You can just watch a movie. Or read this one. And get to the bottom of the blueprint for a video. Such an analysis has its very special charm. Because it opens a glimpse into the director’s brain. Here is a quick analysis for storytelling and image design. Every language has its grammar. This is also the case with video production. The language of film is made up of conscious and unconscious decisions. They all submit to one goal: to tell a story as excitingly as possible. With a scene analysis you get the key to directing work.
You have to know that:
Every film and every filmmaker follows rules. You can recognize this by means of an analysis. Consciously or unconsciously, our feelings tell us to an astonishingly high degree what is right (or wrong) in making films. In 123movies tv you can find the best options now.
Because the majority of directors and cameramen follow these basic rules when staging, you can draw conclusions from them. A film analysis gives you an insight into the “construction” of a film and opens up new perspectives and perspectives for you.
You can find the seven most important rules of image composition here in this article together with a quick guide for analyzing films and videos.
How To Analyze Movies And Videos
- Here are the most important rules for analyzing movies and videos:
- What is to the right of the camera looks more positive than if it is to the left. This also applies to movements. What moves from left to right seems natural to us.
- The distinction between right and left applies even when it comes to the future or the past. The past can usually be found on the left. The future lives on the right.
- Likewise, what is in the foreground has a much stronger effect on the viewer than people or things in the background. Even what is in the lower half of the picture moves us much less than anything in the upper half of the picture.
Our brain automatically corrects diagonals when we tilt our head. Recordings in which the camera is not oriented towards the horizon therefore appear unnatural to us. The world is out of joint in such recordings.
Movements, which are the main reason for the power of the film, are undoubtedly stronger than static recordings. Even if the camera moves only imperceptibly, it gives the film image a sense of space. A principle that can be observed in high-quality feature films and series in almost every scene.
It is also easy to understand that a camera that looks down at a person obviously makes them smaller, while a position below the eye line makes a person appear taller, but possibly also more dangerous. If the camera goes extremely high, the person is condemned to a beetle or an ant and close to insignificance. In contrast, the frog’s eye view turns people into god-like giants.
It becomes more demanding when it comes to lighting design. The film viewer feels more drawn to lighter areas. For this, however, dark image zones are necessary. The resulting contrast can also act as a frame that guides our gaze possibly in low-light areas far in the background.
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