Text: 'The Filmmaker's Eye'

In this book, Gustavo Mercado explains a number of basic rules, principles and conventions for cinematic composition, including framing, depth and how to create meaning through these devices. He also describes the different type of lenses, their functions, limitations and effects, and describes each type of shot - of which the sequence shot will be most relevant to our film. Below I have summarised his main points:

• 'It is important to create compositions that reflect meaningful aspects of the story, not to have a disconnect between the shots and their function within the story (i.e. because it looks cool).
• If you create a visually dense scene, the audience will miss any details within the composition that are important. They will apply equal importance to each element even if they are unintended (i.e. posters in the frame)
• 'Anything and everything that is included in the composition of a shot will be interpreted as being there for a specific purpose that is directly related and necessary to understand the story they are watching'.
• Need to think about story in a cinematic way - shot composition that visually emphasizes significant plot details as well as themes, motifs and core ideas.
• 'Include only what is absolutely necessary in the frame to get the point being conveyed by the director'
• 'Because so much of the meaning of a shot is derived by the context in which it is presented, it is possible to subvert the commonly associated connotations of certain shots.'
• The Z axis (depth) in shots can be exaggerated to create deep frames, or reduced to create a sense of detachment and entrapment within the storyworld.
• Create visual depth and believable 3D space by placing objects along Z Axis - partially covering or overlapping objects.
• Rule of thirds - put eyes over top left or right line depending which way they're facing.
• Hitchcock: 'The size of an object in the frame should be directly related to its importance in the story at that moment'.
• Balanced compositions convey order, uniformity and predetermination. Unbalanced compositions convey chaos, uneasiness and tension (depending on narrative context).
• Low-angle conveys confidence, power and control, whereas high-angle suggest weakness, passiveness and powerlessness.
• Do not frame too high or too low - a minor adjustment of camera placement will make an impression and not distract.
• Create strong focal points by selecting what is excluded from the frame, what is in focus, what is lit and what is visually dominating the frame.
• Closed frames/open frames - Closed doesn't need off-screen space to convey narrative meaning, but open frames imply something in the off-screen space.
• Lenses that reproduce what the eye sees are 'normal' - any shorter they are wide angle, any longer they are telephoto.
• Wide angle lenses exaggerate movement across the Z axis.
• Normal lenses are used for close-ups as they don't distort or exaggerate movement.
• Telephoto brings subject closer to the foreground, compressing space and movement. They also flatten facial features so are not preferred for close-ups.
• 'Fast' and slow' lenses. Fast = 1.4/1.8f, whereas slow = 2.8f. Zoom lenses are slower than prime lenses.
• Prime lenses are preferred because they provide better contrast, colour and resolution. They also have a shorter minimum focal distance.
• Tilt shift lens - allows for out of focus on the same plane.
• Split field diopter - both subjects at different distances in focus.
• Depth of field is a visually expressive tool  - control by choosing placement of the camera, using a wide/telephoto lens and using a different aperture.
• Create shallow DOF on a sunny day by using a wide aperture or neutral density filter (NDF)
• For a sequence shot, combine a number of different shots in a dynamic frame - from extreme close-up to extreme long. The movement of the camera is mainly motivated by characters although not always. Sequence shots can add realism, tension and dramatic emphasis to a scene because they are happening in real time.
• For a sequence shot, the field of view needs to be considered at every stage of the shot. The technical requirements of the shot can often override the desire for particular focal lengths. For example, it would be very difficult and impractical to shoot with a telephoto and a shallow DOF.
• If shooting at night, use practicals (visible light sources) or have a crew member travelling alongside with a lamp. Often it is extremely hard to light sequence shots throughout so decide the key moments to choreograph and light accordingly.