Shot composition.
Elements of nine-pattern composition.
When an image is divided into thirds, the human eye is naturally drawn to the points of intersection.
Make the character include as many points as possible in the nine-panel frame.
The horizon should be two-thirds of the way from the top of the frame or two-thirds from the bottom.

Fibonacci sequence:

Basic shot:
EXTREME LONG SHOT
EXTREME CLOSE UP
MEDIUM CLOSE-UP
MEDIUM LONG SHOT
MEDIUM SHOT
LONG SHOT
CUT-IN
ICLOSE UP


The concept of Previs:
Previs is the process of visualizing a scene before it is created.
Previs usually takes the form of a 3D animation, i.e., a rough version of one or more scenes. They typically start with a 2D storyboard. Draft versions of different moving image sequences are created and put together using their compositing and editing skills.
The visual preview process is used to plan shots, calculate scale and timing and give a rough indication of where the character will move. It is used to plan how visual effects (VFX) will fit into other live-action scenes. Creating previews saves films and TV series and shows valuable time and money on set or post-production.
The ideas
Idea1
Set in a fantasy world
At a time when human civilization was not so advanced, and to survive in nature, they combined with monsters and left their offspring. The main characters are the offspring of birds and humans.
Reference to the ancient East
The world is dominated by gods and religion
The protagonist is the son of a divine bird
A rival force destroys the clan, and the protagonist escapes and is saved by a hunter in the mountains.
Three subplots are envisaged.
The protagonist escapes from the overthrown religion
Being rescued by the hunter and lying in the house
Watching the hunter chopping wood
Idea2
Set in a fantasy world
In a time when human civilization was not very advanced and the world was full of different kinds of monsters, the story takes place on a mountain with magical ores and a village at its foot.
The village people live off the mountain gods but are killed by greedy humans because they won’t let the merchants mine the ore recklessly, and the only protagonist who survives escapes into the mountain.
The mountain has a mountain god that looks like a white wolf, born out of the villagers’ faith, who is about to disappear because the village at the bottom of the mountain was slaughtered. As he disappears, he sees the protagonist who escapes into the mountain. The mountain god saves the protagonist and fuses with him.
Three images: the protagonist walks into the cave.
The protagonist sits down against the stone wall and closes his eyes to rest.
He hears a sound and opens his eyes to look in one direction.
In this class, we were exposed to the most basic camera language. This was the first time I had studied something like this, so this knowledge was new to me.
I was not too fond of the human story, so I decided to develop a story using previously designed characters, and if I get the chance, I’d like to make the scenes and make a rough model of the characters.
Knowledge points in the video screen:
THE DOMINANT FEATURE
The dominant feature is the object that our eyes are immediatelyattracted to and can be created by any number of techniques
SIZE: The size of an object may draw our attention to it.
In colour films, the dominant is often achieved byhaving once colour stand out from the other.Placing one object in sharper focus than the rest ofFOCUS:the shot can also create a dominant.
COLOUR:
The dominant feature in this shot is Arthur (Joseph Gordon-Levitt).
THE LIGHTING KEY
Features bright, even illumination and fewHIGH KEY:conspicuous shadows. High key lighting is oftenused in musicals and comedies.
Features diffused shadows and atmospheric pools ofLOW KEY: light. Low key lighting is often use in mysteries andthrillers.
HIGHCONTRAST:
Features harsh shafts of light and dramatic streaksof blackness. High contrast is often used in tragediesand melodramas.
SHOTIANGLEIPROXIMITY
BIRD’S-EYE This shot type can be disorienting and makeVIEW: the object seem very insignificant.
This angle reduces the size of the objectHIGH ANGLE:it can make the object seem harmless andinsignificant.
EYE-LEVELSHOT:
ls the clearest view of a object.
This angle increases the size of the objectLOW ANGLE:giving a sense of power and respect.
OBLIQUEShot on an angle, suggests tension orANGLE: transition This angle is used in the example.
COLOUR VALUES
DOMINANT The dominant colour is the colour most seen onCOLOUR: the screen.
SUBSIDIARY What other colours are found on screen? DoCOLOURS: they contrast with the Dominant Colour?
COLOURSYMBOLISM:
Are the colours used because of theirsymbolism? Do they reflect the characterspersonalities or traits?
SUBSIDIARY FEATURES
After taking in the dominant feature, where does the eye go next?
The Subsidiary Feature in this shot is the Bad Guy’ in theforeground of the shot, he is slightly out of focus with his back to thecamera.
The Colour Value of his costume blend with the set design whichhelps us to focus on the main character of the scene, who’s costumecontrasts against these colours helping to make him theDominant Feature of the scene.
SCREEN DENSITY
How much visual information is packed into the image? ls the sceneSTARK,MODERATE or HIGHLY DETAILED?
Whilst there are a significant number of items or objects in thebackground of this scene, the image is not very dense because thefocus limits the viewer to taking in only two main objects:Arthur and the Bad Guy
The density of this shot is also helped by the Colour Values used, thedull room helps also us to focus on the two main objects.
COMPOSITION
How is the two dimensional space of the screen segmented andorganised? What is the underlying design? Objects in the frame canbe placed to help the audience to connect.
HORIZONTAL:
Horizontal compositions seem visually at rest andsuggest placidity or peacefulness.
Vertical compositions seem visually at rest andVERTICAL:suggest strength.
Diagonal (or Oblique) compositions seemDIAGONAL:dynamic and suggest tension or anxiety. Thiscomposition is used in the example.
DEPTH OF FIELD
On how many planes is the image composed? How much’ is in
focus?
DEEP FOCUS: Allows all planes to be in focus at the same time.
SHALLOW More commonly, shallow focus allows only one orFOCUS: two planes are in focus.
The example has a relatively Deep Focus with the majority of thescene in focus. The foreground is only slightly out of focus, whichdraws our eyes to the back of the room to The Dominant Feature.
CHARACTER PLACEMENT
What part of the framed space do the characters occupy?
The area near the top of the frame can suggest power,TOP:authority and aspiration.
BOTTOM:
SIDES:
The areas near the bottom of the frame tend to suggestsubservience, vulnerability, and powerlessnessThe left and right edges of the frame tend to suggestinsignificance as these areas are farthest from the centre
The example has our protagonist towards the top of the frameimplying power and authority. The antagonist closer to the bottomimplying vulnerability or powerlessness.
SHOT FRAMING
ls the framing TIGHT or LOOSE? Do the characters have no room tomove around, or can they move freely without impediments?
Shots where the characters are places on the edges ofTIGHT: the frame and have little room to move around within theframe are considered tight.
Longer shots, in which the characters have room to moveLOOSE:around within the frame, are considered loose and tendto suggest freedom.
The example has Loose Framing, the characters have the ability tomove around within the frame without going outside the shot.
DIEGETIC AUDIO
Diegetic Audio is a sound whose source is visible on the screen orwhose source is implied to be present by the action of the film.
Character voices, sounds made by objects in the story, music comingfrom instruments in the story space are all examples of DiegeticAudio.
it is important to note that Diegetic Audio can be either on screenor off screen depending on whatever its source is within the frameor outside of the frame (radio playing, family member playing aninstrument, thunder clap)
NON-DIEGETIC AUDIO
Non-Diegetic Audio is a sound whose source is neither visible on thescreen nor has been implied to be present in the action.
Narrators commentary, sounds effects which are added for thedramatic effect mood music / sound tracks are all examples of Non-Diegetic Audio.
It is important to note that just because you cannot see the source ofthe sound, that doesn’t make it Non-Diegetic Audio. lf the sound fitswithin the environment (birds squawking in a forest scene, car hornsnear a busy road), it should be considered Diegetic Audio.