Chapter 8 Outline

1. Structuring the Two-Dimensional Field: Interplay of Screen Forces
1. Structuring the 2 dimensional field means making the screen forces work for you rather than against you. This enables you to show events on screen with clarity and impact.
2. Painters and photographers only have to arrange an image right once and then it will stay that way; this is not the case in video and film because the pictorial elements are constantly changing. 
3. For film and video you must think in terms of structuring a dynamic visual field of on screen space and consider visual elements that move about the screen and that need to provide structural continuity between previous and subsequent images.
4. In film you now have to begin seeing the contextual interaction of the various screen forces, such as the magnetism of the frame, graphic mass, and vectors.
2. Stabilizing the Field through Distribution of Graphic Mass and Magnetic Force
1. One of the most basic ways of stabilizing the two-dimensional field is to bring into balance the forces of graphic mass and the magnetism of the frame.
1. Graphic weight- is determined by the dimension of the object, its basic shape and orientation, its location within the frame, and its color. 
2. If the objects are close enough to each other that the attraction of mass comes into play, we tend to combine the weights of both objects.
3. Also, the closer the object is to the edge of the screen, the more powerful the magnetic force will be regardless of its relative weight.
4. SCREEN CENTER- is the most stable position of an object. 
5. OFF CENTER- object is moved from one side or the other. 
1. The more the object moves off center, the greater it’s graphic weight and the attraction of the frame increases.
6. COUTER WEIGHTING- you can correct an imbalance of graphic weight by centering the object through camera or object movement or by counter weighting it with another object or graphics of similar graphic weight.
3. Stabilizing the Field Through Distribution of Vectors
1. Structural Force of Index Vectors
1. Vectors can easily cause you to override relatively subtle structural forces and cause you to perceive a different pattern
2. Noseroom and Leadroom
1. Noseroom: The space in front of a person looking or pointing toward the edge of a screen.
1. A wider noseroom not only neutralizes the magnetism of the frame, but also creates enough space around it to divert our attention away from the edge.
2. Leadroom: The space in front of a person or an object moving toward the edge of the screen.
1. A lack of leadroom will make the motion look cramped and hampered. If you do not sufficiently lead the moving object, the screen edge toward which the object moves will appear as a barrier.
3. Converging Vectors: Converging index vectors of equal magnitude balance each other.
4. Graphic Vectors: Graphic Vectors can be used to stabilize the two-dimensional field.
4. Stages of Balance
1. Balance: Relative structural stability of objects or events within the screen. Specifically, the distribution of vectors and graphic weight into static (stable and unlikely to change) and dynamic (asymmetrical and less stable) pictorial structures>

1. Static Balance: a stable balance, as in a symmetrical arrangement of visual elements.
2. Dynamic Balance: An asymmetrical balance where the graphic weight and vectors are not equal on both sides of the screen. The aesthetic energy is increased because the asymmetrical distribution of graphic elements and vectors causes some tension.
1. Golden Section: A classical proportional system in which the smaller section of a line is to the greater section as the greater is to the total length of the line. Especially effective when a prominent horizontal line is divided by a vertical one at the golden section point. It creates dynamic balance.
2. Rule of Thirds
1. A variation of the golden rule is the rule of thirds, which suggests dividing the screen into three horizontal and three vertical fields. 
2. These fields can help you maintain continuity subject and object placement when shooting out of a sequence and help you achieve and maintain proper headroom. 
3. Modular units 
1. Scene designers have modified golden section proportions into a modular concept
2. With modular units you can create a great variety of scenic structures without having to build custom sets each time a new environment is required 
3. Pushing Dynamics 
1. As viewers we sense that even the slightest change in the field structure would cause a total loss of balance and stability. This instability makes the graphic tension and energy quite high and is used to intensify an especially energetic moment. 
2. You can achieve this pictorial tension by overloading one or the other side of the screen with graphic weight, by not providing the vectors with enough room to play out, or by constantly having high-energy vectors converge within the shot or in a shot series
3. Labile Dynamics = unstable
4. Static Dynamics = high stable balance 
4. Unbalanced Screen Space 
1. In an unbalanced composition, there is no longer any aesthetic structure in screen space
2. An unbalanced shot that is not corrected is like a dissonant musical cord that is not resolved

5. Object Framing
1. Facilitating Closure 
1. Closure into Rectangle
2. Closure into triangle
3. Closure into Diagonals and Triangles
2. Graphic Cues
1. Sight contains graphic cues (graphic vectors) that provide psychological closure in off-screen space.
2. In vector terminology this means that you facilitate psychological closure by arranging the vector field within the screen area so that all the vectors contribute to the intended stage of balance.
3. Premature Closure
1. Occurs when the vector field within the frame entertains psychological closure that the image no longer compels.
2. This can happen even if only parts of an object or person are shown.
4. Natural Dividing Lines
1. Happens when a frame cuts off a particular part of the body.
1. Ex.) A woman with her neck and up cut out of the frame.
2. Objects have dividing lines as well.
1. Ex.) A house with the roof cut out of the frame.
5. Illogical Closure
1. Looking behind the main subject to see if possible objects are in the background.
1. Ex.) A tree in the background of a news reporter.
6. The Aesthetic Edge: Unusual Compositions
1. To draw attention to a specific screen area is to place an object way off screen-center or show only part of it on-screen.
7. Multiple Screens
1. As society continues to revolutionize, we need many sources of information at a time. 
1. Ex.) Using your computer, watching television, and using your Blackberry simultaneously.
2. Increased Information Density
1. Makes a variety of information available to viewers and let them pick and choose.
1. Ex.) Newscaster who is surrounded by a secondary frame.
2. Problem? Once the viewer has zeroed in on a particular item in a high-density display, their mental operating system tries to block out other information.
8. Dividing the Screen: Graphic Blocks
1. If there are no clearly marked secondary frames within the screen, you must organize information into discrete information areas, or graphic blocks. This helps the viewer comprehend the information quickly and easily.
9. Dividing the Screen: Screens Within the Screen
1. we can place a number of secondary frames of various aspect ratios within the primary video screen. 
2. Secondary Frame- (ex. box over the newscaster's shoulder).
3. Z-axis Vectors in Split Screen- On t.v. when we see a close up of the host looking at the camera followed by a similar close up of the guest it is easily believed that the two people are talking to each other. However, when the two boxes are placed side by side this effect is more difficult to achieve. Unless their locations are clearly established we are unsure whether the boxed people are looking at us or at each other.
4. Temporal and Spatial Contexts- When using several secondary frames their structural requirements vary.
1. If you use multiple screens to deal with simultaneous events that occur at different locations the graphic weights and vectors within the secondary frames are of little structural concern. Also, the direction of the index vectors within such frames is relatively unimportant.
2. In a three frame arrangement the two adjacent frames may only project their lateral toward the center frame, not in the opposite direction. Otherwise it appears as if they are looking at something off screen. However, If the person in the primary screen is looking at the person to the left the person on the right seems isolated. If all three people are facing the camera the viewer can be persuaded that they are talking to one another.