“Shakespeare’s words” by Calamity Meg is licensed under CC BY-NC-SA 2.0
- TITLE THIS BLOG POST: Visual Story Structure Research
- PLACE A CREATIVE COMMONS IMAGE RELATED TO THE PROJECT FROM WORDPRESS.ORG/OPENVERSE AT THE TOP OF THE POST
- FOLLOW THE DIRECTIONS IN THE:
- Read CINEMATOGRAPHY The Visuals and the Story by Bruce Block (PDF)
- Study each component and look for examples in films
- Review the Visual Story Template (PDF)
- Use the Story Visual Intensity Structure Scene Worksheet (PDF) to plan out the Visual Story component
- Use the Story Visual Intensity Structure Film Worksheet (PDF) to plan out the complete production
- REVIEW THESE POST EXAMPLES:
- Coming Soon!
- DELETE ALL OF MR. LE DUC’s INSTRUCTIONS DETAILED ABOVE AFTER COMPLETING THEM
Seven Visual Story Components
| Cue | Notes |
| What is the difference between textural and aerial diffusion? | Part 1: The Primary Subcomponents Deep Space -depth cues, -1,2,3 point perspective -size difference -object/camera movement -textural and aerial diffusion -shape change -tonal/color separation -up/down position, overlap, focus, and 3D pictures Flat Space -flat cues -frontal planes -size constancy -object/camera movement -textural/aerial diffusion -shape change -tonal/color separation -up/down position, overlap, focus -reversing the depth cues Limited Space -a combination of deep and flat space cues Ambiguous Space -lack of movement -different size objects/shapes -tonal/texture patterns -mirrors/reflections -disorienting camera angles Part 2: The Frame Aspect Ratio -film frame aspect ratio -digital frame aspect ratio -screen aspect ratio Surface Divisions -dividing the frame; halves, thirds, grids, square on a rectangle, golden section -surface divider -the purpose of surface divisions; emphasize similarities/differences between objects, help direct the eye, alter picture fixed aspect ratio, comment on story situation Closed/Open Space -closed/open space -large screens -strong visual movement -elimination of stationary lines Contrast/Affinity -remember contrast and affinity can be from start to finish or sequence to sequence |
| Terms and Concepts Line -line; edge, contour, closure -Intersection of planes -imitation through distance -axis -track; actual/virtual tracks Linear Motif Contrast and Affinity -orientation -direction -quality Shape -basic shape recognition Contrast and Affinity -2D: circle and triangle -3D: sphere and the 3-sided pyramid Controlling Line and Shape During Production Squint -use contrast viewing glass or squint properly to recognize lines in the location and picture Evaluate the lighting -brightening or darkening an object can create or obscure lines to alter the linear motif Stage movement carefully -when an object moves it creates a horizontal, vertical, or diagonal line, each line communicates a different visual intensity Create a linear motif storyboard -the linear motif will decrease or increase the visual intensity of any sequence -the contrast or affinity of the line can orchestrate the intensity changes of the scene Shape control requires careful examination of an object’s silhouette: -evaluate the shapes; actor, scenery, set dressing -control the lighting -simplify | |
| What is tonal range? | Terms and Concepts Controlling the Gray Scale -3 ways to control tone/brightness; reflective control, incident control, exposure Coincidence and Non-coincidence -refers to the relationship between the tonal organization of shots -coincidence of tone occurs when tonal range reveals the subject -non-coincidence of tone occurs when tonal range obscures the subject Contrast and Affinity -can occur within the shot, from shot to shot, from sequence to sequence Controlling Tone in Production -find the subject -don’t confuse color with tone -hide or reveal objects |
| why is the subtractive system important? | Terms and Concepts Light -use light to illuminate objects Color Systems -addictive system; is mixing light -primary color are red, green, blue; red+blue=magenta, green+blue=cyan, red+green=yellow -the subtractive system; is mixing pigment primary colors of subtractive system is magenta, yellow, cyan; magenta+yelllow=red, yellow+cyan=green, cyan+magenta=blue The Basic Component of Color -hue -brightness -saturation -brightness versus saturation Contrast and Affinity -hue -brightness -saturation -warm/cool -extension Interaction of Color -hue and black or white -complementary colors -analogous colors Color Schemes -one, complementary, split complementary hues -three-way, four-way split Control of Color in Production -color palette -filters; lens filters, lighting filters -time/location -digital capture photography |
| Terms and Concepts Actual Movement -occurs only in the real world Apparent Movement -one stationary object is replaced by another stationary object Induced Movement -occurs when a moving object transplants movement to a nearby stationary object Relative Movement -occurs when the movement of one object can be gauged by its changing position relative to a second, stationary object Simple and Complex -occurs in 2 or 3 dimensions Movement in the Screen World -in the screen world there are only 3 things that can move; object, camera, audiences point of attention -object movement; direction, quality, scale, speed -camera movement; direction, scale, speed -point of attention; direction, quality, scale Contrast and Affinity -the movement of a single object; movement/no movement, direction, quality, speed -the movement of an object with a background -camera movement; movement/no movement, level/unlevel, the scale of movement, frames per second speed, 2D/3D moves; pan/track, tilt/crane, zoom/dolly, Continuum of Movement -the visual components that will attract the audience’s attention are; movement, brightest object, most saturated color, actors eyes, object with the most visual component contrast -continuum grid -continuum with the shot -a continuum from shot to shot | |
| Differences between accented and unaccented objects? | Terms and Concepts -alteration -repetition -tempo Rhythm of Stationary Objects -accented and unaccented Rhythm of a Moving Objects -primary rhythm; entering and exiting the frame -passing another object -moving and stopping -changing direction -secondary rhythm -editorial rhythm The event -subevents that make up the event are; a hand reaches for the doorknob, the hand grasps knob, hand hums knob, door latch mouse, the door begins to open, hand releases knob, door completely opens -continuous events -fragmented events; visual emphasis, contrast and affinity control, editorial event control, editorial rhythmic control, visual variety, finding a rhythm, directional choice Rhythmic Patterns Contrast and Affinity -slow/fast -regular/irregular Controlling Rhythm During Production -watch the lines -don’t confuse rhythm with movement -find rhythm in movement -find rhythm for a scene -plan the editing |
Summary
Resources
- Mr. Le Duc’s Blog with numerous examples and further details
- Read The Visuals and the Story by Bruce Block (PDF)
- Visual Story Template (PDF)
- Story Visual Intensity Structure SCENE Worksheet (PDF) to plan out the Visual Story component
- Use the Story Visual Intensity Structure FILM Worksheet (PDF) to plan out the complete production
- Advanced Storyboard Template Explained
- Blocking Planning Guide (PDF)
- Blocking and Acting Worksheet (PDF)
- 5 Stages of Blocking Worksheet (PDF)
- Light Settings and Set-Up Worksheet (PDF)
- Camera Operation and Control
- Lens Operation and Control
- Audio Deck Operation and Control
- Acting Operation and Control
- Blocking Operation and Control
- Lighting Operation and Control
- Editing Operation and Control