Airi Pan Crash Course Composition 09.13

 

09 Lesson 2 - Crash Course Composition Part 3 - Classic Comps & Scenarios P9 - 00:01场景合成部分。 

之前探讨的是构图，What we've been talking about so far is the building blocks of composition. 现在讲述构图在场景中的运用。Now we're going to take these blocks and do what composition is ultimately supposed to do. 构图是给观众不同的体验不同的信息。It's meant to make us feel different things. 这才是构图存在的意义。That's the entire point of composition.给我们讲述故事，指引我们眼睛。 It tells us a story. And it leads our eye. 是观众视角的向导。It's the way that we Guide the viewer to see what we see.  

P9 - 00:25举例子。 

这是我从《up》选取的剧照，看黑白底图，这样你不用考虑颜色对效果的影响因素了。Let’s look at these two screen shots from up. I'm gonna make them in black and white. So you can't be bias based on the color.本帧选中，你可以看到角色陷入困境， in this frame here, 你会看到角色被陷入周围墙壁中。obviously, we see a character in distress. But what's interesting is that there is a giant wall surrounding the character. Like so.  

P9 - 00:43图片传递的含义。 

给人感觉这是私密时刻，What it makes us feel is that this is a private intimate moment, 角色目前接受的信息对自己是灾难性的打击。this character right now she is receiving devastating news.观众远远的看着角色， And we're almost watching from a far distance. 感觉四面墙壁不断的禁锢住无力反击的角色，As these walls get closer and closer to her restricting her.如同四面楚歌境地。 She's almost like in a prison, essentially. 

P9 - 01:00现在开启颜色。 

Now Let's turn it back into color. 彩色的图片和黑白底图不同。You can see there's not that much of a difference.但是仍旧传递角色被突如其来灾难性打击的悲伤的情怀， And it still stays a very sad, a devastating moment. 

P9 - 01:12对比剧照。 

Let's compare that to this shot right here,带着气球的房子不偏不倚在楼群中间正上方， with a house full of balloons. The house is currently in the smack middle of the piece. These buildings, being the foreground, are placed in a way that their perspective draws a line, leading your eyes right back to the balloons. 前景楼房成排延伸线，指向了头顶上方的气球屋子。And this super low camera angle makes you feel as if you're looking up.  

P9 - 01:35仰视拍摄带来的距离感。 

看到头顶上气球房屋万分惊喜的感觉。Essentially what this composition is doing is imitating the feeling that I would get if I looked into the sky and saw this giant house full of balloons, I would say, probably wonder and excitement.  

P9 - 01:49黑白图变成彩色图。 

你可以看到色彩多么明亮多么饱满。Now let's turn these colours back on. And you can see how bright and saturated it is. 这奇幻的瞬间，This is supposed to be a magical moment. So let's try this again. But with some painting this time. 

P9 - 02:03加上一些绘制。 

这些是John Sweeney的杰作，These pieces are painted by the amazing John sweeney. 我们可以看到柔和的白光流淌在画布中间别有洞天，Here we can see this soft light shimmering on the very center of the canvas. 倾斜的光线，源自于自然光，不像是赛博朋克中外星的光。The light is diagonal, so it feels like natural light. Not like a alien god raised or something. 自然光给人宁静。So we feel at peace. 中间的角色之所以特别是被光线打在身上。The person in the middle, we feel that there's something special about them cause there's this light hitting them.  

P9 - 02:28打开彩色图。 

And now that we turn the colors on, 我们明白散发自然的奇观。we can understand that it's meant to exude a natural wonder kind of sense.我对角色手里的物体感觉好奇。 I feel curious as to what the character is holding. 并没有危险的气息。And also I feel no sense of danger.  

P9 - 02:40对比鲜明的图。 

This is very different from this piece here where the character is at the very far right of the screen. 在图右侧的角色，技术层面和其它图没不同，也是一个角色，被光照亮。Technically just like the other painting, it's a person being lit.但是你感觉图片洋溢的气息截然不同。 But obviously you can see a very big difference. And the feeling of this piece exudes.  

P9 - 02:56打开彩色图。 

And then finally, when we enter color and 前后两幅图并肩站进行对比。compare them side by side, the grass toss of the scene on the left, comes into play where you feel as if the character is in pain, and in the distress.对比鲜明，你感觉左边的角色在痛苦和压抑中。 And one key thing you'll notice is that you really can't see that much of the left screen,你会注意到图片左侧黑漆漆的部分你未必注意到存在。 it feels almost confusing. Or the only thing you're looking at is how much this character is suffering. 你困惑黑暗中究竟是什么，因为右侧角色痛苦表情引起你的注意，Whereas here, even though you're only looking at the character in the center, everything else is kind of a stable format.对比右侧的剧照，同样的右侧的角色，一切祥和而且宁静。It's peaceful and its harmonious. This is the power of composition at work. 这就是构图在发挥作用。These very different compositions tell us very different stories. 不同的构图讲述不同的故事。And chances are you've seen some of these compositions in a lot of different places.你在不同地方有机会见到不同作品。 

P9 - 03:44列举经得起考验的经典作品。 

So I'm gonna run through some of the most classic compositions that have withstood the test of time. 考虑下你的构图，Consider it your composition, cheat-book, 这就是速成班标题拟定的由来。which is why this is called crash course composition.  

P9 - 03:55第一， 

第一是隐藏和窥视，So number one is hiding from or spying on. 有强大明显的前景，This composition typically has a very strong foreground. 似乎藏匿着你想窥视的秘密。It's meant to make you feel as if you're keeping into something.如同你管窥一豹猎奇心。 It's basically like you're looking through a keyhole and being kind of stalker-ish. 

P9 - 04:14举例子 凿壁借光。 

A great example is the one that we just saw from UP. it makes things very personal. And because your foreground is usually so big, it's great for just focusing directly on the character. Not so great for environments.前景时医院单元房的前景，观众可以直接看角色。

P9 - 04:27影视花样年华， 

in the move in the mood for love.《mood for love花样年华》中有很多这样的构图， They have a lot of shots in this exact composition, 因为影视讲的是婚外恋，涉及隐私的事情。because the movie is about these two people having an affair, which is a very private thing. 大部分镜头时很大的前景，So most of the movie is shot with these super large foreground.你可以看到门占据了大半荧屏， You see this door is blocking half the screen, 就像是角色间相互偷窥视奸彼此，as if the characters are monitoring or spying on each other, which a kind of art. So it's perfect.如同注意力在角色上是好效果，注意力专注在被前景背后的秘密，效果未必好。 like I said, great for focusing on characters but not so great on looking at background.  

P9 - 04:58下一个案例。 

《大大小小》又称为大卫对歌利亚风格。The next composition is the big versus small. You've probably seen this composition around a lot. It can also be considered a David versus Goliath shot. 可以理解成大卫和歌利亚。Or you're basically presenting a small object and a big object, side by side. 

P9 - 05:15大小并排放的意义？ 

小的愈发渺小，大的愈发宏大。And by doing so, you're displaying just how small or how big the object is. It's two most famous iterations are having two objects side by side. 比如小伙计和克苏鲁巨兽。So in this case, you have one really small dude and one giant Cthulhu monster, or you have a little guy in front like so on the giant Cthulhu monster in the back.  

P9 - 05:33角色在前后背景环绕的效果。 

This is a very simple system of having a foreground and a background. Typically, the foreground in the front will be darker, and the background in the back will be up lighter.一般情况前景暗一些，背景亮一些。 

P9 - 05:46其它案例。 

You can see other examples.庞然大物不一定是动物可以是环境中的植物。 It doesn't just have to be with a giant creatures. It can also be with environments, where you can see the just sheer scale.可以看到空中飞舞小飞禽，和巨大植物形成的对比。 Here is a small guy. And here is the big guy.  

P9 - 05:59大大小小传递的意义？ 

This is obviously the darling composition for giant monster movies or showing off how cool technology is.比如在《哥斯拉》中看到巨型动物，还有巨型飞船。 So of course, you'll see this in things like Godzilla. And of course, you'll see this when you look at giant spaceships. 适合做插画和影视海报。 It’s great for illustrations and movie posters, because it's meant to demonstrate some kind of feeling of all in wonder and 赞叹宏伟奇观同时，感受到自己渺小。或者面对庞然大物面前的不寒而栗。make your audience just tremble at the scale and grandeur of your piece. 

P9 - 06:27抵达目标地的剧照。 

Next is the arrival shot. This shot is also meant of a grandeur, but in a very different way. 也是宏伟构图，但是用另外不同的方式。The arrival shot is a composition that usually has a very high a horizon line.有天际线，给观众传递广袤无垠的环境。 And you get to see this giant, vast piece of environment, as if you had well, 遵从二八分的比例规则，just arrived there and loves to follow the 2080 horizon rule typically. So that would mean that here is 20 and here is 80.  

P9 - 06:56目标是？ 

展示会当临绝顶，一览众山小的感觉。This shots purpose is to help the viewer understand the landscape that they just arrived and is classically used where a character is on a cliff and overlooking everything. 

P9 - 07:03抵达剧照。 

给人为之震撼的效果，比如哇塞，这样的世界，要么壮观的，令人心驰神往的，或者惨不忍睹的。 It is usually supposed to make you go. Wow, that's the world. Whether the world is ugly or beautiful or a little bit scary or enticing.不管什么效果都是帮助影视构建故事背景的。 But no matter what kind of world the purpose of this shot is always to help establish location. Have you ever watched a movie where they show you like a giant cityscape and like show like New York city, I should write that in a different color. like new New York all over the screen.比如一个城市的照片，标题布满整个屏幕，就是抵达剧照。 That can be considered an arrival shot.告诉你身处何方，地标是什么。 It's supposed to tell you where you are in the world, and it's supposed to establish location.  

P9 - 07:44举例子。 

比如《边境杀手》很渺小的角色和广袤的广场，So for example, here in Sicario, this arrival shot features very small characters and a very wide encompassing background. 告诉角色在哪里，空旷的停车场，离城市很远的地方。It tells you where your characters are and in a empty parking lot and somewhere that it's very far from the city.可以构建一天中什么时间。 It can also establish things like the time of day. 给观众大概人物时间地点，Essentially it gives your audience a bearing. 

P9 - 08:04《天降杀机》例子。 

Take these shots from the sky fall James bond movie where bond is darting from location to location. 主角是不同地点到另一个地点的。Each time a new location is introduced,每次切换故事发生地点，拍摄视角切换到广袤无语的地况， the camera first shows off a super big environment scene, 让我们领略该地点的风情韵律。giving us a taste of the location.然后把焦点切换回到角色身上。before they move back into focus on specifically the characters.  

P9 - 08:21该剧本另一个案例。 

Another example is when James bond is arriving into this house. So this would also be an arrival shot.举例子主角夫妇抵达别墅前，进入别墅屋内， And then they enter this house which leads to a second arrival shot of the inside of the house. 可以看到视平线很高，二八分的比例，And you can see that the horizon line again is quite high, leaning around the 2080, 构建了室内场景后，再次聚焦回到角色身上。after they establish that they are inside the house. And finally they will go back to focus on the characters once more. 这些构图主要重点描述故事发生场景， So of course, this composition is mainly focused on simply the environments. 人物通常都很小，因为焦点是广袤无垠，衬托出人的渺小。Characters are usually very small. And the focal point is much more broad. 

P9 - 08:57墓碑场景。 

Afterwords, You have the altarpiece. Now, unlike the arrival shot, we are taking in everything on the screen. The altarpiece composition directly focuses your eye, typically on the middle of the screen.与抵达场景描述不同的是，介绍故事场景是广袤无垠的风格，墓碑场景是聚焦在屏幕中心点。 These shots are usually very symmetrical, and they have a lot of lines in the composition, that help lead your eye to the focal point. 墓碑场景特点是对称的，并且很多视线条指引你的视线滑落到屏幕中的聚焦点。You can see how all of these streets here, all converge into one point, which is your person.  

P9 - 09:29举艺术家作品做例子。 

Take John sweeney is painting here, for example. That would be an altarpiece. You can see it's very heavy center focused. 之所以归类为墓碑剧照，是因为对称的，聚焦点在中间，And there's this very strong emphasis on what is exactly in the middle,着重强调画幅中间的人与物，有种被仰视的神圣感。 making it almost feel kind of holy. 

P9 - 09:51《亚瑟王的神剑》中的例子。 

So if you ever want to show off the resting place of a magical sword like excalibur or the holy grail, then you'll want to make sure it's in the middle of the screen bathed in holy light. 确保神剑在画幅中间沐浴神圣光芒。So this would be considered the altarpiece. 

P9 - 10:02墓碑剧照和对称的区别联系？ 

Now, I don't want you to get this confused with just regular symmetry.不是所有的对称画幅刻画的都是墓碑场景。 Because in cases where you have Wes Anderson, where almost all of those frames are symmetrical, not all of them are altarpieces. 对称的不一定强调点在中间，而墓碑剧照着重强调点在中间，这是区别，An altarpiece composition should really draw attention to something of heavy significance in the story. 周边黑暗来烘托出中间的圣洁。And usually they block everything else out with darks and make the middle of glory and bright. 

P9 - 10:27总结。 

总有万一的特例，这是一成不变的规律。Again, as always, there will always be exceptions. But this is the general rule of thumb.取决于你想探索的环境，几个需要引人注意的人与物。 This is fantastic for exploring just a little bit of environment, but mainly on a very special item or person of your choice. 为了把注意力吸引到中间，需要中间和周围形成对比。All of your attention is focused right in the middle. So you should have your strongest value contrast in the middle as well.  

P9 - 10:47最后一部分。 

Now, the final composition that we have to tackle on this list, would be the close up is used more typically for characters. And it's meant to emphasize the feeling there character is going through. 这部分是为了刻画角色情感。Normally, the character would take around either 1/3 or even 2/3 up on the screen.角色一般占据1/3或2/3的屏幕。 The composition is simply separated into one, your foreground and your background, BG and FG. 被分成了前景和背景。 

P9 - 11:14举被角色带动观众又哭又笑例子。 

Think about when a character is in total delight and wonder if we get a giant close up of their face and their happiness is so infectious. 角色脸上洋溢的感情，带动观众的感同身受。We smile when we get to see them smile, but vice versa. It can also make us feel incredibly sad. Where when we see the tears rolling down the characters cheek, we start to feel kind of depressed ourselves. 相反，看着角色眼泪顺着面庞滑落，我们也开始感觉到压抑。Or if a character is in pain and agony, then the closer we are to the character, the more that we feel that too.或者角色在痛楚和剧痛，离角色越近，我们越能存在这些感觉。 

P9 - 11:40特写镜头适用于？ 

sometimes you can go a step further and do the extreme close-up, when the character is pretty much taking up all of the screen. But it should be used in moderation and is used to become almost a little bit too intimate to the character, to the point that you kind of feel uncomfortable. Because let's be real. No one wants to be that close to someone. 虽然太近距离的镜头特写让观众和角色面对面，有些不舒服，但是也确实捕捉到角色心路历程，达到描述情感历程的效果。But regardless this composition is fantastic for capturing character development and capturing emotion.  

P9 - 12:14可以在环境中烘托特写角色情感。 

You can have the environment in it, but its mainly character focus. So do what you will with it. And these are the kind of your cheat sheet compositions. 并不是所有合成都是可以按照这样归类，如果面面俱到，我们讲不完的。Not every single composition will fall into these categories. But if I were to try and teach you every single one in the book and then we’d be here for a lot longer than what how long is this recording? What, 12-14 minutes. Like it will take a lot longer than just that.  

P9 - 12:38总结标准。 

But these are the most standard and commonly seen. And i'd argue most useful for concept design. 最终目标，你的构图为了唤醒人的反应，Ultimately, You’re just trying to evoke a reaction of a someone, and the more that you look at other composition, whether their illustrations or on the big screen, that you look at other.越是仔细观摩插画或剧照，越是可以捕捉到要传递的意义， The more you see them and analyze what they make you feel, the more that you'll get a natural sense for it and begin to experiment with your very own compositions. 当然现在给到你很多的信息，毕竟速成班也是有东西的。Now I threw a lot of Information at you just now, but hey, I didn't call this unit crash course composition for nothing. So let's jump into the summary review of everything that we've learned so far.