Framed Ink by Drawing & Composition for Visual Storytellers (Marcos Mateu-Mestre)

Author:Drawing & Composition for Visual Storytellers (Marcos Mateu-Mestre)
Format: epub

WORKING WITH MOTION PART 2: We have seen until now how the elements in a composition and their distribution within a steady field create many different emotional and dramatic responses in an audience. But what happens the moment these elements start moving significantly, and changing the composition one or several times within the same scene? Or what happens when the elements are steady, but it is the camera that is actually moving? Camera movement within the set / Camera motivation Let's take a look at the example on the following page. We are now at a train station where a female agent wearing big glasses is spying on an older gentleman who happens to be a scientist in possession of some super secret formula that must not leave the country. Sometimes, depending on the rhythm of the moment in the narration, we might choose to go directly to the characters and the specifics of the action itself. Other times, we might feel we need a little introduction to the moment, giving at first the impression that not much is happening there, and all of a sudden we show the audience that things are more complicated than they appear to be. In this second case, we could end up with something like the example on the next page. First, we take off from pose ‘A.’ In the very foreground we have a character who, despite being so close to us, we manage to turn into a secondary character, just by covering his face and expression with a hat and its shadow, so that he is “part of the composition but not of the story.” 060 At this moment a young lady and her son show up in the scene walking left to right, motivating the camera to do the same, so we can get to 'B,' our final destination in the shot, following a natural flow of events. Also, the lady's head is turned away from the camera so that she as well becomes secondary to the narration. If we look at the long second drawing on the page, we notice that all the faces in the hall are turned to screen right so that they follow the general sense of motion as well—that is until we get to the old scientist at the end of it. He really is different, special, and essential to the shot, visually explained by the fact that he becomes the element of contrast in the whole lineup. And then we get to camera pose 'B.' At this point the only two characters we need in order to understand the action are in the shot. The special agent is very close to the camera so that we can understand and perceive every nuance of her acting, at the same time creating more tension simply because of the large percentage of the screen surface she occupies. Finally, we need to make sure that the composition of both architectural elements and people in the shot offer a good

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