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3. Storytelling and Composition II---1-1.Recap and Lesson Overview

P24 - 00:00?

?Welcome to lesson number three. Let’s do a quick recap of lesson number two.?

P24 - 00:06對課程二做個總結(jié)。?

So basically, lesson number two was all about abstractions.?

P24 - 00:12課程二是關(guān)于抽象概念。?

So we set our minds Free. We wouldn't care about content. All we care is about graphic design principles and abstraction.?

P24 - 00:21圖設(shè)計原則和概念。?

So we made a lot of daily exercise is just trying to improve our graphic design sense, trying to put a lot of contrast and repetition into our frames and basically ended up having a wide range of different nice looking graphic designs. ?

P24 - 00:38對比重復(fù)設(shè)計二維圖。?

So as we move, we will move away from abstraction. Because abstraction was our key to set our minds Free. What we said in the very beginning that the simpler technique.?

P24 - 00:54不談抽象概念，談簡單技術(shù)。?

So from now on, we will take one of these abstract compositions like you can take one of those that you guys did. And basically for me, this kind of stuff like this kind of abstract composition is timeless, ?

P24 - 01:11抽象的合成無時限。?

Because these timeless and abstract as well. Because this could be anything. What is this? Actually? Is is this building? Maybe. the black rocks maybe that’s of figures and that's what makes abstraction very powerful.?

P24 - 01:33粗線條撬動人聯(lián)想是不是建筑。?

When you do those, you really don't care about content. All you care about is graphic design.?

P24 - 01:41關(guān)注平面設(shè)計而非內(nèi)容。?

But now we will take it to the next level. And just by adding a little bit of it all the knowledge, we will kind of start thinking about this abstract shape about this abstract composition in terms of short design. ?

P24 - 02:07短設(shè)計中抽象設(shè)計形狀。?

So in this lecture, in this lesson, I will tell you basic knowledge about short design about cameras. Talk about the camera. We will talk about lights as well. Because in order to reproduce this abstract composition, where you live, you will need cameras and lights.?

P24 - 02:29設(shè)計后，需要拍攝角度和燈光。?

Because without light, there is darkness and without cameras you can print your stuff into a frame.?

P24 - 02:38沒有光沒攝像，黑白可以成框。?

So that's why I will be telling you and showing you some short design principles.?

P24 - 02:45給你展示短設(shè)計原則。?

And showing you some examples of how camera light impact your story.?

P24 - 02:52相機和燈光如何影響你的故事。?

But the ultimate goal at the end of it, to take this kind of timeless. Abstract design to something that makes sense. And this will be one of your homework to take one of your abstract shapes and without changing dramatically anything good. Because all of the small changes that are made, they're just like when you zoom out most of this stuff, it looks identical. You can't see any difference. ?

P24 - 03:25遠(yuǎn)處看看不出一幀幀細(xì)微差別。?

But what makes difference is the story telling me that let you know what's actually happening like this is probably something happening in medieval time.?

P24 - 03:37讓人看出發(fā)生在中世紀(jì)時代。?

This is something happening in second world war. And this is something happening in the deep future. ?

P24 - 03:44或者二戰(zhàn)期間，或未來。?

So my ultimate goal is literally kind of make shortcuts that will allow you to skip this technical knowledge just to show you the main principles.?

P24 - 03:58透過現(xiàn)象看本質(zhì)。?

So you can concentrate more on fun part of stuff. And this is about being creative and just putting those details that really matter to tell you a story.?

P24 - 04:09創(chuàng)造性細(xì)節(jié)講述故事。?

So that's it pretty much.?

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3. Storytelling and Composition II---1-2.Camer Lenses

P25 - 00:00?

?so I showed you the basic composition principles and all the beautiful theory. But I think now let's take it and show how it works In practice.?

P25 - 00:13學(xué)習(xí)理論后了解現(xiàn)場實踐。?

Like I build this amazing movie shoot set is beautiful. I like it. So it's very primitive. But I just wanted to show you visually the representation of those ideas that I already explained to you about composition and how we use cameras and angles and camera position of light. ?

P25 - 00:36展示攝像角度燈光如何工作的。?

So basically, when you're all set, this is, by the way, the most recent scene setup for every shoot.?

P25 - 00:47每個場景如何拍攝的。?

They just put green screen and then poor artist, they just do the rest.?

P25 - 00:51綠幕拍攝后，影視后期處理。?

I'm joking. But anyway, let’s see how it works. So in order to tell the story, like for example, if this was a director, All d o p director of photography. He would have three main elements that he would use the camera. So he would have his camera lenses and all that stuff. He would have a camera position as well.?

P25 - 01:16相機方位和焦距。?

So for example, here we are using crane with the dole and stuff like that.?

P25 - 01:22起重機和移動攝影車。?

And he would have liked as well. So this is light. This is his camera. And the whatever they are using, they will be using different devices to decide a camera position,?

P25 - 01:42不同工具確定攝像方位。?

for example, is a dollar. But there is also a second unit which is called by just an eye level camera.?

P25 - 01:49還有視線水平的相機。?

So? the rest is just it's and everything just to support the story. Small machine and all other effects. some foreground elements, it’s all done done to support the story. ?

P25 - 02:05剩下輔助設(shè)施都是服務(wù)故事的。?

Those three main guys, they make a difference. They tell the stories. So basically, if you understand how this works and by the way they set up cost thousands and thousands of dollars.?

P25 - 02:18設(shè)備裝置費用很高。?

So that's why they need us. They need concept artist.?

P25 - 02:31所以需要概念藝術(shù)家。?

Because before they do these and afterwards do this. they actually need us to do this before.?

P25 - 02:37綠幕拍攝前需要連環(huán)畫版。?

To design this frame before they move on a shoot before they decide on costumes, before they decide on everything they need us. ?

P25 - 02:46計算拍攝費用前需連環(huán)畫故事版。?

So that's why we need to really understand how this whole thing was.?

P25 - 02:52所以需要了解工作流。?

otherwise. They get nothing from your concept art. So the more you understand the principles of cinematography, the easier it it will be for you to be a very efficient tool in the hands of director in the hands of production designer, because you will do and you will think about everything they need to do on set,?

P25 - 03:17理解攝像導(dǎo)演制片需要才效率高。?

on physical set that costs thousands of thousands of dollars. That's why they hire you. And we visualize these stories, ?

P25 - 03:30拍攝經(jīng)費不菲需要概念藝術(shù)。?

So Let's just quickly summarize and refresh those.?

P25 - 03:37總結(jié)更新下知識體系。?

What we are using to build these frames to build this composition and told the story. We are using camera lenses. We’re using camera position. And also we use it? light.?

P25 - 04:15攝像方位 鏡頭 燈光。?

So coming to camera lens. I told you there are two different types. wide lens and long lens.?

P25 - 04:24鏡頭寬景和長焦。?

And then let's see a practical example, how we actually use them and how it actually makes a huge difference in the way we perceive the story.?

P25 - 04:33鏡頭如何影響故事講述的。?

I made this simple a 3D file for you guys. It's just, I'm using t shirt for this one. It's just basically bunch of characters and a square like city square and it's the best kind of physical representation of what I was telling you about so I told you the wine camera. What's happening? We're seeing more background,?

P25 - 05:10我們看看更多背景。?

Let’s see how it works. So basically, this number here, the lowest number, the lower the focal distances, the wider the angle.?

P25 - 05:22焦距越短，視角越寬。?

Look, whenever I raise that number. whenever I bring it up. You see how less and less of the background we start seeing.?

P25 - 05:35數(shù)據(jù)提高，背景越來越廣。?

So that's why we use telephoto lens. When we want to see less background. ?

P25 - 05:47長焦距看的更遠(yuǎn)。?

Let me do it again. Let me go back to wild lens and you can see we're seeing more and more and more background. Which also means. Let's just keep expanding this. with wide angle lens, we see more distortion.?

P25 - 06:17寬角度看的變形越多。?

This is why you probably won't go. You wouldn't go very wide on the characters because you won't get everything very deform you see. Look at her face. You can use a wide lens for landscapes easily, for example, because you want to show a lot of background. It's not about foreground? character.?

P25 - 06:42為了展示背景而不是前景。?

So that's why when you're doing establishing shot and you need to show the cityscape.?

P25 - 06:46這就是為什么開篇介紹城市概況。?

all the beautiful landscape, we use wide lens because we want to show more of the background, we want to show the a beautiful scenery of whatever it is like what's in mountain stuff like that. So we're using the w side lens.?

P25 - 07:06廣角展示的故事背景全貌的。?

And for long lens. Because we're seeing glass background. It's all about foreground elements. And especially we use it for characters that we want to zoom in.?

P25 - 07:20長焦比如我們聚焦在某個體需求。?

And because we are seeing less distortion, like the pace isn't that distorted? We’re seeing the framing much more characters. So if the story is all about character that we are using longer lens.?

P25 - 07:36如果為專注角色，用長焦距。?

So we're moving much closer to the character. This is not like 100% great group. There are a lot of exceptions. One, for example, you use a wide angle lens to show dynamic shots. ?

P25 - 07:56廣角展示劇照動態(tài)變化。?

For example, if we are doing kind of fight scene, like what you need everything distorted. You see, like this. Something really dynamic then we definitely can use wide angle lens.?

P25 - 08:14比如聚焦角色背后場景變，廣角。?

just to emphasize the drama. Like for example, we see a lot of vanishing point. ?

P25 - 08:21比如不同的消失點的劇照。?

imagine if you want to tell the story about this character, but also see the guys around her, but also the background. And we can still use the. It's not like a strict rule. Actually wide camera lens can give you really nice for shoulder, knee, leg, the dynamic kind of poses and stuff like that. If you want a guy holding a gun and the gun is huge frame than we do for this really wide angle.?

P25 - 08:55如展示角色姿勢配飾，背景動態(tài)。?

But once you understand those properly, once you understand will they affect basically wide angle more background more distortion. Let's say your story will be better if you use more distortion than you use wide angle. If your story needs less distortion. Then you use a long lens. ?

P25 - 09:19聚焦長鏡少扭曲。?

Like, let's say, if this was a story of someone stalking someone, Then you want those characters to be closer together. like I can frame this one, I can move in a little bit.?

P25 - 09:34比如拍攝的某人跟蹤某人劇照。?

This is a story about this girl, But we know someone is stalking her.?

P25 - 09:42比如這是女孩背后被人跟蹤。?

And the way we show it, we use a long lens. And you see these guys over here. He becomes a part of the story as well. ?

P25 - 09:53如劇照主角背后跟蹤者成為故事。?

So if you just like create a small indication of him looking at her. this red eyes. Then the story is immediately changed. But she doesn't know that he's behind her and he's kind of stalking her. So that's why I keep saying it's very important to understand the principles.?

P25 - 10:19比如聚焦點在背后的跟蹤者。?

So it's easy to say like in a boring group, for better or being shown to use a wide shot. there's a lot of this kind of stuff on the internet. You read it and it just doesn't stay in your head. Understand what it means. ?

P25 - 10:34知其然，知其所以然。?

And then depending on your situation, whatever you're doing, you will be going for a proper one and you will be using for your own story. So and the last thing would be so we said wide angle, more background, more distortion,?

P25 - 10:51廣角，背景多，扭曲多。?

less background, less distortion.?

P25 - 10:53長聚焦，少背景，少扭曲。?

for conquest. And also as the last thing. Wide angle means, let me just get rid of this one. Wide angle means less depth of field or deal. And long lens means more depth. ?

P25 - 11:19廣角短景深，長焦長景深。?

Why this is important? I will explain it in a minute.?

P25 - 11:36為什么這點重要的？?

So whenever we that the depth field is not a brilliant way of creating focal point and creating like stories within your frames. And let me show you how it works really quickly. Without painting those eyes, I can make the guy more dominant than this girls, just by shifting the focal with the depth of field. And let me show it to you. So when I signed up the field and I choose these select this guy. You can see. Let's find a proper focal point. Let's give it a like both seconds to render everything. you say. Because this girl is out of focus right now the background is out focused right now.?

P25 - 12:34如何通過焦距轉(zhuǎn)移聚焦角色。?

these guys immediately becomes somebody who's behind her. And there is this story. We kind of see all stories. So if this was a story about a stalker, it would definitely use this long lens with this guy obscured behind her.?

P25 - 12:51長焦距聚焦跟蹤者。?

And just like using depth of field and stuff like that.? So depth of field in camera lenses helps a lot to tell the story.?

P25 - 12:59焦距協(xié)助講故事。?

And you will decide, do you need less depth of field or more depth of field. And according to depth, you will improve your story as well. Just be careful sometimes like can you use more depth of field with wide lines.? you need to be very careful. I know there is this common mistake when people do some beautiful wide shot.? let's say there are people who are walking towards this castle. Where is this beautiful castle In the background? Nicely composed everything, camera position. A camera lens is properly seeing line.?

P25 - 13:51比如一個城堡和游客的劇照。?

And then everybody keeps hearing foreground, middle ground, background. And he always try to put some foreground element, which is great.?

P25 - 14:06前中背景，盡可能堆積前景。?

Like people go and put like a branch of a tree over here. Which is a great element that helps to reinforce them to frame everything, even here. Right. it's so cool element. ?

P25 - 14:19有些人可能在前景放置樹。?

But then they ruin it by just going and putting a lot of depth of field on this. Let me go some depth of field.?

P25 - 14:30給前景加入景深。?

It just doesn't look right, because with wide angle lens, you will have less depth of field. And in order to have this kind of depth of field, basically if this was your camera, And these were people like walking towards this castle. And the castle would be somewhere over here, In order to have depth of field, your branches like this one, instead of being naturally somewhere over here, growing trees along the road or something like that, they're straight into the face of this camera lens.?

P25 - 15:04相機拍攝游客進(jìn)入城堡門口。?

It's like somebody is holding them and it just doesn't look real. I know it's a good framing exercise, but there are much more smarter? ways to do it. instead of trying to force it. So be careful, don't force it too much. Needs to look natural. And when you force it, it just looks like a miniature. It doesn't look like a grand scale scenery. It looks like a small scale, a miniature that’s standing on your table.?

P25 - 15:45像是桌子上的模型，非真實場景。?

And let me show you look at quick physical representation of it. Like, let's go for a very wide angle lens like this and create a lot of depth of field.?

P25 - 15:59比如廣角加景深。?

We know that in wild angles, we have less of it. But I will force it dramatically. Let's do something like this. let's give it a little bit of time. But you can already see it just looks like a small miniature standing on the table,?

P25 - 16:53比如加入很多景深像是迷你版。?

because the wide angle lens doesn't make sense with a lot of depth of field.?

P25 - 17:00因為廣角加景深創(chuàng)造縮微版。?

It can happen only in the case. If you are in a very small scale world. So be very careful about it. So that's pretty much it about camera lenses.?

P25 - 17:19下節(jié)課相機的方位。?

And in the next lesson, I will go forward and tell you more about camera position. Thank you very much.

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3. Storytelling and Composition II---1-3.Camera Position

P26 - 00:00?

?Ok. So let's move on and talk about another very important tool for cinematic composition, which is a camera position.?

P26 - 00:09另一個攝像要素是方位。?

So when you own set cameraman decides where the camera is to tell the specific story. ? it's very important because for all these years, I realized. Actually knowing where to place your camera in the first place is very important.?

P26 - 00:31布景包括相機方位。?

Because this is the first step when you start composing your picture.?

P26 - 00:36這是取景的基礎(chǔ)。?

So for example, if you have a frame like this. Even when you're doing it in an abstract way, depending on where you put your horizon line.?

P26 - 00:45抽象畫取決于水平線放在哪。?

Defines your story like if you want to show a good beautiful landscape with a river or the road coming down. So you're basically using your placing your camera in such a way that it helps your story. ?

P26 - 01:07從繪制河流公路已經(jīng)知道取景了。?

or like if you wanna show a beautiful sky or some kind of structure. You put your camera pretty low, your horizon is pretty low. And then you show the sky. Or something like that, then you probably can have castle over there,?

P26 - 01:31低天際線取景天空和遠(yuǎn)處城堡。?

So these are everything is the same. The setting is the same, but the story is different.?

P26 - 01:41雖然元素一樣，故事變了。?

So this problem is more about the castle. And this frame is probably more about people walking towards it.?

P26 - 01:46一個是城堡，一個進(jìn)城堡。?

So the beauty of concept art. And I keep saying it like these things. It needs a lot of people and it needs a lot of money as well.?

P26 - 02:00綠幕和拍攝經(jīng)費很多。?

But to do these things, all you need is one guy. Which is you. All you need is this guy over here, your brain. So the more you have inside there is guy knowledge tools practice that. It's just fun. it's funny sitting down in the drawing and painting these pictures so quickly. And you didn't tell me much money and you get paid. It's awesome. That's why you need always to increase the capacity of this guy.?

P26 - 02:44知識技術(shù) 繪制訓(xùn)練是概念藝術(shù)。?

Because this guy knows everything he knows about smoke machines. He knows about camera angles. He knows about little dolly on the side.?

P26 - 02:54知道起重機 拍攝車 綠幕。?

He knows everything. And that's why people come to him, because they know whenever they had come to him, he will address all the questions they will have on this big and expensive set.?

P26 - 03:06拍攝經(jīng)費分配需要這紙藍(lán)圖。?

That's why I keep saying understanding these principles and knowing how to use them instead of just memorizing them is very critical.?

P26 - 03:15理解重于記憶。?

I know sometimes I keep saying one thing all over again, but I just think it's so important to know. Remember that will help you a lot as you move on along your career, a long journey.? So camera position. As I already showed you, changes your story a lot.?

P26 - 03:39相機方位改變你的故事。?

So the question is how do we like, for example, if you have a person to shoot. And we've got our camera over here. So do we place it higher? Or do we place it lower.?

P26 - 03:59比如同樣拍攝角度高還是低。?

and I will show you a more visual representative example. So let's just go back a couple of times. Go to something like that. So what is this story about? If, for example, this story was about this cool, beautiful lady. He is the main hero. She could be a superhero. She could be somebody really cool and the rule of thumb to show and emphasize the power of this character is to go low.?

P26 - 04:44展示角色權(quán)利，用低拍攝角度。?

So we're basically going lower than the eye level. And the more lower we go, the more dominant this character will become.?

P26 - 04:54低至仰視視角，角色權(quán)利越大。?

Because there's nothing about this character. But that sky buildings that are naturally higher, everyone else like all these people, they are smaller than her, which makes him more and more powerful.?

P26 - 05:07身邊角色相對顯得渺小。?

So if you want to emphasize the power of the character. We go lower, we place our camera over here, which will be low camera position. Means more power.?

P26 - 05:33低視角意味大權(quán)利。?

How about if you go higher? How does it change and impact the whole story? So let's go back to our example. If you go higher, it makes our character more vulnerable,?

P26 - 05:47高角度拍攝，角色顯得弱小。?

because it's just lower than other people. And immediately you can see, for example, we have this story about this stalk girl behind her. And you can see she's vulnerable because he's behind her and she's kind of lower than him. So the lower we go, the more and more vulnerable she becomes.?

P26 - 06:06視角越低，角色越無助。?

Now she becomes weaker as well. So if we draw more power, stronger for high angles and less power and weaker character we have.?

P26 - 06:27高視角弱小。低視角強壯。?

It doesn't necessarily need to be like a physical weakness.? it just this beat in story In this specific moment. When we select this high angle, we mean that this character is less strong. For example, in specific and this specific case, this guy can hurt her. But before when she was like this. There is no sign of that guy at all. Because she is the queen. She is the best in the city.?

P26 - 06:59高視角被跟蹤者傷害。?

So make sure that these two simple rules and it will make a huge impact on the way you judge a composition.?

P26 - 07:09調(diào)節(jié)合成注意這兩點。?

And that's pretty much it about camera angles. the higher you go, the weaker and less powerful your character becomes. And the lower you go, the more power and stronger they become. And Just to summarize this as well. If you want to show something above the horizon, you use low camera location.?

P26 - 07:37低視角展示視平線以上。?

And if you wanna show something like a landscape with a canyon.?

P26 - 07:43若展示大峽谷名勝古跡。?

Then you use you have your horizon line above the central line.?

P26 - 07:48水平線高于中心線。?

It's very simple. And the final thing I wanted to mention is make sure that anything you do, like anywhere you place your camera. It does have a physical kind of set up.?

P26 - 08:02放置相機方位。?

in the real world. And let me show what it means. For example,? whatever you do in frame, some people like including me sometimes tend to put cameras somewhere. Like, for example, if this was a guy holding this camera, It's a reasonable height. We know that this person can hold this camera, which makes me more merciful to see. And I know that there is a physical camera that can shoot those guys.?

P26 - 08:34拿著攝像機的師傅很顯眼。?

But if I place at the same level, like go a little bit higher and placed my camera somewhere here. It just doesn't make sense, because to all this camera, this guy needs to be like really tall, and it doesn't make sense. Like always try to find a placement for your camera.?

P26 - 08:53有的相機角度高到人高度不夠。?

Like, let's do a very simple side view.? For example, if this was a female character, which is over here. So the first way we've got the camera low with shooting her. She's the hero. And we know there is a guy who can hold this camera,?

P26 - 09:19低角度拍攝，拍攝師蹲著。?

Then There was another guy who can hold this camera straight like this. Shoot it right? ?

P26 - 09:30肩扛攝像師水平拍攝。?

And then there was a crane behind them. Make a high angle, And shoot him.?

P26 - 09:44起重機拍攝的俯瞰視角。?

But when you place it somewhere in between. But it could be a crane, but make crane dramatically enough. But when you do like a camera over here, it just doesn't make sense. in order to be able to hold it, you need a really tall guy to do it. So try to avoid this gap. Same goes when you go really down. If you go really down over here. ?

P26 - 10:10避免起重機和視平線拍攝空隙。?

Make sure that you have something that blocks your camera view. So for example, if you were trying to frame this as a composition, then you will have some kind of obstacle between this character. So this guy over here is this edge over here. When you don't have it? It just doesn't make sense. Because in the real world, you will be underground, basically.?

P26 - 10:53仰視視角地下拍攝。?

And for like a really high shot as well. Imagine if there was a some kind of tower. And then you would look down. You know make sure that you kind of see a little bit of this tower or just make a helicopter shot, or you have a helicopter somewhere here. And you shoot them down.?

P26 - 11:29高架拍攝或無人機拍攝。?

So be very reasonable about the way you locate your camera, because in order to immerse yourself inside the scene, it needs to be consistently needs to be to have like a physical representation in the real world. And that's pretty much it guys say about camera positions. That's another very powerful tool that will help you dramatically to change your stories.?

P26 - 11:53下節(jié)課是燈光。?

And the next one will be light. And I will talk about it in the next lesson. Thank you very much.?