CHAPTER 19 Still More Composition, or Follow the Money
A DP and an operator have dozens of instantaneous decisions to make to keep the composition of a shot working throughout a take. Even in a shot where the camera doesn't move and things appear as simple as possible, an actor can move, and the subtle alignment of the shot will change. It may be a simple two-shot (any shot in which only two actors appear) in which the characters move closer together; the operator must make invisible pans to keep the shot balanced. It may be a large master (a shot that shows the entire action or setting of a scene); characters move forward and back and to the sides, and the operator wants to maintain a balanced frame, so it's time to work with his dolly grip ...
Get Shooting Movies Without Shooting Yourself in the Foot now with the O’Reilly learning platform.
O’Reilly members experience books, live events, courses curated by job role, and more from O’Reilly and nearly 200 top publishers.
