
balance." There are two types of balance: - formal and
informal balance.
CONCLUSION
Composition is important for successful animation. All
elements of animation may be excellent but if good
composition Is lacking the animation will fail. Never
allow more than one center of interest on the screen at
one time unless a disturbed, or scattered effect is
desired. Frame moving players or vehicles carefully, so
that they always have the correct lead, consider all
camera angles required to film the entire sequence
when composing the master scene, not just the long
shot. Utilize perspective effects. Compose in depth for
a three-dimensional screen appearance.
Keep It Simple the working slogan for interesting
compositions.