All language subtitles for 4. Composition in motion

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Would you like to inspect the original subtitles? These are the user uploaded subtitles that are being translated: 1 00:00:00,375 --> 00:00:04,295 One of the intrinsic differences between photography and filmmaking 2 00:00:04,546 --> 00:00:09,009 is that when making a film, the composition of your image can change. 3 00:00:09,009 --> 00:00:10,802 Mid-Frame. 4 00:00:10,802 --> 00:00:14,806 This could be the result of a moving camera or a moving subject. 5 00:00:14,889 --> 00:00:17,475 Here's an example of a frame in which the subject 6 00:00:17,475 --> 00:00:21,062 is approaching the camera within the same frame. 7 00:00:21,187 --> 00:00:25,150 We are getting a complete range of shots, everything from a wide shot 8 00:00:25,191 --> 00:00:28,987 to an extreme close up as an object or subject 9 00:00:28,987 --> 00:00:33,742 increases in inside, it becomes more significant in the frame. 10 00:00:33,825 --> 00:00:37,245 This may seem obvious, but it is an incredibly useful technique 11 00:00:37,412 --> 00:00:39,372 when establishing a certain mood. 12 00:00:39,372 --> 00:00:56,306 In designating importance 13 00:00:56,389 --> 00:01:00,101 in this scene, as the subject grows larger in the frame 14 00:01:00,185 --> 00:01:03,605 through the use of a POV shot, we have successfully 15 00:01:03,605 --> 00:01:07,567 created a sense of impending doom and suspense. 16 00:01:07,650 --> 00:01:08,860 Another important 17 00:01:08,860 --> 00:01:13,031 consideration when composing in motion is the position of your character. 18 00:01:13,031 --> 00:01:14,741 When the camera is moving. 19 00:01:14,741 --> 00:01:16,534 If you position your character 20 00:01:16,534 --> 00:01:20,497 in the center of the frame with symmetrical composition combined 21 00:01:20,497 --> 00:01:24,042 with the camera retreating backwards with the character's movement, 22 00:01:24,292 --> 00:01:29,047 it illustrates confidence and serenity by adjusting the composition. 23 00:01:29,255 --> 00:01:32,926 It now appears that the Ronit is moving much faster 24 00:01:33,009 --> 00:01:36,596 by using a medium close up and removing some lead room. 25 00:01:36,638 --> 00:01:41,518 We have greatly increased the energy of the scene 26 00:01:41,601 --> 00:01:45,313 and here we have both scenes side by side. 27 00:01:45,396 --> 00:01:47,941 Look at the difference 28 00:01:47,941 --> 00:01:51,194 as we can see all the rules of static composition 29 00:01:51,194 --> 00:01:54,155 apply when we are moving the camera. 30 00:01:54,155 --> 00:01:57,367 Additional considerations are the position of the lights 31 00:01:57,575 --> 00:02:01,037 in the starting and ending positions of the movement. 32 00:02:01,121 --> 00:02:06,000 Some lenses like fisheye lenses might work well for a static shot, 33 00:02:06,084 --> 00:02:09,671 but one once we move the distortion and vignetting 34 00:02:09,671 --> 00:02:13,800 of the corners of the frame might be unwanted additional effects. 35 00:02:13,883 --> 00:02:16,636 Or it might be exactly what we want. 36 00:02:16,636 --> 00:02:21,307 Once again, it really depends on what are we trying to say? 3211

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