Chapter 5

Deep-space composition

An approach to composition within the frame that places significant visual and narrative information on two or more of the three planes of depth (foreground, middleground, and background) in such a way that not only emphasizes depth, but also conveys information, mood and meaning. It is often, though not always, shot with deep-focus cinematography.

Previsualization

A process used by filmmakers to aid in visualizing each individual shot and help achieve a unified approach to shot compositions and editing. It can include "storyboards","overheads", and "animatics".

Fill light

Lighting, positioned at the opposite side of the camera from the key light, that can fill in the shadows created by the brighter key light. It may also come from a reflector board.

Compositional stress

Mood or meaning created by intentionally framing subjects and objects in a way that denies viewer expectations of balanced composition.

Set dressing

Objects and applications used to create the look of the environment in which the filmed action takes place. It may include curtains, paint, carpets, and any object visible in the area, such as furniture, books, knickknacks, and other objects or decorations. Compare "prop".

Lead room

Open compositional space on the opposite side of the frame from that of a character whose lateral screen movement is tracked by a moving camera. This method is necessary to balanced to composition because the implied lateral movement of a character carries compositional weight.

Storyboard

A shot-by-shot breakdown that combines sketches or photographs of how each shot is to look and written descriptions of the other elements that are to go with each shot, including dialogue, sound, and music.

Backlighting

A technique that depicts the subject as a silhouette by using a backlight as the sole light source.

Halloween lighting

Also known as "bottom lighting". Lighting directed at a subject from below, a direction that casts dramatic shadows on vertical surfaces and distorts facial features by reversing the normal placement of illumination and shadows.

Motion capture

Also known as "mocap","motion tracking", or "performance capture". A process in which the movements of objects or actors dressed in special suits are recorded as data that computers subsequently use to render the motion of CGI characters on-screen.

Properties

Also known as "props". Any object handled by actors on-screen. Compare "set dressing".

Backlight

Also known as "rim light". Lighting positioned behind the subject and the camera, used to create highlights on the subject as a means of separating it from the background. When the subject is positioned directly between it and the camera, the subject is thrown into silhouette. Using shadows to eliminate recognizable surface detail abstracts the character, which can make him or her (or it) more frightening or impressive, depending on the context of the story at that moment.

Design

The process by which the look of the settings, props, lighting, and actors is determined. Set design, decor, prop selection, lighting setup, costuming, makeup, and hairstyle design all play a role in shaping it.

Lighting ratio

The relationship and balance between illumination and shadow - the balance between key light and fill light. If the ratio is high, shadows are deep, and the result is called "low-key lighting". If the ratio is low, shadows are faint or nonexistent and illumination is even, and the result is called "high-key lighting".

Setting

The time and space in which a story takes place.

Three-point system

Also known as "three point lighting". Perhaps the best-known lighting convention in features filmmaking, a system that uses three sources of light - key light, fill light, and backlight - each aimed from a different direction and position in relation to the subject. It allows filmmakers in control the ratio between illumination and shadow.

Overhead

A diagram of a set as seen from above that is used as part of the previsualization process to plan blocking and camera positions.

Set decorator

A person in charge of the countless details that go into furnishing and decorating a set.

Makeup artist

A person responsible for using makeup to enhance or alter an actor's appearance.

Production designer

A person who works closely with the director, art director, and director of photography in visualizing the movie that will appear on the screen. He or she is both an artist and an executive and is responsible for the overall design concept (the "look" of the movie - its individual sets, locations, furnishings, props, and costumes) and for supervising and heads of the many departments (art, costume design and construction, hairstyling, makeup, wardrobe, location, and so on) that create that look.

Rule of thirds

A principle of composition that breaks the frame into three equal vertical sections, and three equal horizontal sections, resulting in a grid. This grid acts as a guide which filmmakers use to balance visual elements in the frame in terms of three: top, middle, bottom; left, center, right; foreground, middleground, and background. Typically, for every visual element placed in one section, there will be a corresponding element in the opposite section to counter-balance the composition.

German expressionism

In cinema, an approach the film style that uses distorted settings, oblique angles, artificial and exaggerated lighting, and highly stylized performances to present the world on screen as a projection of a character's subjective perception.

Negative space

Intentional empty space within a composition that creates an expectation that something will arrive to fill the empty space and restore compositional balance. The technique is often used to generate suspense in narrative contexts featuring the imminent arrival of an anticipated character or force.

Frontal lighting

Light aimed at the subject from the same angle as the camera. It eliminates shadows on the subject's face, thus flattening the appearance of facial features.

Top lighting

Light cast on a subject from above.

Soft light

Light that is scattered or diffused so that it does not follow a direct path between the light source and the subject. Compare "hard light".

Hard light

Light that shines directly on the subject. Compare "soft light".

Low-key lighting

Lighting that creates strong contrasts; sharp dark shadows, and an overall gloomy atmosphere. Compare "high-key lighting".

High-key lighting

Lighting that produces an image with very little contrast between darks and lights. It's even, flat illumination expressive virtually no opinion about the subject being photographed. Compare "low-key lighting".

On location

Shooting in an actual interior or exterior location away from the studio. Compare "set".

Eye room

Space placed on the side of the frame in which a subject is looking. The implied significance of the character's gaze helps stabilize what would otherwise be considered an imbalanced composition. Also known as "looking room".

Prosthetics

Synthetic materials attached to an actor's face or body to change the actor's appearance.

Blocking

The actual physical relationships among figures and settings. Also, the process during rehearsal of establishing those relationships.

Headroom

The amount of space above the top of the subject's head in the composition of a frame.

Kinesis

The aspect of composition that takes into account everything that moves on the screen.

Decor

The color and textures of the interior decoration, furniture, draperies, and curtains.

Mise-en-scene

The composition, or "staging", of all of the elements within the frame, including setting, costumes and makeup, actors, lighting, and figure movement.

Prop master

The member of the production design crew responsible for selecting and maintaining props and for ensuring that props are properly prepared and placed prior to shooting.

Figure movement

The movement of a character, animal, or object used as an element of mise-en-scene.

Composition

The organization, distribution, balance, and general relationship of stationary objects and figures - as well as of light, shade, line, and color - within the frame.

Key light

The primary source of illumination in a shot. Positioned to one side of the camera, it creates deep shadows, which are modified by the fill light.