COM 402
Media Aesthetics

Aspect Ratio & Shot Size

Framing

•             frame defines the image for the viewer

•             initially defined and constrained by aspect ratio

•             can be manipulated by media artist through camera position, masking, and use of multiple screens

•             framing issues include:

•             frame size and shape (aspect ratio)

•             notions of onscreen and offscreen space

•             basic camera shots

•             mobile framing

Framing Functions

•      can suggest character traits, psychological states, emotional reactions

•      can suggest power, dominance, submission

•      can suggest comic effect

•      can function as narrative motifs

–   XLSs of John Ford Westerns

–   canted shots of Radio Raheem in Do the Right Thing

•      Framing functions must be considered within the context of each particular film.

Frame Size and Shape

•             aspect ratio = relation of frame width to frame height

•             the wider the frame, the greater potential for:

•             communicating more visual information

•             communicating larger sense of space

•             communicating value for intimate subjects

•             manipulating viewer attention on the screen

•             But, a wider frame can also be problematic.

Common Screen Sizes

1.33:1 (classic film & traditional TV standard)

•      former Academy standard in U.S.

•      readily adaptable for TV

•      good for close ups & extreme close ups

•      current computer screen ratio

1.85:1 (standard wide-screen)

•      current Academy standard in U.S.

•      most Hollywood films shot in 1.85:1

•      provides greater vista than 1.33:1 & enables more information

2.35:1 (Panavision)

•      anamorphic lens “squeezes” image, which is “unsqueezed” during projection

•      must be cropped, panned & scanned, or “letterboxed” for TV viewing

•      great for revealing lots of information

•      tough to do good closeups

1.77:1 (HDTV)

•      HDTV Aspect Ratio

•      Wider than most TV formats, yet not as wide as the current academy standard for movies.

•      Can accommodate widescreen without much picture loss.

Manipulating Aspect Ratio

•      Can be done with masking (blocking out part of the frame.

•      Can be done by mobile framing (moving the camera while shooting)

•      Can be done by suggesting action taking place in offscreen space

•      Can be done in postproduction by using multiple screens

Masking

•      frame shape is changed by “attaching masks over either the camera’s or printer’s lens”

•      iris = circular mask

•      other shapes are also

   used (vertical/horizontal)

•      can be done with onscreen

    objects

•      manipulates viewer attention

Masking through Objects

Multiple Screens

•      each can have a static or moving picture

•      each can have a distinct shape and aspect ratio of its own

•      can be distorted or not

•      Despite use of multiple screens, viewer is still quite aware of the space within the frame.

Onscreen & Offscreen Space

•      implies additional narrative space outside of the frame

•      relies on viewer’s imagination

•      increases potential for space and action

•      can facilitate suspense, surprise, fear, curiousity, importance, awareness, etc.

Noël Burch’s 6 Zones of Offscreen Space

•            space beyond left side of the frame

•            space beyond right side of the frame

•            space above the frame

•            space below the frame

•            space behind the set on the frame

•            space behind the camera

Camera Shots

•      Provides viewers with the sense of being close or far away from elements of mise-en-scène.

•      Seven standard camera shots, based on the scale of the human body (even there is none pictured):

•      extreme long shot (XLS)

•      long shot (LS)

•      medium long shot (MLS)

•      medium shot (MS)

•      medium close-up (MCU)

•      close-up (CU)

•      extreme close up (XCU)

Mobile Framing

•             When the framing of the object changes during the shot.

•             Achieved through camera movement while shooting.

•             Five general types of camera movement, each creating its own visual effect (pan, tilt, dolly, trucking, crane).

Five Basic Types of Camera Movement

•      panning = when camera turns right or left but position from subject is fixed (scans space horizontally)

•      tilt = when camera swivels upward or downward but position from subject is fixed (scans space vertically)

•      dolly = when camera itself moves closer to or farther away from subject

•      trucking = when camera itself moves laterally to subject

•      crane = when camera is above ground and moves in the air in any direction

Summary

•             framing

•             different aspect ratios

•             can be manipulated through:

•             masking

•             multiple screens

•             camera shots

•             camera movement (mobile framing)