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Composing a More Dynamic Frame With Depth

By now we are all aware the filming something confines a three-dimensional reality into two-dimensional medium. So just by our choice of medium we begin with a contrived sense of reality. Now two-dimensionality is not inherently bad and in fact it can be a visual tool to convey a specific meaning. Depth is not inherently the right answer but as far as dynamics, a frame with depth is more dynamic than a flat one. Its all about taking control over what you want to convey emotionally to your audience. If that is what your script calls for then great use a flat space. However, many times finding ways to create depth will enhance the dynamics of your frame and increase the feeling of a three dimensional world. Look for ways to ad depth cues to your composition. Depth cues are any visual elements that provide the illusion of depth in the frame.  There are many types of depth cues that can either ad to your frame to increase depth or removed from your frame to create a flat space. We will examine three simple depth cues you can use to ad depth to your frame.

Dig Deep

The first thing you can do to ad depth is find ways to incorporate perspective into your shots.  Longitudinal planes, or planes that have at least one vanishing point in the frame ad perspective and establish depth. Frontal planes with no known vanishing points establish a flatter space.  Two point perspective exist when a longitudinal plane has two vanishing points, such as a corner. When composing your next shot examine the planes in your shot. Are they frontal or longitudinal? By shifting your angle can you change a frontal plan into a longitudinal one? If so you will instantly open up the space and create perspective, and thus add a feeling of depth. Start learning to control the planes in your frame. Even if the larger planes must be used as frontal planes examine how staging other objects in your frame can create smaller longitudinal planes within your frame.

Layering

Another way to provide depth cues easily is to ensure a foreground, middle ground, and background in your frame.  Establishing these planes with characters or visual elements in your frame will help establish depth.  Creating overlap between objects also establishes depth. Two objects juxtaposed next two each other with no overlap can be perceived as flat even if in reality there is depth between them. When those two objects are overlapped however there is an immediate sense of depth.

Layering elements in the foreground that overlap the middle ground and background ad immediate depth and perspective to a frame. The same principal of layering can apply to blocking talent. A prime example of this is the common over the shoulder shot. Can you think of a more innovative way to layer your talent to create depth? In a world where shallow depth of field is the trend, it should be noted that blurring of elements in the background can effectively remove depth cues and flatten the frame. If depth cues are not perceivable on camera due to depth of field, they are no longer effective for establishing depth.

Deep Shadows

One of the most obvious ways to ad depth to a frame is light and shade.  Lets start by talking about tonality. Tone refers to the brightness, or darkness of a value in the gray scale. Color is not a factor of tone. In most cases viewers sense a darker value as being further from the camera, and a lighter value will be read as being closer to the camera. Even if the objects appear to be the same size in the frame, tonality lends itself to the illusion of depth. Understanding that, how can you use the creation of shadow in your frame to ad a sense of depth?  Working with tonality as a depth cue will take some practice to get used to. A simple starting point might be to ask what objects in frame aren’t necessary? Can you shade them to create some dark shadows in appropriate areas of frame? What part of the frame should “feel” the furthest and most removed from the viewer? Perhaps that part of the frame should be darker and more shaded. What is the viewer supposed to feel closest to, maybe its the subject? Maybe they should be the brightest element in the frame?

Creating a more dynamic frame begins with learning how to control the visuals in your frame and understand what they convey emotionally to your viewer.  Once again there are specific reasons when you would want to create an intentionally flat frame. In that case a less dynamic may be better. Even then understanding how depth cues impact your frame is useful. Check to see what depth cues can be removed in order flatten the frame.  So the next time you begin to compose a frame, dig deep and make that frame more dynamic. 

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This would have been a really great piece if there had been visuals to illustrate the concepts.

Posted by .(JavaScript must be enabled to view this email address)  on  02/20  at  02:19 PM

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