Original subtitles

Hi, I'm MB HOME,

and this is cinematic

composition

for Video Productions.

The generally

accepted foundations

of filmmaking are lighting,

camera movement

and composition.

While there are many things

to consider in the art

and craft of filmmaking,

these three practices

are foremost.

As filmmakers and directors,

we control what

the viewer sees in the frame,

how they see it, and when

they see it.

This course is

not a technical rundown

of lens selection.

Equipment alone can only get us

so far.

We don't watch movies

in which they had to use

a wider aperture

or a lighter tripod.

We care about how we are

or are not moved

by the story

where we pulled into the screen

for the duration of the piece

or the red washed over

all of like an advertisement.

You don't need to tell the

entire story in a single frame

and you can change

the meaning of your shot

by adjusting the frames,

proceeding and following it.

In this course,

we will be discussing

the visual composition

of an individual frame,

as well as the

contextual composition

of a sequence.

Filmmaking is storytelling

and what makes a great story.

Efficiency.

Not getting caught up

in unnecessary details.

Make every frame count.

Keep them clean and focus on

telling the story at hand.

Cinematic composition

consist of a multitude

of steps, specifically

positioning the camera,

arranging the scene

within a frame,

and also composing

a sequence of shots.

In this course we will cover

all of these with a particular

emphasis

on how

composition can alter

the meaning of a frame

when put into the

context of a sequence.

Filmmaking is

tremendously multifaceted

and composition is perhaps the

least understood

aspect of the process.

Composition

is undoubtably

the most powerful tool

you possess

as a visual storyteller.

The lens is the audience's portal

into the world you create.

It is yours to control.

The viewer does not know

what is or isn't

important in a frame.

It is up to you as director

or director of photography

to guide their eye.

There is only one correct way

to compose a shot.

So how do we decide

which composition

is best for our story?

Let's watch.