{"id":2817,"date":"2021-08-06T15:11:51","date_gmt":"2021-08-06T15:11:51","guid":{"rendered":"https:\/\/new-blog.artlist.io\/?p=2817"},"modified":"2022-06-09T10:51:15","modified_gmt":"2022-06-09T10:51:15","slug":"shot-composition-framing","status":"publish","type":"post","link":"https:\/\/new-blog.artlist.io\/blog\/shot-composition-framing\/","title":{"rendered":"Shot Composition &#038; Framing: The Basic Rules"},"content":{"rendered":"<p>You have your story, your cast, your crew, your gear and lighting; you have a set or location. You\u2019re just about ready to go. What you have to think about now is your scene composition. Good composition can make or break a film because you can\u2019t just put everyone and everything in a room and leave it at that. Where people and things are positioned in a scene and how you approach filming them conveys so much to the audience. It doesn\u2019t matter if you\u2019re shooting a tell-all interview or\u00a0<a href="\&quot;https:\/\/artlist.io\/blog\/tips-for-making-a-dance-video\/\&quot;" target=\"_blank\" rel=\"noopener\">making a dance video<\/a>, understanding composition techniques and using them effectively will bring your filmmaking to life.<\/p>\n<h2>Rule of thirds<\/h2>\n<p>The chances are that if you\u2019ve only heard of 1 compositional rule, it\u2019s the rule of thirds. This rule divides your scene into 9 rectangles, using 2 vertical lines spaced evenly across your scene and 2 horizontal lines at equal intervals down your frame. The 4 points where these lines intersect are called points of interest or power points.<\/p>\n<p>The theory behind the rule of thirds is that you\u00a0<strong>position your subject of focus on one of the points of interest and use the dividing lines for strong horizontal or vertical lines in your scene<\/strong>. This creates a strong dynamic within the frame and introduces tension between the elements in the scene. Unless you are looking for a specifically symmetrical composition, framing your subject in the center of the scene can feel flat and lifeless. It doesn\u2019t really matter which\u00a0<a href="\&quot;https:\/\/artlist.io\/blog\/focal-length\/\&quot;" target=\"_blank\" rel=\"noopener\">focal length<\/a>\u00a0you are using, you can still apply the rule of thirds.<\/p>\n<p><iframe title=\"rule of thirds 1\" src=\"https:\/\/player.vimeo.com\/video\/583759719?dnt=1&amp;app_id=122963\" width=\"800\" height=\"450\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\" data-src=\"https:\/\/player.vimeo.com\/video\/583759719?dnt=1&amp;app_id=122963\" data-done=\"Loaded\" data-mce-fragment=\"1\"><\/iframe><\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p>You can see in this video how the subject is positioned on the second vertical, with her head on the top-right point of interest.<\/p>\n<p><iframe src=\"https:\/\/player.vimeo.com\/video\/583769511\" width=\"800\" height=\"450\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\" data-mce-fragment=\"1\"><\/iframe><\/p>\n<p>In this video clip, the headland in the background sits along the upper horizontal line. It doesn\u2019t run through the center of the frame, which would cut it in half and leave the scene feeling flat.<\/p>\n<h2>Balance and symmetry<\/h2>\n<p>Balance and symmetry are different composition techniques. Balance comes in many forms, but it ensures that a cinematic composition feels complete. A figure with its head on the upper left point of interest can be balanced by an object toward the bottom right. It doesn\u2019t need to be the same size, shape or color but it provides a complement. A deep pink flower in the upper right corner of a shot can be balanced by bright green negative space filling the rest of the scene. Or someone in the lower right can balance themselves by looking toward the upper left corner. You\u2019ll feel an unbalanced scene when you see one, whether you\u2019ve used a telephoto or a\u00a0<a href=\"https:\/\/new-blog.artlist.io\/blog\/wide-angle-lenses\/\" target=\"_blank\" rel=\"noopener\">wide-angle lens<\/a>. Be open about how you rebalance it \u2013 it isn\u2019t necessarily the obvious choice that will work the best.<\/p>\n<p><iframe title=\"balance and Symmetry 1\" src=\"https:\/\/player.vimeo.com\/video\/584011531\" width=\"800\" height=\"450 \u201dframeborder=\" allowfullscreen=\"allowfullscreen\" data-src=\"https:\/\/player.vimeo.com\/video\/584011531?dnt=1&amp;app_id=122963\" data-done=\"Loaded\" data-mce-fragment=\"1\"><\/iframe><\/p>\n<p>&nbsp;<\/p>\n<p>Supposedly, the more symmetrical people are, the more attractive we find them. I\u2019m not sure how strictly accurate this is, but it does help explain why we find symmetrical shots pleasing to the eye, even if they do break the rule of thirds. There\u2019s a calm, evenness to them that\u2019s engaging.<\/p>\n<p><iframe title=\"balance and Symmetry 2\" src=\"https:\/\/player.vimeo.com\/video\/584013829\" width=\"800\" height=\"450 \u201dframeborder=\" allowfullscreen=\"allowfullscreen\" data-src=\"https:\/\/player.vimeo.com\/video\/584013829?dnt=1&amp;app_id=122963\" data-done=\"Loaded\" data-mce-fragment=\"1\"><\/iframe><\/p>\n<p>&nbsp;<\/p>\n<p>For certain shots, only symmetry will do \u2013 for example with this footage of a quad scull. And centered shots of people\u2019s faces are alluring: You feel as if you can connect with them. They are very powerful and can be accentuated by moving in or out toward the subject using a\u00a0<a href=\"https:\/\/new-blog.artlist.io\/blog\/how-to-use-the-dolly-shot\/\" target=\"_blank\" rel=\"noopener\">dolly shot<\/a>.<\/p>\n<p>2 tips when it comes to symmetrical compositions: First, they need to be accurate. If they are not quite right, they will irritate your viewers. Second, do not overuse symmetrical composition. It can become exhausting for your audience or lose its impact.<\/p>\n<h2>Leading room and headroom<\/h2>\n<p>Headroom means leaving a gap between the top of your subject\u2019s head and the edge of the frame. This prevents the scene from feeling cramped or maybe rushed or aggressive. There might be times when evoking those feelings is exactly what you need, but mostly, give your subjects room to breathe in the scene.<\/p>\n<p><iframe title=\"headroom\" src=\"https:\/\/player.vimeo.com\/video\/584015450\" width=\"800\" height=\"450 \u201dframeborder=\" allowfullscreen=\"allowfullscreen\" data-src=\"https:\/\/player.vimeo.com\/video\/584015450?dnt=1&amp;app_id=122963\" data-done=\"Loaded\" data-mce-fragment=\"1\"><\/iframe><\/p>\n<p>&nbsp;<\/p>\n<p>Leading room refers to the position of the subject in your scene and the direction they look in. Convention suggests that if you have a subject on the left of the scene, they should be looking to the right, not the left, of the frame or it can feel confusing for the audience. If you do it carefully and with consideration, I think this is a rule that\u2019s good for breaking.<\/p>\n<p><iframe title=\"\u201dLeading\" src=\"https:\/\/player.vimeo.com\/video\/584016014\" width=\"800\" height=\"450 \u201dframeborder=\" allowfullscreen=\"allowfullscreen\" data-src=\"https:\/\/player.vimeo.com\/video\/584016014?dnt=1&amp;app_id=122963\" data-done=\"Loaded\" data-mce-fragment=\"1\"><\/iframe><\/p>\n<p>&nbsp;<\/p>\n<h2>Leading lines<\/h2>\n<p><iframe title=\"\u201dLeading\" src=\"https:\/\/player.vimeo.com\/video\/584016959\" width=\"800\" height=\"450 \u201dframeborder=\" allowfullscreen=\"allowfullscreen\" data-src=\"https:\/\/player.vimeo.com\/video\/584016959?dnt=1&amp;app_id=122963\" data-done=\"Loaded\" data-mce-fragment=\"1\"><\/iframe><\/p>\n<p>&nbsp;<\/p>\n<p>You start at the tree and then follow the path through the scene.<\/p>\n<p>Leading lines direct your audience to your point of focus or to something else in your scene that is somehow significant. Leading lines can be real or imaginary, straight or curved. Roads, railway tracks and rivers are all obvious leading lines, but people\u2019s lines of sight work, too. Where is your subject looking? Where they look, your audience will look, too.<\/p>\n<p><iframe title=\"\u201dLeading\" src=\"https:\/\/player.vimeo.com\/video\/584017661\" width=\"800\" height=\"450 \u201dframeborder=\" allowfullscreen=\"allowfullscreen\" data-src=\"https:\/\/player.vimeo.com\/video\/584017661?dnt=1&amp;app_id=122963\" data-done=\"Loaded\" data-mce-fragment=\"1\"><\/iframe><\/p>\n<p>&nbsp;<\/p>\n<p>You might look to the filmmaker on the cliff initially, but you will then follow his line of sight down to the sea.<\/p>\n<p>It\u2019s possible to compose a shot using multiple leading lines that draw you through the scene and help in telling your story. A path could lead to your subject, while their sightline could lead up to a tree to a bird.<\/p>\n<h2>Depth of field<\/h2>\n<p>How much of a scene is in sharp focus and how much is blurred helps to tell your story by showing your audience where to concentrate and what\u2019s important.<\/p>\n<p><iframe title=\"\u201dDepth\" src=\"https:\/\/player.vimeo.com\/video\/584018632\" width=\"800\" height=\"450 \u201dframeborder=\" allowfullscreen=\"allowfullscreen\" data-src=\"https:\/\/player.vimeo.com\/video\/584018632?dnt=1&amp;app_id=122963\" data-done=\"Loaded\" data-mce-fragment=\"1\"><\/iframe><\/p>\n<p>&nbsp;<\/p>\n<p>A\u00a0<a href=\"https:\/\/new-blog.artlist.io\/blog\/shallow-depth-of-field-what-it-is-and-how-to-use-it\/\" target=\"_blank\" rel=\"noopener\">shallow depth of field<\/a>\u00a0is great for concentrating your audience\u2019s attention but it won\u2019t work for an\u00a0<a href=\"https:\/\/new-blog.artlist.io\/blog\/establishing-shot\/\" target=\"_blank\" rel=\"noopener\">establishing shot<\/a>\u00a0where you are trying to set context. Even with a wide-angle lens and a deep depth of field, you can still ensure your audience recognizes your subject. By making the subject smaller or larger in the scene, you can suggest if someone is overwhelmed or in control of a situation, too.<\/p>\n<p><iframe title=\"\u201dDepth\" src=\"https:\/\/player.vimeo.com\/video\/584020423\" width=\"800\" height=\"450 \u201dframeborder=\" allowfullscreen=\"allowfullscreen\" data-src=\"https:\/\/player.vimeo.com\/video\/584020423?dnt=1&amp;app_id=122963\" data-done=\"Loaded\" data-mce-fragment=\"1\"><\/iframe><\/p>\n<p>&nbsp;<\/p>\n<p>Learning how to pull focus or rack focus is a great skill to help switch what\u2019s in focus in a scene. Whether you are using a prime or\u00a0<a href=\"https:\/\/new-blog.artlist.io\/blog\/zoom-lens\/\" target=\"_blank\" rel=\"noopener\">zoom lens<\/a>, it will need to have a manual focus for rack focusing.<\/p>\n<p><iframe title=\"\u201dDepth\" src=\"https:\/\/player.vimeo.com\/video\/584022805\" width=\"800\" height=\"450 \u201dframeborder=\" allowfullscreen=\"allowfullscreen\" data-src=\"https:\/\/player.vimeo.com\/video\/584022805?dnt=1&amp;app_id=122963\" data-done=\"Loaded\" data-mce-fragment=\"1\"><\/iframe><\/p>\n<p>&nbsp;<\/p>\n<h2>180\u00ba rule<\/h2>\n<p>When you have 2 or more characters communicating within a scene or a character interacting with a key object, they should always remain on the same side of the screen as the audience looks at them. This is called the\u00a0<a href=\"https:\/\/new-blog.artlist.io\/blog\/180-degree-rule\/\" target=\"_blank\" rel=\"noopener\">180\u00ba rule<\/a>\u00a0and helps to maintain consistency for your audience. You can cross the 180\u00ba line, but this needs to be done very carefully and with purpose, otherwise, it will confuse the audience, and they can lose the plot.<\/p>\n\t\t<div data-elementor-type=\"section\" data-elementor-id=\"186\" class=\"elementor elementor-186\" data-elementor-post-type=\"elementor_library\">\n\t\t\t\t\t<div class=\"elementor-section-wrap\">\n\t\t\t\t\t\t\t\t<section class=\"elementor-section elementor-top-section elementor-element elementor-element-b6940b6 elementor-section-full_width cta-middle external elementor-section-height-default elementor-section-height-default\" data-id=\"b6940b6\" data-element_type=\"section\" data-settings=\"{&quot;background_background&quot;:&quot;classic&quot;}\">\n\t\t\t\t\t\t<div class=\"elementor-container elementor-column-gap-default\">\n\t\t\t\t\t\t\t<div class=\"elementor-row\">\n\t\t\t\t\t<div class=\"elementor-column elementor-col-100 elementor-top-column elementor-element elementor-element-ae3297b\" data-id=\"ae3297b\" 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29.1986 5.33584C29.3291 5.41262 29.4673 5.46636 29.6132 5.51243C29.7821 5.56617 29.9971 5.62759 30.2581 5.68901C30.7342 5.81186 31.1411 5.9347 31.4789 6.05754C31.7783 6.15735 32.0547 6.30323 32.3158 6.47982C32.5154 6.61802 32.6766 6.80996 32.7918 7.03261C32.8993 7.26294 32.953 7.52399 32.9453 7.77735C32.9453 8.45299 32.692 8.99043 32.1929 9.38199C31.6708 9.78891 30.9952 9.98085 30.1276 9.98085Z\" fill=\"#FFDA2A\"><\/path><path d=\"M38.0812 9.48966C37.7971 9.6125 37.5053 9.71999 37.2059 9.80445C36.8527 9.91193 36.4919 9.96568 36.1233 9.96568C35.8853 9.96568 35.655 9.93497 35.4323 9.87354C35.225 9.8198 35.0331 9.71231 34.8642 9.57411C34.6953 9.42824 34.5647 9.25165 34.4726 9.04435C34.3651 8.79867 34.3191 8.52995 34.3267 8.26123V4.27649H33.4131V2.91754H34.3267V0.667969H36.1003V2.91754H37.5591V4.27649H36.1003V7.66236C36.1003 7.90805 36.1617 8.08464 36.2922 8.18445C36.4228 8.29194 36.5917 8.34568 36.7606 8.338C36.9448 8.338 37.1291 8.30729 37.3057 8.24587C37.4823 8.18445 37.6205 8.1307 37.728 8.08464L38.0812 9.48966Z\" fill=\"#FFDA2A\"><\/path><path fill-rule=\"evenodd\" clip-rule=\"evenodd\" d=\"M3.43194 1.08203H5.20549L8.62975 8.48334V9.85765C7.24776 9.91907 5.80435 9.94979 4.31487 9.94979C2.8254 9.94979 1.38199 9.91907 0 9.85765V8.48334L3.43194 1.08203ZM1.90407 8.39121C2.71023 8.41424 3.51639 8.42192 4.31487 8.42192C5.12103 8.42192 5.92719 8.40657 6.72567 8.39121L4.31487 3.18572L1.90407 8.39121Z\" fill=\"#FFDA2A\"><\/path><\/svg>\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<section class=\"elementor-section elementor-inner-section elementor-element elementor-element-509c078 elementor-section-full_width elementor-section-height-default elementor-section-height-default\" data-id=\"509c078\" data-element_type=\"section\">\n\t\t\t\t\t\t<div class=\"elementor-container elementor-column-gap-default\">\n\t\t\t\t\t\t\t<div class=\"elementor-row\">\n\t\t\t\t\t<div class=\"elementor-column elementor-col-50 elementor-inner-column elementor-element elementor-element-b63c6db\" data-id=\"b63c6db\" data-element_type=\"column\">\n\t\t\t<div class=\"elementor-column-wrap elementor-element-populated\">\n\t\t\t\t\t\t\t<div class=\"elementor-widget-wrap\">\n\t\t\t\t\t\t<div class=\"elementor-element elementor-element-88ef02d elementor-widget elementor-widget-heading\" data-id=\"88ef02d\" data-element_type=\"widget\" data-widget_type=\"heading.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t<h3 class=\"elementor-heading-title elementor-size-default\">Get unlimited royalty-free 4K footage<\/h3>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t<div class=\"elementor-column elementor-col-50 elementor-inner-column elementor-element elementor-element-90a8615\" data-id=\"90a8615\" data-element_type=\"column\">\n\t\t\t<div class=\"elementor-column-wrap elementor-element-populated\">\n\t\t\t\t\t\t\t<div class=\"elementor-widget-wrap\">\n\t\t\t\t\t\t<div class=\"elementor-element elementor-element-476808b elementor-mobile-align-justify elementor-align-justify elementor-widget__width-initial external-link-event event-midpage-startfree elementor-widget-tablet__width-initial elementor-widget elementor-widget-button\" data-id=\"476808b\" data-element_type=\"widget\" data-widget_type=\"button.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t<div class=\"elementor-button-wrapper\">\n\t\t\t<a class=\"elementor-button elementor-button-link elementor-size-sm\" href=\"https:\/\/artlist.io\/start-now\">\n\t\t\t\t\t\t<span class=\"elementor-button-content-wrapper\">\n\t\t\t\t\t\t<span class=\"elementor-button-text\">Start  Free Now<\/span>\n\t\t<\/span>\n\t\t\t\t\t<\/a>\n\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-1816319 elementor-mobile-align-justify elementor-align-justify elementor-widget__width-initial external-link-event event-midpage-pricing elementor-widget-mobile__width-initial elementor-widget elementor-widget-button\" data-id=\"1816319\" data-element_type=\"widget\" data-widget_type=\"button.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t<div class=\"elementor-button-wrapper\">\n\t\t\t<a class=\"elementor-button elementor-button-link elementor-size-sm\" href=\"https:\/\/artlist.io\/page\/pricing\/max\">\n\t\t\t\t\t\t<span class=\"elementor-button-content-wrapper\">\n\t\t\t\t\t\t<span class=\"elementor-button-text\">Pricing<\/span>\n\t\t<\/span>\n\t\t\t\t\t<\/a>\n\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\n<h2>Direction and levels<\/h2>\n<p><a href=\"https:\/\/new-blog.artlist.io\/blog\/camera-angles\/\" target=\"_blank\" rel=\"noopener\">Camera angles<\/a>\u00a0change how an audience feels about the subjects on screen. If you approach someone at eye level, your audience will feel equal and connected to them. Film from below, and the audience will feel submissive to the character. Reverse the filming position and the character will come across as submissive. Remember, as you change your shooting angles, what appears in your foreground and background will change, too. You must consider what you want to be visible and how significant it should be.<\/p>\n<p><iframe title=\"\u201dDirections\" src=\"https:\/\/player.vimeo.com\/video\/584022717\" width=\"800\" height=\"450 \u201dframeborder=\" allowfullscreen=\"allowfullscreen\" data-src=\"https:\/\/player.vimeo.com\/video\/584022717?dnt=1&amp;app_id=122963\" data-done=\"Loaded\" data-mce-fragment=\"1\"><\/iframe><\/p>\n<p>&nbsp;<\/p>\n<p><iframe title=\"\u201d180\" src=\"https:\/\/player.vimeo.com\/video\/584023487\" width=\"800\" height=\"450 \u201dframeborder=\" allowfullscreen=\"allowfullscreen\" data-src=\"https:\/\/player.vimeo.com\/video\/584023487?dnt=1&amp;app_id=122963\" data-done=\"Loaded\" data-mce-fragment=\"1\"><\/iframe><\/p>\n<p>&nbsp;<\/p>\n<p>Compared to<\/p>\n<p><iframe title=\"\u201d180\" src=\"https:\/\/player.vimeo.com\/video\/584022582\" width=\"800\" height=\"450 \u201dframeborder=\" allowfullscreen=\"allowfullscreen\" data-src=\"https:\/\/player.vimeo.com\/video\/584022582?dnt=1&amp;app_id=122963\" data-done=\"Loaded\" data-mce-fragment=\"1\"><\/iframe><\/p>\n<h2>Know the rules, so you can break them<\/h2>\n<p>You might well be told that the difference between good composition vs bad composition is adhering to the composition rules. This isn\u2019t true. When you understand the rules of composition it gives you a deeper understanding of how your audience will interact with your footage. And this gives you the liberty to go and break the rules to achieve your filmmaking goals. The difference between good scene composition and poor frame composition is whether or not you are able to tell your story in a compelling way that grips the audience and doesn\u2019t distract or irritate them. Be bold. Know the rules of composition and then you can break them properly.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>You have your story, your cast, your crew, your gear and lighting; you have a set or location. You\u2019re just about ready to go. What you have to think about now is your scene composition.<\/p>\n","protected":false},"author":2,"featured_media":2821,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_uag_custom_page_level_css":"","footnotes":""},"categories":[5],"tags":[232,229,227],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v21.9 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Understanding Shot Composition &amp; Framing Rules | Artlist<\/title>\n<meta name=\"description\" content=\"Shot composition can make or break your footage. But what is it about how you frame your scenes that is so powerful? 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