Cinematic Compositions (Concept Dev)

Positive Negative

Usually a Stable Figure/Ground. 

Through emphasizing the relationship between subject and environment, this shot helps audiences become attuned to the spaces around and between objects.

Tense; can be Direct or Indirect
Additional Notes: See (Stable, Reversible, Ambiguous) Figure/Ground chapter in Graphic Design: The New Basics;
Positive Negative results in hiding otherwise distracting detail

Shadows Reveal Shapes

A high contrast shadow of the subject must be at the top of Hierarchy. The subject’s shadow must reveal more of the subject’s form than the actual subject. Often times achieved by placing the subject out of frame, with the shadow cast into frame. Not always aerial view.

Focusing on a reverse projection of the subject, this shot adds a sense of sophistication through mystery.

Can be Calm or Tense; Indirect

In And Out Of Shadow

A Reversible or Ambiguous Figure/Ground. A focus on the subject’s level of readability within the composition. Objects connected in shadow tend to merge as one, while singular objects with parts out of shadow tend to separate apart. 

By obscuring the division between subject and environment, this shot challenges audiences to rethink the objects they perceive—encouraging analysis.

Depth

An arrangement of similarly sized subjects, but at different distances from the camera. May include Selective Focus.

This shot uses camera proximity to create a hierarchy between similarly sized subjects—closer to the camera, the more important.

Tense; Direct 

Interesting Division Of Space

A composition with divisions of space interesting enough to briefly detour audience attention away from subject and towards the environment. Subject could be in anything from a Close up to a Wide Shot. Composition could be symmetrical or asymmetrical. 

This shot creates a dynamic balance between subject and environment by keeping hierarchy ambiguous.

Can be Calm or Tense; Direct
Additional Notes: Environment (personified) as Subject 

Size Exaggeration

Effect achieved by Zooming in from a far distance towards multiple objects that are at different levels of depth (technique starts at 6:40). A very powerful zoom lens is required to achieve this effect. Size exaggeration usually occurs between two objects—whether two subjects, two environmental elements, or one of each. 

This lens-effect gives the background object a sense of impending power over a foreground object.

Tense; Direct
Compare to Dimensions, Size Difference Reverse, Size Difference Reverse Out Of Focus

Dimensions

A Very Wide Shot emphasizing Scale. 

This shot emphasizes a powerless subject or magnificent environment.

Tense; Direct
Compare to Size Exaggeration, Open Space

Open Space

Not a typical Extreme Wide Shot or Very Wide Shot—must have a single overpowering area of open space that occupies at least four-fifths of the composition. Arranging environmental areas according to the widely used Rule Of Thirds will not constitute an Open Space composition. 

While similar to Dimensions, the differentiating factor for this very wide shot is its ability to create a strong sense of isolation or freedom.

Can be Calm or Tense; Direct
Compare to Dimensions

Changing Horizons

Transition between two shots that emphasize Open Space (or Dimensions) in different ways. 

The juxtaposition between two consecutive environmental shots creates an opportunity to reinforce an idea by lingering on a moment between major story events—providing an opportunity to pause and reflect.

Can be Calm or Tense; Direct

Size Difference Reverse

This shot uses camera proximity to reverse actual scale with artificial scale. The foreground subject must clearly appear graphically larger in the composition than the background subject. Not to be confused with Out Of Focus Foreground or Interesting Framing. 

This shot shifts hierarchical importance onto what in reality is a smaller subject—the unimportant become important.

Tense; Direct

Size Difference Reverse Out Of Focus

Similar to Size Difference Reverse, but with a Selective Focus on the larger subject occupying the background—making the smaller subject in the foreground out of focus. Not to be confused with Out Of Focus Foreground or Interesting Framing. 

This shot focuses on a (larger) subject made unimportant through artificial (scale) means.

Tense; Direct

Implied Direction

Can be achieved in a number of ways: 

• Counter directions or multiple reinforcing directions

• Negative space in front or behind the subject. 

• The direction the subject is looking towards can also Imply Direction. 

• Leading lines, Converging lines, Perspective lines, or lines implied by a pattern or series of points that act as visual arrows. 

This shot gives the composition a sense of flux, regardless of the subject’s state of motion.

Can be Calm or Tense; Direct

Different Levels Depth

A Very Wide or Extreme Wide Shot that utilizes overlapping shapes. Sometimes accompanied by a high contrast foreground with soft background, or objects that diminish in size. The shot will create a Flattened Perspective, which compresses or reduces visual depth in a depth-driven composition. Converging lines or Perspective lines cannot be present.

This environmental shot creates a sense of crowded-vastness.

Can be Calm or Tense; Direct

Motion Parallax

Different Moving Speed Depth. Each level of depth should have moving objects—either by objects moving on their own, or with a Parallax Scrolling effect, created when a camera is Booming, Tracking, Dollying while objects stay still. The shot will create a Flattened Perspective, which compresses or reduces visual depth in a depth-driven composition. 

This shot uses lateral movement to bring attention to every level of depth within a composition.

Can be Calm or Tense; Direct

Dramatic Down

Can be a High Angle Shot, but more dramatic as a Bird’s Eye View, or from a seemingly omnipotent vantage point—converging perspective lines help create drama. Perspective lines often act as a Radial Grid. Non-converging parallel lines are sometimes okay—so long as the dramatic effect is maintained. 

Dramatizes the shot by making the subject appear weak or giving the audience a sense of omnipotence.

Tense; Direct

Dramatic Up

A Low Angle Shot that dramatizes subject. Though not required, a Worm’s Eye View is especially Dramatic. Converging perspective lines help create drama. Perspective lines often act as a Radial Grid. Non-converging parallel lines are sometimes okay—so long as the dramatic effect is maintained. 

Dramatizes the shot by giving the subject a sense of omnipotence or making the audience feel weak.

Tense; Direct

Dutch Angle

A tilted camera, creating a dramatic angle. Usually includes a subject, but not required. While the resulting effect is similar to Diagonals, the execution is different. 

This camera angle creates a sense of energy or instability to the subject and/or environment, regardless of the subject’s state of motion.

Tense; can be Direct or Indirect

Diagonals

While the resulting effect is similar to Dutch Angle, the execution is different. Whether through emphasizing the natural diagonals that exist in a composition, or using ambiguous orientation to hide the fact that the camera is at a Dutch Angle. While a subject may be present, often times it is not a part of what makes up diagonals in the composition. 

The focus on geometry in this shot creates a sense of energy or instability specific to the environment.

Tense; Direct

Close Up-Cut Off

Neither a Close Up or an Extreme Close Up—but somewhere in-between. Considered by some as another type of American Shot. 

By revealing more detail than in a general Close Up, this shot invites the audience to become more intimate with the subject.

Can be Calm or Tense; Direct

Beauty Of Nature

Usually an Aspect Shot, which is a Close Up of some aspect in the environment. Sometimes an Aspect Shot of a prop, never an Aspect Shot of the subject. The purpose of this composition is to veer away from the story’s main subject and action, allowing time to modify story through emphasizing a specific mood. Beauty Of Nature is not limited to elements within nature—can be man-made or abstract. 

Through revealing environmental details not seen in a wider composition, this shot is able to reinforce an idea despite not incorporating the story’s main subject.

Can be Calm or Tense; Direct

Interesting Cutting

Cutting between shots that have extreme distance between them, and that both deal with the same subject. One of the shots, either a Wide Shot or Very Wide Shot, will prioritize the environment over the subject, while the other shot, somewhere between an Extreme Close Up to a Medium Shot, will prioritize only the subject. 

The juxtaposition between two consecutive shots with very different camera proximities creates a forced dialogue between a subject and its environment.

Can be Calm or Tense; Direct

Still Patterns

Patterns built into the environment, some movement okay, so long as objects remain anchored to a localized area. 

This shot creates a sense of structured complexity.

Can be Calm or Tense; Direct

Moving Patterns

Patterns that are created when multiple elements move along a path, or paths. 

This shot creates a sense of structured complexity, with an added sense of sophistication discovered over time through movement.

Can be Calm or Tense; Indirect

Organized Chaos

Objects that loosely make up a pattern or imply direction that, at first glance, appears random or chaotic. Multiple “Breaking The Rule” objects within a single composition may develop into Organized Chaos. 

While this shot gives the audience an initial sense of chaos, if observation is prolonged, the audience will begin to sense a hint of order.

Tense; Indirect

Interesting Patterns

An Aspect Shot of a moving pattern. A combination of Moving Patterns and Organized Chaos.

This tight camera shot attempts to uncover details hidden within a complex arrangement of moving objects.

Can be Calm or Tense; Indirect

"Breaking The Rule"

Emphasizing an irregularity in a patterned environment. Could be a break, flaw, or change, so long as it relates to the objects that constitute the pattern. The introduction of subject into this environment will not be considered “Breaking The Rule”. Repetition followed by abrupt change is also Rhythm & Balance. Multiple “Breaking The Rule” objects within a single composition may develop into Organized Chaos. 

By introducing a flaw in a structured environment, this shot brings awareness to the idea of order and disorder.

Tense; Direct

Softness

All elements within the shot are soft. Softness is considered the most subtle of Distortion compositions. 

This shot’s use of natural atmospheric distortion creates an all encompassing sense of dreamlike ambiguity.

Calm; can be Direct or Indirect

Distortion

A more intense Distortion than Softness. Not always water distortion. The camera’s point of focus is always in a direct line to the subject, through which some type of visual filter distorts the majority of the composition. 

This shot creates a sense of ambiguity through distorting the subjects perceived identity.

Tense; Indirect

Unusual Composition

The most complex type of Distortion, incorporating a reflective surface through which the subject is seen in an unusual way. A standard reflection without distortion is not considered an Unusual Composition. 

This shot not only distorts the subject’s perceived identity, but also challenges the audience‘s perception of reality.

Tense; Indirect

Frame Within Frame

The subject must be graphically trapped on all sides. So long as the audience perceives that it is a frame, the frame can be made of multiple objects, at multiple depths. 

This shot gives the subject a sense of inescapable confinement or exalted presence.

Tense; Direct

Interesting Framing

Similar to Frame Within Frame, but with a passage of escape leading to some edge of the composition. If the frame is made from a subject, the subject must appear environmental, so as not to be confused with Depth or Size Difference Reverse. Also not to be confused with Out Of Focus Foreground. 

This shot creates a sense of confinement (or exalted presence) to the subject but with the possibility of escape.

Tense; Direct

Out Of Focus Foreground

Not to be confused with Depth or Size Difference Reverse. The out of focus foreground element should appear to be an environmental obstruction, and never framing the subject. Camera is static, subject may or may not be moving. Acid test: If the out of focus foreground element were made to be in focus, and in doing so almost completely obscures the subject behind it, then the composition is Out Of Focus Foreground.

This shot creates a divide between subject and audience, making the audience feel like a bystander, or outside observer.

Tense; Direct

Rhythm/Graphic Abstraction

Similar to Out Of Focus Foreground, but in this composition the camera is parented to the in focus subject, with either the subject or the out of focus foreground element in motion, creating a graphic abstraction. Acid test: If the out of focus foreground element were made to be still and in focus, and in doing so almost completely obscures the subject behind it, then the composition is Rhythm/Graphic Abstraction. 

This shot places a moving barrier between subject and audience, making the audience feel helpless, especially during an intense story moment.

Tense; Indirect