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Video tags
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Russian
00:00:01
cinematic shots in your videos, then00:00:04
you will be absolutely right in saying that from00:00:06
position is the basis for a beautiful shot,00:00:09
without thinking twice you can go to google and00:00:12
try to find the basis of the composition and00:00:14
suddenly you realize that you will have to know a lot the00:00:16
rule of thirds may sound quite00:00:19
easy but sure do you use00:00:21
this rule correctly golden ratio00:00:24
balance frames guide00:00:26
lines symmetry fibonacci spiral00:00:29
who needs all these abstruse words - that’s why00:00:31
in this issue I’ll00:00:34
tell you in simple language using the examples I’ve prepared00:00:37
eight steps to get a00:00:39
cinematic composition for your videos00:00:48
hello everyone my name is akinin Sergey and00:00:52
today we will talk about00:00:54
cinematic composition this00:00:57
video is the first release of three in00:01:00
my film trilogy which I will publish on00:01:02
this channel cinematic composition cinematic00:01:06
light and cinematic camera movement the term00:01:09
composition is used to denote00:01:12
what is happening in the frame and where the object00:01:16
is located it can sound very00:01:18
simple but a certain shot can00:01:19
look more attractive to00:01:22
the viewer and be much more00:01:24
cinematic precisely because of such a00:01:26
term as composition, so in this00:01:30
episode I will give you eight steps that I00:01:32
myself use while shooting to00:01:35
get a great composition and most00:01:37
importantly, what you can follow these00:01:40
rules with absolutely any camera00:01:42
you have, even with a mobile00:01:45
phone, all you have to00:01:46
do is watch this video and00:01:49
apply these steps to your work and the00:01:52
first rule that you should00:01:54
apply is that00:02:01
rule of thirds is a very famous00:02:03
technique in the world of filmmaking00:02:06
which you are most likely already familiar with, but00:02:08
perhaps you are using incorrectly00:02:10
or not to its fullest extent; in short, it00:02:13
has been scientifically proven that our eyes00:02:14
are drawn to these four00:02:17
intersection points of the frame, not directly to the center, but00:02:19
precisely to these four corners, therefore00:02:22
placing our object at these 4 points it00:02:25
starts to look more attractive00:02:28
and much more cinematic to the00:02:30
viewer; watch any Hollywood00:02:32
movie and you will notice that the main objects are00:02:35
almost always located at one of these00:02:37
intersection points; the remarkable thing is that00:02:40
almost all cameras have the rules of thirds00:02:43
built into the menu so you00:02:46
can now turn on given the grid00:02:48
to get a great composition from00:02:50
any camera it is important to understand that there are00:02:53
several rules when shooting in thirds00:02:56
first is the height above the head this is00:02:58
the space from the top of the frame to the00:03:01
top of your subject's head it00:03:03
will be wrong if we crop the head00:03:06
and leave no air above the head or00:03:08
in general, let’s frame the frame in such a way that,00:03:11
on the contrary, we have too much00:03:13
space left on top; the same thing happens with the00:03:17
direction in which our00:03:19
subject is looking, regardless of which00:03:21
direction our speaker is looking, we need to give00:03:24
him space to look, and just00:03:27
like with the air above his head the eyes00:03:29
should be positioned approximately two-00:03:31
thirds of the way through the frame, it is logical that it is better for the speaker to00:03:34
leave more space towards his00:03:35
gaze than behind him and therefore in00:03:38
many interviews, no matter where00:03:40
your subject is looking, it is better to place him00:03:42
on intersecting lines using the rule of00:03:45
thirds this will give the ideal height above the00:03:47
head and room for the eye and of course00:03:51
this doesn't have to be00:03:52
used just for interviews any00:03:55
shot or dialogue you're filming00:03:57
just leave some headroom and00:04:00
space for the eye the same thing00:04:03
we do when your subject is moving we00:04:05
position it using the rule of thirds and00:04:08
try to keep it on throughout the entire00:04:10
frame in this composition, maintaining the00:04:12
same amount of space for00:04:14
the gaze in front of it, if violated, it will00:04:17
seem that our object is pushing00:04:19
itself into the frame, which looks unnatural,00:04:22
use the rule of thirds and your00:04:25
composition will become instantly00:04:27
cinematic at times the second step in00:04:30
our video is the central composition00:04:35
[music]00:04:39
central composition is used in00:04:41
several cases, but the first is when00:04:43
you didn’t come up with anything better and just00:04:46
put your object in the center of the frame, but as00:04:48
we know, any decision has00:04:50
consequences, so what happens when00:04:53
we put our object in the central00:04:55
composition of the frame, this composition00:04:58
means that our the object in the frame is00:05:00
the main one, all attention is directed to it, in00:05:03
this way we emphasize authority, which is why00:05:06
all master classes,00:05:08
courses and other training videos, including00:05:11
this, use a central composition00:05:14
to emphasize the authoritative speaker, and00:05:17
this technique is also very often00:05:19
used in films when we need to00:05:21
show the importance of the object and00:05:23
focus the viewer's attention on it00:05:25
use these compositional00:05:28
rules to give much more00:05:30
authority and significance to the object number00:05:33
three is balance00:05:36
[music]00:05:40
within your frame one side may00:05:43
be heavier than the other thereby creating an00:05:46
imbalance in the frame for example in an interview00:05:49
if your speaker is sitting on one side and00:05:52
also any object in the background00:05:54
is on the same side as your00:05:57
speaker then your image will begin to00:05:59
seem unbalanced and very00:06:02
heavy one side will outweigh the00:06:04
other and even if the audience does not know00:06:07
what compositional balance is when looking00:06:09
at the frame they will still00:06:11
feel I don’t feel comfortable that something is00:06:13
wrong here, what should you do in this case,00:06:15
you can either move this object00:06:18
to the other side or simply add00:06:21
something to balance the image,00:06:23
for example a lamp that will balance the frame,00:06:26
that is, put the lamp on the other side of00:06:28
the speaker and everything is ok In00:06:31
cinematic, when shooting I00:06:33
try to always have some object on the other side of the frame00:06:36
to00:06:39
balance00:06:40
our images especially if I am shooting a00:06:42
hero or heroine there, rub enough00:06:45
simple detail to fill the void and00:06:47
balance our images00:06:50
otherwise if you don't stick to00:06:52
this rules then your shot will start00:06:55
to look very heavy on one00:06:57
side so be sure to make sure00:07:00
your image is balanced in00:07:02
composition the fourth step to achieving a00:07:05
cinematic composition is depth00:07:09
[music]00:07:11
[applause]00:07:15
you can create depth in many00:07:18
ways one of them is shooting00:07:21
wide open is will not only give your00:07:23
image more depth by00:07:25
developing the photo but also make it more00:07:27
cinematic and also eliminate00:07:30
any distractions in the background for00:07:32
example this shot looks really cool00:07:34
but you have no idea there was00:07:36
something distracting in the background because00:07:39
we eliminated shooting all the errors with an00:07:41
open aperture, blurring the background,00:07:44
naturally this trick will not work on00:07:46
wide-angle lenses since the depth00:07:49
of field is much less. A small00:07:51
life hack, be sure to open the aperture,00:07:53
this way we will blur the background,00:07:55
create depth in the frame and separate our00:07:58
subject from the background,00:07:59
you can also add something - then to00:08:02
the foreground to create depth, here are00:08:04
two examples, again, which you00:08:07
can compare without a foreground and with a00:08:09
foreground, so we00:08:12
seem to smoothly fly out of the foreground00:08:15
and declare to the audience our main object00:08:17
by creating a foreground that remains out of00:08:20
focus, the main object and the background00:08:23
which is also out of focus is all this that00:08:25
helps us create depth in00:08:28
our frame the next compositional00:08:31
technique is leading lines00:08:39
these are simply the natural lines of your00:08:42
composition that lead your viewer to the00:08:44
main object in the frame that is leading00:08:47
lines can be found in everyday00:08:49
objects such as corridors landscapes00:08:52
bridges all this unconsciously brings the00:08:55
viewer's attention and directs the gaze to00:08:57
our main object in the frame. Top00:09:00
directors and cameramen constantly use leading00:09:03
lines to direct the00:09:05
viewer's attention, as an example, Mr. Robot in this00:09:08
building, our hero always knows where he00:09:10
needs to go and we, as viewers, also00:09:12
understand because throughout the entire00:09:15
scene, the leading lines guide us, but00:09:17
when our hero gets lost, what00:09:20
begins to happen to our00:09:21
guides, they are simply not there, the character00:09:24
does not know where to go, and we, like the audience,00:09:26
also begin to get lost and confused00:09:29
because there are no those same guiding lines00:09:30
that would lead our looking in the right00:09:33
direction is a very cool director's00:09:35
technique when filming interviews. I always00:09:38
advise my students to place the speaker00:09:41
towards the corner of the room because in this00:09:44
way we make a three-dimensional three-dimensional image from an ordinary flat00:09:46
2D image,00:09:49
that is, as if 3D helps us with this; the00:09:52
geometry of the room00:09:54
creates the leading line Thus, we seem to00:09:57
focus and tell the audience00:09:59
where to look, in principle, you can00:10:01
see the same thing now I am sitting exactly,00:10:05
that is, in the corner, in addition to this, we also00:10:08
create symmetry, we will talk about this a00:10:11
little later from us, the most important thing is that the00:10:12
leading lines of the room they seem to00:10:15
focus your attention on me on the00:10:17
central composition so you00:10:19
can combine several00:10:20
compositional techniques at once and also focus00:10:23
the viewer and make your picture even more00:10:26
cinematic so guys00:10:28
use it very important combine everything00:10:31
cool move on to the next step 600:10:34
compositional step is symmetry00:10:39
[ music]00:10:41
we can say that symmetry is something00:10:44
between the central composition and balance,00:10:46
that is, when the right and left sides of00:10:49
the frame coincide with each other as people00:10:51
we really love order and we like, in00:10:53
principle, on a subconscious level00:10:55
you see something symmetrical, a clear00:10:58
example from the film industry00:11:00
this is in sanderson he is a master of this00:11:02
compositional technique you can00:11:04
notice a lot of symmetry in all his00:11:06
films my inner perfectionist00:11:09
just squeals with happiness when viewing00:11:11
his work so take a good look00:11:13
when framing when you expose00:11:15
your frame to get that very00:11:18
cinematic composition next we have00:11:21
framing00:11:24
this is a compositional technique when you00:11:27
use various elements in00:11:29
the environment around the main object to00:11:31
literally direct00:11:33
the viewer’s attention and gaze to the place you want, that is, when00:11:36
you shoot through a doorway00:11:39
through a leg, for example, why not,00:11:42
this way we create a00:11:44
negative space that we00:11:46
fill our fleming and the positive00:11:49
space that is allocated00:11:51
just for our main object in the frame00:11:54
in order to focus00:11:56
the viewer’s gaze on it, a very effective way with the00:11:59
help of fleming you can actually get00:12:01
some unique00:12:03
compositional solutions, plus,00:12:05
using this method we add00:12:07
additional the depth of00:12:08
our frame and often the framing00:12:11
is located in the foreground if we00:12:13
shoot with an open aperture then we00:12:15
will get additional volume and depth00:12:18
foreground defocus we have already gone through all this,00:12:21
be sure to use this method in00:12:23
your work and surprise your viewers with a00:12:26
non-standard composition the eighth rule,00:12:29
oddly enough, the beta sounded you break00:12:32
the rules, I know we just00:12:34
talked about how important it is to follow the00:12:36
rules that we listed before00:12:38
in this issue, but there are situations00:12:41
when even the most eminent directors and00:12:44
cameramen break the composition on purpose00:12:47
when you have a specific reason and00:12:49
message to the viewer for breaking00:12:52
one thing from the rules, it looks very00:12:54
cinematic, let me explain, each of these00:12:57
rules carries a certain message,00:12:59
also breaking the rules will carry a00:13:02
certain meaning, so if you00:13:04
neglect the rules, be00:13:07
sure that you do it consciously,00:13:09
the king says a great example, this00:13:13
film is about a man who will soon become a00:13:14
king, in fact, this is the character who00:13:17
should be the most powerful00:13:19
person in the film, he should be00:13:20
located in the central composition and00:13:23
dominate every scene, but he00:13:25
has problems, he stutters, and just in the00:13:28
scene when the future king is supposed to00:13:30
meet with a speech therapist, we see a00:13:32
special violation composition rules,00:13:34
the director builds the frame with a super large00:13:38
margin of height above his head to00:13:40
show how small and00:13:42
insignificant the king feels00:13:44
when talking with this speech therapist and00:13:47
leaves him absolutely no room to00:13:49
look, which again emphasizes the emotions of00:13:52
embarrassment that he experiences when00:13:55
he finally overcomes his problem00:13:58
and gains courage, then they immediately00:14:00
place him in the central composition, give00:14:02
him enough space above his head and00:14:04
space to look, thereby00:14:07
showing that everything fell into place,00:14:09
these rules were consciously violated, a00:14:13
very cool directorial technique and, in00:14:15
principle, watch a movie when you know00:14:17
all the compositional solutions it becomes00:14:20
more interesting when you notice such small00:14:22
details, another example is the secret00:14:25
life of Walter Mitty at the beginning, our main00:14:27
character is depressed, he is a loser00:14:30
because of this, in the first part of the film he is00:14:32
almost thrown out by the squadron, thereby00:14:35
violating the rules of thirds and placing him at00:14:38
the very bottom or to the very edge of the screen, but at the00:14:41
end of the film, our hero is00:14:44
already placed in the central composition to00:14:46
show progress, to show00:14:48
the development of his character, the contrast of these00:14:51
two frames is crazy, you must agree, all00:14:54
this conveys the director’s intention, which00:14:57
reflects the internal state of the hero, that00:15:00
is, with the help of composition we can00:15:02
control the meanings and convey this or00:15:04
that state of our heroes, but what I00:15:08
really hope is that these 8 steps that I00:15:11
told today in this video will help00:15:13
you in general in understanding and understanding00:15:15
how the composition works, be sure to00:15:18
guys put everything into practice somewhere00:15:21
heard something new recorded applied00:15:24
even better than me somewhere in history they answered00:15:26
and boasted, so if00:15:28
this video was useful to you, be sure to write00:15:30
about it in the comments, share your00:15:32
opinion in general, and our first series00:15:35
of the film trilogy, so be sure to subscribe00:15:38
to the channel so as not to miss new videos,00:15:40
thanks to everyone who wrote in personal00:15:42
messages in the comments on YouTube with a00:15:45
request that I resume00:15:47
the content, in fact, this day has come so00:15:49
that the content will be released on a regular00:15:52
basis, I’ve taken up the channel tightly,00:15:55
thank you all for watching,00:15:56
thank you, see you in the next episode of00:15:59
our film trilogies, see you soon00:16:07
[music]Description:
Мой Telegram канал - https://t.me/akininsergey ▶ Как получить киношную композицию за 8 шагов при съемке видео? С помощью каких правил строится композиция кадра? Как получить киношную картинку и кадр, зная основы композиции? Всем привет! Сегодня мы разберем основные правила композиции при съемке видео! Возможно вы уже слышали о "правиле третей", но уверены ли вы, что используете данное правило врено? Разберемся с тем, что такое центральная композиция, направляющие линии, фрейминг, симметрия, композиционный баланс. Определим, как с помощью композиции сделать ваш кадр еще более глубоким и киношным и поговорим в каких случаях можно и нужно нарушать данные правила! После просмотра даннго выпуска, ты убедишься, что тебе не нужны дорогие камеры для съемки видео, такие как : Red, Arri Alexa, Sony, Panasonic, Canon, Fujifilm, Blackmagic и тд... Все, что нужно сделать - посмотреть данное видео и применить эти 8 композиционных правил к своим работам! ▶ Мои социальные сети : Мой Telegram канал - https://t.me/akininsergey Instagram - https://www.facebook.com/unsupportedbrowser ▶Тайм-Коды: 00:00 Интро 00:49 Вступление 01:51 №1 - Правило Третей 02:54 Важные Правила при съемке по Третям! 04:29 №2 - Центральная Композиция 05:33 №3 - Баланс! 07:03 №4 - Глубина 08:29 №5 - Ведущие Линии! 10:33 №6 - Симметрия 11:19 №7 - Фрейминг! 12:27 №8 - Нарушайте Правила 15:07 Вывод и заключение!
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