- In cinematography, framing refers to the way elements are arranged in the frame. Essentially what the camera sees. The way actors are blocked, and move through the scene, and set design, all these things play a role in framing. As we'll see later in this series, framing is also effected a lot by the choice of lens. So who cares about framing? I mean, if the story is really all that matters, and any camera angle can show the scene happening, then why should you care about framing? The reason is because framing plays a large role in the telling of a visual story.
Amateurs will just point a camera at a bunch of actors, and record the scene. But experienced filmmakers don't just make recordings. They tell stories visually. And there's a big difference. So let's examine the emotional impact of well framed shots. Let's look at Citizen Kane, shot by Gregg Toland. The framing here tells us everything we need to know, and reinforces what's happening in the story. Here, this couple is clearly in love. Notice the super tight framing. Putting these lovers on the borders of the frame suggests that there's nothing else important going on outside of these two.
They're the whole world to each other. But as the relationship progresses, things change. Even without hearing the audio, and knowing what they're talking about, the framing suggests that there are now obstacles coming up between them, because of that super huge plant that's really big in the frame in each reverse. We also stop seeing them grouped together in the frame. You see, when things are shown together in the same frame, it suggests a relationship. So the fact that we stop seeing these two characters at the same time, suggests that they don't have a relationship, or not much of one, anyway.
When we finally see them together again, in the same frame, there's a great distance between them now. The wide framing enhances the contrast between the warmth that we've already seen from them, and where they are now. And the camera pulling back increases the sensation that their relationship is becoming less and less important. Another aspect of framing, often overlooked by new filmmakers, is the stuff around the subject. If the frame is too cluttered, and visually busy, or if it's too sparse, or if there's not enough depth between the subject and the background, the shot might feel poorly framed.
Although this is usually dependent on exactly what's happening in the frame. For example, in this shot from one of my very first movies, Monday the 16th, the background is just a plain wall. Not much depth, not much great stuff going on here. However, the wall is red, which is more interesting than just plain white. Also, the light source is coming from the floor, which seems to create a spotlight around our subject. So I actually like the way this particular shot looks, even though there's really not much going on.
It's also important to remember that framing, and the blocking of the actors, really go hand in hand. As we just looked at, in the previous chapter, when we talked about shot sizes, the camera and actors can often move and completely change the frame through the course of a shot. Now, most people in the audience might not have noticed the framing at all. But I promise you they felt it. This is the power of framing. As we go through this chapter, we'll learn more about this incredibly powerful aspect of cinematography, and how you can use it to improve your storytelling.
Author
Released
9/12/2017- Understanding exposure
- Getting coverage
- Diffusing, blocking, and shaping light
- Shooting at night
- Using wide and long lenses
- Telling stories with camera movement
- Framing the shot
- Using mobile cinematography apps
- Mastering cinematic lighting
- Using common grip equipment
- Lighting people in a flattering way
- Achieving a shallow depth of field
- Creating more cinematic shots
- Working as a Director of Photography
Skill Level Intermediate
Duration
Views
Related Courses
-
Video Foundations: Cameras and Shooting
with Anthony Q. Artis2h 58m Intermediate -
Learning DSLR Filmmaking
with Chad Perkins1h 10m Intermediate -
Creating a Short Film: 09 VFX Environments
with Chad Perkins7h 12m Intermediate
-
Introduction
-
The assurance7m 43s
-
1. Cinematography Basics
-
Understanding exposure1m 31s
-
Adjusting the shutter speed2m 45s
-
Adjusting ISO1m 50s
-
Exposing for the subject3m 46s
-
Using a light meter1m 16s
-
Evaluating a histogram1m 37s
-
Choosing a frame rate1m 34s
-
Shooting slow motion footage2m 40s
-
-
2. Setting Up the Shot
-
The cinematography workflow5m 54s
-
Understanding shot sizes5m 59s
-
Using POV shots2m 10s
-
Understanding the line2m 22s
-
Creating dimension2m 44s
-
Selecting the aspect ratio3m 33s
-
Leading the eye4m 11s
-
Cheating lights and talent1m 35s
-
-
3. Framing the Shot
-
The importance of framing3m 34s
-
Utilizing thirds1m 54s
-
Centering the subject1m 32s
-
Using high and low angles2m 10s
-
-
4. Lighting in Theory
-
Hard light vs. Soft light4m 27s
-
Avoiding "sourcey" light2m 18s
-
Realism vs. Beauty3m 13s
-
5. Lighting in Practice
-
Mastering cinematic lighting3m 47s
-
Diffusing light4m 51s
-
Blocking and bouncing light4m 51s
-
Using scrims2m 3s
-
Working with natural light4m 20s
-
Shooting night scenes5m 20s
-
Making magic with fog2m 56s
-
Coloring light with gels4m 13s
-
Creating lens flares2m 19s
-
Preventing lens flares1m 40s
-
-
6. Lighting People
-
Lighting from above1m 52s
-
Lighting from below1m 49s
-
Minimizing blemishes1m 49s
-
Making light flattering1m 18s
-
Using eye lights3m 10s
-
Making a silhouette1m 38s
-
Creating the film noir look2m 34s
-
Lighting dialog scenes2m 3s
-
7. Camera Basics
-
Which camera should you use?3m 48s
-
Building the camera2m 41s
-
Supporting the camera1m 8s
-
Achieving critical focus3m 48s
-
White balancing the camera1m 50s
-
Setting up video village2m 55s
-
-
8. Telling the Story with Lenses
-
Using lenses to tell a story3m 13s
-
Working with wide lenses3m 20s
-
Working with long lenses4m 28s
-
Using premium optics1m 51s
-
Racking focus1m 45s
-
-
9. Moving the Camera
-
Moving the camera6m 24s
-
Using a slider1m 39s
-
10. Creating Cinematic Shots
-
Critiquing the shot2m 18s
-
Changing the background1m 2s
-
Rethinking the lighting1m 39s
-
Changing the tone with gels1m 53s
-
-
11. Fixing Mistakes
-
Recreating the faceoff shot1m 26s
-
12. Working as DP
-
Responsibilities of the DP2m 29s
-
Knowing the script1m 30s
-
Scouting locations2m 26s
-
Getting coverage4m 6s
-
Gear: Renting vs. Buying2m 20s
-
Working with the crew3m 47s
-
Stealing shots2m 33s
-
Shooting visual effects4m 48s
-
-
Conclusion
-
Improving your DP skills3m 10s
-
Previewing the next course1m 49s
-
Final thoughts56s
-
- Mark as unwatched
- Mark all as unwatched
Are you sure you want to mark all the videos in this course as unwatched?
This will not affect your course history, your reports, or your certificates of completion for this course.
CancelTake notes with your new membership!
Type in the entry box, then click Enter to save your note.
1:30Press on any video thumbnail to jump immediately to the timecode shown.
Notes are saved with you account but can also be exported as plain text, MS Word, PDF, Google Doc, or Evernote.
Share this video
Embed this video
Video: The importance of framing