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Hi, I'm
MB HOME,
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and this is
cinematic
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composition
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for Video
Productions.
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The generally
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accepted
foundations
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of filmmaking
are lighting,
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camera movement
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and composition.
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While there are
many things
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to consider
in the art
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and craft
of filmmaking,
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these
three practices
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are foremost.
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00:00:19,769 --> 00:00:21,563
As filmmakers
and directors,
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we control what
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the viewer sees
in the frame,
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how they see it,
and when
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they see it.
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This course is
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not a technical
rundown
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of lens
selection.
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Equipment alone
can only get us
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so far.
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We don't watch
movies
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in which
they had to use
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a wider aperture
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or a lighter
tripod.
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We care about
how we are
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or are not moved
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by the story
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where we pulled
into the screen
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for the duration
of the piece
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or the red
washed over
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all of like
an advertisement.
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You don't
need to tell the
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entire story
in a single frame
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and you can
change
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the meaning
of your shot
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by adjusting
the frames,
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proceeding
and following it.
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In this course,
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we will be
discussing
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the visual
composition
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of an
individual frame,
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as well as the
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contextual
composition
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of a sequence.
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Filmmaking
is storytelling
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and what makes
a great story.
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Efficiency.
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Not getting
caught up
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in unnecessary
details.
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Make every
frame count.
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Keep them clean
and focus on
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telling the story
at hand.
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Cinematic
composition
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consist
of a multitude
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of steps,
specifically
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positioning
the camera,
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arranging
the scene
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within a frame,
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and also
composing
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a sequence
of shots.
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In this course
we will cover
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all of these
with a particular
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emphasis
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on how
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composition
can alter
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the meaning
of a frame
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when put into the
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context
of a sequence.
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Filmmaking is
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tremendously
multifaceted
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and composition
is perhaps the
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least understood
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aspect
of the process.
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Composition
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is undoubtably
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the most
powerful tool
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you possess
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as a visual
storyteller.
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The lens is the
audience's portal
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into the world
you create.
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It is yours
to control.
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The viewer
does not know
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what is or isn't
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important
in a frame.
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It is up to you
as director
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or director
of photography
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to guide
their eye.
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There is only one
correct way
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to compose
a shot.
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So how do we
decide
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which composition
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is best
for our story?
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Let's watch.
5857
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