Week #6 Handouts - Composition, Lighting & Color

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COLOR PSYCHOLOGY Color Positives Negatives Gray Elegance, humility, respect, reverence, stability, subtlety, timelessness, wisdom Anachronism, boredom, decay, decrepitude, dullness, dust, pollution, urban sprawl R ed Passion, strength, energy, fire, love, sex, excitement, speed, heat, leadership, masculinity, power Danger, fire, gaudiness, blood, war, anger, revolution, radicalism, aggression, stop Blue Seas, skies, peace, unity, harmony, tranquility, calmness, coolness, confidence, water, ice, loyalty, conservatism, dependability, cleanliness, technology, winter Depression, coldness, idealism, obscenity, ice, tackiness, winter Green Nature, spring, fertility, youth, environment, wealth, money (US), good luck, vigor, generosity, go, grass Aggression, inexperience, envy, misfortune, jealousy, money, illness, greed Yellow Sunlight, joy, happiness, optimism, idealism, wealth (gold), summer, hope, air Cowardice, illness (quarantine), hazards, dishonesty, avarice, sissification, weakness Purple Sensuality, spirituality, creativity, wealth, royalty, nobility, ceremony, mystery, wisdom, enlightenment Arrogance, flamboyance, gaudiness, mourning, profanity, exaggeration, confusion Orange Buddhism, energy, balance, heat, fire, enthusiasm, flamboyance, playfulness Aggression, arrogance, flamboyance, gaudiness, overemotional, warning, danger, fire White Reverence, purity, snow, peace, innocence, cleanliness, simplicity, security, humility, marriage, sterility, winter Coldness, sterility, clinicism, surrender, cowardice, fearfulness, winter, unimaginative Black Modernity, power, sophistication, formality, elegance, wealth, mystery, style Evil, death, fear, anonymity, anger, sadness, remorse, mourning, unhappiness, mystery Brown Calm, depth, natural organisms, nature, richness, rusticism, stability, tradition Anachronism, boorishness, dirt, dullness, filth, heaviness, poverty, roughness 1

Transcript of Week #6 Handouts - Composition, Lighting & Color

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COLOR PSYCHOLOGY

Color Posi tives Negatives

GrayElegance, humility, respect, reverence,stability, subtlety, timelessness,wisdom

Anachronism, boredom, decay,decrepitude, dullness, dust,pollution, urban sprawl

RedPassion, strength, energy, fire, love,sex, excitement, speed, heat,leadership, masculinity, power

Danger, fire, gaudiness, blood,war, anger, revolution,radicalism, aggression, stop

Blue

Seas, skies, peace, unity, harmony,tranquility, calmness, coolness,confidence, water, ice, loyalty,conservatism, dependability,cleanliness, technology, winter

Depression, coldness, idealism,obscenity, ice, tackiness, winter

GreenNature, spring, fertility, youth,environment, wealth, money (US),good luck, vigor, generosity, go, grass

Aggression, inexperience, envy,misfortune, jealousy, money,illness, greed

YellowSunlight, joy, happiness, optimism,idealism, wealth (gold), summer, hope,air

Cowardice, illness (quarantine),hazards, dishonesty, avarice,sissification, weakness

PurpleSensuality, spirituality, creativity,wealth, royalty, nobility, ceremony,mystery, wisdom, enlightenment

Arrogance, flamboyance,gaudiness, mourning, profanity,exaggeration, confusion

OrangeBuddhism, energy, balance, heat, fire,enthusiasm, flamboyance, playfulness

Aggression, arrogance,flamboyance, gaudiness,overemotional, warning, danger,fire

White

Reverence, purity, snow, peace,innocence, cleanliness, simplicity,security, humility, marriage, sterility,winter

Coldness, sterility, clinicism,surrender, cowardice,fearfulness, winter,unimaginative

BlackModernity, power, sophistication,formality, elegance, wealth, mystery,style

Evil, death, fear, anonymity,anger, sadness, remorse,mourning, unhappiness, mystery

BrownCalm, depth, natural organisms,nature, richness, rusticism, stability,tradition

Anachronism, boorishness, dirt,dullness, filth, heaviness,poverty, roughness

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COMPOSITION

Composition is the plan, placement or arrangement of the elements of art in a work. The

general goal is to select and place appropriate elements within the work in order to

communicate ideas and feelings with the viewer. The primary elements of composition within

a picture are:

• The area within the picture used for the illustration.

• The perspective, relating to spatial arrangements of objects within a picture, creating

depth of field or giving the illusion of dimension or depth on a two-dimensional

surface.

• The line or direction followed by the viewer's eye when they observe the image.

• The value, or degree of lightness and darkness, used within the picture.

Golden ratio

The golden ratio, also known as the

golden proportion, golden mean,

golden section, golden number, divine

proportion or sectio divina, is an

irrational number, approximately

1.618, that possesses many interesting

properties.

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Shapes proportioned according to the

golden ratio have long been considered

aesthetically pleasing in Western

cultures, and the golden ratio is still

used frequently in art and design,

suggesting a natural balance between

symmetry and asymmetry

The Parthenon showing various golden rectangles

which are claimed to have been used in i

Golden Spirals

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Rule of thirds

The rule of thirds (an application of the Golden ratio) is a guideline commonly followed by

visual artists. The objective is to keep the subject(s) and areas of interest (such as the

horizon) out of the center of the image, by placing them near one of the lines that would

divide the image into three equal columns and rows, ideally near the intersection of those

lines.

Examples of Rule of Thirds Composition

Rule of thirds: Note how the horizon falls

close to the bottom grid line, and how the

dark areas are in the left third, the

overexposed in the right third.

The application of the rule of thirds to

photographs is considered by many to make

them more aesthetic and professional.

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The Rule of Thirds 

For the rule of thirds, imaginary lines are drawn dividing the image into thirds. The most

important elements are placed where these lines intersect

In addition to using the intersections, it also helps to use a 2

to 1 ratio (thus dividing the image both horizontally and

vertically into thirds) so that nothing is dead center, which

makes for a static image. Instead, when placing the horizon

line of a landscape, or the eye line of a person, use the

lower or upper third as an approximate guide.

In the subway shot, the most important person is the

woman in the third on the left of the image.

She could be the main character of a video, or she could be

about to do something important that will influence the

story. 

The image on the right is an extreme close-up of the eyes of 

a girl. They are placed on the line along the lower third of 

the image.

This image draws us in, we share the introspective moment

that this girl has. In a video there could be a voiceover

narration telling us her thoughts, for example. 

The Rule of Thirds

helps to produce

balanced images

and keeps the

subject away from

the very edges of 

the frame. Without Grid With Grid

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Simplification

Images with a clutter can distract from the main focus of the picture and make it difficult to

identify the subject. By decreasing the extraneous content, the viewer is more likely to focus

on the primary message. Clutter can also be reduced through the use of lighting, as the

brighter areas of the image tend to draw the eye, as do lines and linear features.

Limiting focus

One approach to achieving simplification within a

photograph is to use a wide aperture when shooting

to limit the depth of field. When used properly in the

right setting, this technique can place everything that

is not the subject of the photograph to be out of 

focus.

Field of view

The blurred background focuses the eye

on the flowers.

By altering the position of the camera, the background can be changed so that the subject has

fewer distractions to compete with. This could be achieved by getting closer, moving laterally,

or moving the camera vertically. 

Symmetry

The "rule of odds" suggests that an odd number of subjects in an image is more interesting

than an even number. Thus if you have more than one subject in your picture, the suggestion

is to choose an arrangement with at least three subjects. An even number of subjects

produces symmetries in the image, which can appear less natural.

Viewpoint

The position of the camera can strongly influence the aesthetics of an image. Not only does it

influence the background as described above, but it also influences the viewer's interpretation

of the subject. People can have a tendency to perceive things as larger than they actually are,

and filling the frame fulfills this psychological mechanism. This can be used to eliminate

distractions from the background. 

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COMPONENTS & PROPERTIES OF LIGHT 

http://www.warpedspace.org/lightingT/part1.htm  

Each light source can be broken down in to 4 distinct components and analyzed accordingly;

Intensity| Direction | Color | Size 

LIGHT INTENSITY  

Intensity of light can simply be defined as the amount of light being emitted from a source of 

light. As you increase a light's intensity from zero (off) to very high values, interesting things

start to happen to the objects being lit by such a light. Below is a series of images that show

some of these effects.

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Fig. 1.1 is very under lit and

you can barely see the

reflection of the light source. 

Fig. 1.2 could still benefit from

a stronger lightsource. A s

reflecting the light source is

now visible.

phere

 

Fig. 1.5 brings out all the

objects in the scene in a c

manner. The sphere's colors

are now over-saturat

because of the stronger lig

(compared to Fig. 1.3)

lear

 

ed

ht

Fig. 1.6 shows that the

objects surrounding the

central sphere are beginning

to get over-exposed to light,

and their colors begin to

saturate.

Fig. 1.4 shows almost all the

objects in the scene. Note that

you no longer see the reflection

of the light source, and the

texture on a third of the sphere

has been lost.

Fig. 1.3 shows most of the

objects in the scene, but

doesn't make a strong

statement. Textures are

beginning to emerge.

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LIGHT DIRECTION 

Fig. 1.7 simply intensifies the effects mentioned in

the description of Fig. 1.6.

Fig. 1.8 represents wildly over-saturated colors

and overly bright objects with a considerable

amount of texture and foreground lost to over-

exposure. The sphere no longer has a central

role, leading to weaker composition. 

The reason we are able to recognize the shape of an object is because light rays of different

intensities hitting the object from different directions 'paint' the object with highlights and

shadows.

The direction of incoming light from a light source can enhance the shape of the subject and

the overall emotion in the scene. It can also ruin what you are trying to capture in the image.

To give depth to the object being lit, place the primary light source, or key light, at a certain

angle to the camera to bring out highlights and shadows. Doing so will create or enhance the

illusion of depth in your object by having a graduated fall off from bright to dark over the

surface of your object.

Fig 2.1 shows the object being lit from a

single light source placed at the left of the

camera.

Fig 2.2 represents the same object, but the

light source is directly behind the camera. The

direction of incoming light also has an effect

on the mood of the image.

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Following is an example of a face being lit from below, giving a very dramatic effect. Each

shows light coming in from beneath the character's face, but from different directions and

each brings out the personality of the character in different way.

Fig 3.1 directly brings out the menacing personality of 

the character

Fig 3.2 brings it out in a subtle way.

Think of light coming from above as positive light and

light coming from below can be considered as the

inverse of that positive light, and it reduces the

character's positive traits. However, not all situations in

which light is coming from under the face are negative

(like a warm reddish glow) gives a romantic look.

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1 & 4.2 - Light coming from directly above a

Figures 4.3 and 4.4 have more localized

harsh and

igures 4.3 and 4.4 shows situations of light coming

GHT COLOR 

Figure below shows a white incident ray of light, which is reflected off a blue floor. The floor

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person's head was often used by Renaissance

painters to depict divinity and spirituality.

concentrated and harsh light spots. Such

localized light (along with harsh shadows) adds to

the negative side of the character.

F

from top, but not having any 'angelic' effect.

LI

4.1

4.44.3

4.2

absorbs all the colors in the incident ray except blue, and reflects it. Note that the light is

reflected at the same angle at which it was incident relative to the floor.

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the distance (or space) between two or more objects. T

often used to represent

depth. An object lit with the darker (less

imity,

whereas unsaturated represent distance. 

cede in to the distance, they tend to lose

Mornings usually have a blue tint. Around mid-day, you get more or less even colored light. There is some

blue light present (reflected from the sky). Evening light is typically characterized by arm, orange hues.

the first two.

nts summer mid-

day while Fig 5.5 represents

scene lit by a

moon high in the sky. The blue

Different colors also convey spatial and temporal relationships. Spatial relationship is based on

emporal relationship is based on time.

The color Blue is

saturated) shades of blue generally has a

tendency to stay in the background.

Saturated colors represent close prox

 

Eg : foggy/misty mornings.; As objects

re

their color saturation. Brightly saturated

colors tend to stay in the foreground, and

less saturated colors find their place in the

background.

Reflected BlueRay of Light

IncidentWhite

Ray of 

BLUE FLOOR

Li ht

w

The shadows change positions in

Fig. 5.4 represe

evening time.

Fig 5.6 depicts a

tint is there to give the illusion o

night time.

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URCE SIZE 

rce has a major effect on the overall feeling of the scene. A small sized

light source casts very sharp and distinct shadows, bringing out the element of tension in the

f light that casts very distinct

shadows, most noticeable under the nose and the brows. 

out the sadness,

hopelessness in the scene in a much

ronger way than in figure 6.2. Both

LIGHT SO

The size of the light sou

image. An example of a light source small in size would be a flashlight's bulb and it does

indeed cast very sharp shadows. A light source occupying a bigger area casts a much softer(less distinct) shadow, and brings a relaxed feeling to a scene.

Figure 6.1 face is lit from a very small, concentrated source o

 

The light source brings

st

figures are lit from light sources placed

above, but the light source in 6.2 is much

bigger (evident from the soft shadows)

than the one in 6.1. The softer/bigger

light source in 6.2 almost gives an

element of ‘hope’ that is missing in 6.1.

He looks sad, but hopeful.

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eek # 6 : Group work (10% )

ssignment : Juxtaposi tion

Submission : Week 7 | In-Class

: PAL | 360 x 288 | 44100Hz Stereo

Project Duration : 30 Seconds – 1 MinuteNo. of Members : 5 students

W

A

Video Format

Overview

Juxtaposition is an or ce of placingact instan two things close together or side by side. In film,

the position of shots next to one another is intended to create meaning within the audience's

mind. For example, an image of a cat juxtaposed to a rubbish bin perhaps indicates that it’s

an alley cat. 

Task

ou are a video which utilizes 1 int of View (POV). T be

based on either one of the following shot (You MUST choose one). The first video footage has

ip at any part of the story/video as long as

effectiveness of shots, creative ideas, Music/Sound Effects and teamwork.

First Shot Second Shot Interpretation

Y to create st Person Po he video MUST

already been prepared for you. You may use the cl

it makes sense. Marks would be awarded for the following; Mise en Scene, composition,

+ = ?

1 2 3

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oles of Group Members

1. Production Manager - Organizes Timeline & Progress

2. Director - Cinematography & Preproduction

3. Art Director - Mise En Scene & Composition

hy (DOP) - Video Camera Handling & Storyboards

s | timecode

Act i

ssion

on, Di on, hting

3. Treatment / Storyline

gh Sketches – Composition, Shot Selection & Basic Cinematography

es

Sub

In-Class P resentation | Monday 1:00PM SHARP!

2. Treatment (Group)

)

)

Plea documents (Mind Maps, Treatment, Storyline, Storyboards) in a

sin ) or you may scan the images as 4 separate .jpg files. Please

write the names of group members CLEARLY on every sheet submitted.

R

4. Director of Photograp

5. Assistant DOP - Documentation of shots | scene

i vi t es

1. Brainstorming & Mind-mapping se

2. Planning – Locati recti Lig , Sound, Support

4. Rou

5. Storyboarding Process

6. Video Shooting

7. Capturing Video Footag

8. Editing Video (Individual)

mission Week 7

1. Mind Map (Group)

3. Storyline (Group

4. Storyboards (Group)

5. Video (Individual

se compile all the FOUR

gle .pdf file (Adobe Acrobat