 Hey creatives, welcome back to the channel. I am Amanda. In the previous episode of composition and framing We broke down the commonly compositional framing used by filmmakers. Now that we've gone through that vastly, the next question becomes How should we compose the subject in each frame to fit into the cinematic framing? Welcome to the part two on compositional framing, guest snarking as we journey through this learning curve together. Compositional framing is a delicate dance of arranging elements within the frame to elicit emotions, tell stories and immerse the audience. It's about more than just capturing a scene. It's about crafting a visual narrative that speaks directly to the heart and soul. Every shot is a canvas and every composition is a brush stroke that paints the story's essence. The arrangement of characters, objects and space within the frame is a language through which we communicate emotions, tensions and relationship. So first off, we're going to begin with one shot. A one-shot or a single is a compositional technique that focuses exclusively on one character within the frame. As the lone character remains the primary focus, the technique emphasizes the character's facial expression, body language, reactions and can be used to convey a character's isolation creating a surreal and immersive connection. Between the viewer and the character, single shots are used in various ways imaginable. Most single shots are more frequently medium shots or close up, but in cases when they are wide singles, it's mostly compelling showing emptiness. Let's delve into the concept of a single shot with these movie references. This movie was directed by Sofia Coppola in 2003, lost in translation. The single character's shot was employed brilliantly to capture the emotional isolation and introspection of the main character. The film contemplative tone is accentuated by shots that linger on your faces allowing the audience to witness their unspoken thoughts and the complexity of their feelings. Through single character shots, the film conveys and disconnects the feel in a foreign environment and their genuine connection with each other. And this next movie was directed by Alejandro Gonzalez, the Revenant. The single character shot plays a vital role in immersing the audience in the harsh and unforgiving wilderness. The film's protagonist Hugh Glass is frequently shown in single character shots that captures his struggle, determinations and raw emotions. This shot intensifies the physical and emotional challenges he faces emphasizing the resilience and the relentless nature of his journey through the movie. Our next point is the two shots. A two shot involves framing two characters within the same shot, often side by side or facing each other or in any other form needed for the scene. The characters are usually filmed from the mid chest or visually in a way that highlights their interaction, relationship or dynamics, which can also show harmony or disharmony depending on the scene. Having the characters with the main focus of the shot while the surrounding environment can also play a role in conveying the scene's contest. In this film, The Piano, directed by Jane Campion, there's a memorable two shots that beautifully illustrates the complex emotion and relationship in the story. In a pivotal scene, Ada and George find themselves in a lush forest clearing. As Ada plays her piano, George listens attentively. The camera frames them in a two shot with Ada sitting at the piano and George standing nearby. This composition captures their emotional connection. Ada's music expressing her innermost feeling and George's attentive presence revealing his growing affection for her. As the scene progresses, Ada and George unspoken bond becomes palpable. The surrounding nature adds the sense of intimacy and vulnerability. As the character connection deepens beyond words, with that being said, the piano exemplifies how this technique can convey intricate relationship on spoken emotion and pivotal moments without relying solely on dialogue. As most subjects or elements are added to the frame, the name of the population size changes accordingly. And over the shoulder shot occurs when the camera is placed behind the shoulder of the character. The character's head and shoulder are seen in the foreground and are used as a framing device for the shot. While also revealing the face of the character they are interacting with, it serves to create a sense of spatial relationship and engagement between the characters. Over the shoulder shots can be used to suggest tension, intimacy, desire, hatred, imprisonment or conspiracy. It depends on the storyline and staging. In this movie, The Social Network, there's a compelling use of the over-the-shoulder framing during a pivotal conversation between Mark and his lawyer Sean Parker. During this scene, Mark and Sean are engaged in a conversation about the potential of Facebook. The camera is positioned behind Mark's shoulder, focusing on Sean in the foreground. Mark's profile is partially visible and the camera captures Sean's face as he speaks. This over-the-shoulder framing achieves several effects. The audience feels as though they are part of the conversation, observing Sean's expression while hearing his dialogue. The viewer can closely analyze Sean's expression and body language as he talks, providing insight into the motive and emotion. The framing highlights the power dynamic between Mark and Sean, emphasizing Sean's charismatic presence. And now, we move on to the POV shot, which we call Point of View. A Point of View shot is intended to present the subjective view of specific character. The camera lens is physically placed at the eye level of the character, which POV was seeing and the way the audience sees what the character sees. By adopting this character's viewpoint, the audience gains insight into their thoughts, emotions and reaction, making them an active participant in the narrative. In Alfred H. Cork's iconic film cycle, there's a famous POV shot during the shower scene as Marion takes a shower. The camera's perspective switches to a POV shot from behind the shower curtain. This viewpoint aligns with the audience, with the vulnerable position of the character intensifying the suspense and terror of the moment. We witness the menacing figure approaching through Marion's eyes, creating a visual and chilling experience. The POV framing technique is a potent tool in cinematic storytelling, inviting the audience to experience events as if they were the character. H. Cork's mastery of his technique contributed to the lasting impact and visual nature of the scene, showcasing the power of cinematography to evoke genuine and emotional responses. Insert. An insert in composition framing is a cinematic technique where a brief shot, often a close-up, is inserted into a sequence to focus the viewer's attention to a specific detail, object or action. This shot provides contextual information and emphasizes emotions or adds depth to the storytelling. Director Alfred famously said the length of a film should be directly related to the endurance of the human bladder. Insert. Shot supports this notion by conveying essential information efficiently without unnecessarily prolonging scenes. In the movie The Shining by Stanley Kubrick, he utilizes the insert shot to create an unsettling atmosphere in one of the iconic scenes when the Torrents discovers Jack's manuscript, filled with pages repeating the same sentence, all work and no play makes Jack a dull boy. The camera captures an insert shot of the manuscript, emphasizing the repetition and the descent into madness. This insert shot becomes a visual representation of Jack's mental state and adds an eerie dimension to the horror of the film. An insert shot can carry symbolic meaning or context or subtext, revealing characters' motivation or thematic element. Insert can build suspense by focusing on a key object before revealing its significance, creating intrigue and engagement. Central framing. Central framing also known as centered composition, where the main subject is placed at the center of the frame, is often motivated by aesthetics and visual storytelling. This technique can create a sense of balance, symmetry and visual harmony that appeals to viewer's sense. It's a deliberate choice that can convey certain emotions, theme and messages, depending on how it is used within the context of a film. Center composition aesthetic appeals lies in its ability to draw immediate attention to the subject. The centered placement naturally focuses the viewer's gaze, allowing them to engage directly with the subject without distraction. However, central framing can reveal power dynamics in a scene by using the centered placement of character or object to emphasize dominance and authority, and that visually establishes the dominance over the scene. It can also be used to depict vulnerability or powerlessness. Stanley Kubrick's film, A Clockwise Orange, features central framing to create a sense of unsettling symmetry. In the infamous singing in the ring scene, Alex commits a brutal act of violence with an eerie calmness. The camera remains static as Alex, with a sinister smile, assaults his victim. In other contexts in the film Moonlight, directed by Barry Jenkins, central framing is used in ways that captures vulnerability and intimacy. In a pivotal scene, the young protagonist, Karen, sits across one who becomes a father figure to him. This camera centers on Karen's face as he listens intently to one's word. Central framing is a versatile technique that can evoke different emotions and serve various narrative purposes. While it can provide stability and balance, it can also create tension, highlight emotions, or emphasize the importance of a particular moment. Now, Rule of Space, the rule of space also known as Principle of Directional Movement, is a cinematic guideline that involves leaving visual space within the frame for a subject to move or to look into. This technique creates a sense of visual balance, direction and anticipation by providing room in a direction of a subject's movement or gaze. The audience's attention is drawn in that direction, enhancing the narrative and conveying a natural flow. In the movie Lost in Translation, directed by Sofia Coppola, there is a pregnant use of Rule of Space using a conversation between two main characters, Bob and Charlotte. In the Tokyo Hotel, in the scene where Bob and Charlotte sit on a window sill, looking out at the city lights, the camera frames them with the space to the left of the frame, allowing the audience to see the city space. The character's gaze and body language direct attention to the cityscape, leaving room for the viewers to explore the environments they're observing. The space to the left of the frame balances the composition, providing a harmonious arrangement of the characters and their surrounding. And by framing the characters with room to look into, the audience's gaze is drawn to the same point of interest, enhancing the scene's emotional impact. Roger Dickens' word reminds us that cinematography is an art of intuition and experience. It's about translating the feeling of intention of a scene into visual elements that resonates with the audience. Every decision about framing and composition and perspective has a profound effect on the cinematic experience, creating a symphony of emotion that unfolds on screen. And that's all on our topic today. If the topic is not clear enough, please feel free to ask questions in the comments down below. If you have enjoyed this video and found it educational, give us a thumbs up, hit that subscribe button, and don't forget to ring the notification bell to stay updated with our upcoming content. Until next time, improvise, adapt and overcome, and I'll see you soon. Bye.