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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
4.
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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9
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
f
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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10
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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12
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