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

之前探討的是構(gòu)圖，What we've been talking about so far is the building blocks of composition. 現(xiàn)在講述構(gòu)圖在場景中的運用。Now we're going to take these blocks and do what composition is ultimately supposed to do. 構(gòu)圖是給觀眾不同的體驗不同的信息。It's meant to make us feel different things. 這才是構(gòu)圖存在的意義。That's the entire point of composition.給我們講述故事，指引我們眼睛。 It tells us a story. And it leads our eye. 是觀眾視角的向?qū)?。It's the way that we Guide the viewer to see what we see. ?

P9 - 00:25舉例子。?

這是我從《up》選取的劇照，看黑白底圖，這樣你不用考慮顏色對效果的影響因素了。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.本幀選中，你可以看到角色陷入困境， in this frame here, 你會看到角色被陷入周圍墻壁中。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圖片傳遞的含義。?

給人感覺這是私密時刻，What it makes us feel is that this is a private intimate moment, 角色目前接受的信息對自己是災(zāi)難性的打擊。this character right now she is receiving devastating news.觀眾遠遠的看著角色， And we're almost watching from a far distance. 感覺四面墻壁不斷的禁錮住無力反擊的角色，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現(xiàn)在開啟顏色。?

Now Let's turn it back into color. 彩色的圖片和黑白底圖不同。You can see there's not that much of a difference.但是仍舊傳遞角色被突如其來災(zāi)難性打擊的悲傷的情懷， And it still stays a very sad, a devastating moment.?

P9 - 01:12對比劇照。?

Let's compare that to this shot right here,帶著氣球的房子不偏不倚在樓群中間正上方， 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. 前景樓房成排延伸線，指向了頭頂上方的氣球屋子。And this super low camera angle makes you feel as if you're looking up. ?

P9 - 01:35仰視拍攝帶來的距離感。?

看到頭頂上氣球房屋萬分驚喜的感覺。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黑白圖變成彩色圖。?

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

P9 - 02:03加上一些繪制。?

這些是John Sweeney的杰作，These pieces are painted by the amazing John sweeney. 我們可以看到柔和的白光流淌在畫布中間別有洞天，Here we can see this soft light shimmering on the very center of the canvas. 傾斜的光線，源自于自然光，不像是賽博朋克中外星的光。The light is diagonal, so it feels like natural light. Not like a alien god raised or something. 自然光給人寧靜。So we feel at peace. 中間的角色之所以特別是被光線打在身上。The person in the middle, we feel that there's something special about them cause there's this light hitting them. ?

P9 - 02:28打開彩色圖。?

And now that we turn the colors on, 我們明白散發(fā)自然的奇觀。we can understand that it's meant to exude a natural wonder kind of sense.我對角色手里的物體感覺好奇。 I feel curious as to what the character is holding. 并沒有危險的氣息。And also I feel no sense of danger. ?

P9 - 02:40對比鮮明的圖。?

This is very different from this piece here where the character is at the very far right of the screen. 在圖右側(cè)的角色，技術(shù)層面和其它圖沒不同，也是一個角色，被光照亮。Technically just like the other painting, it's a person being lit.但是你感覺圖片洋溢的氣息截然不同。 But obviously you can see a very big difference. And the feeling of this piece exudes. ?

P9 - 02:56打開彩色圖。?

And then finally, when we enter color and 前后兩幅圖并肩站進行對比。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.對比鮮明，你感覺左邊的角色在痛苦和壓抑中。 And one key thing you'll notice is that you really can't see that much of the left screen,你會注意到圖片左側(cè)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，因為右側(cè)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.對比右側(cè)的劇照，同樣的右側(cè)的角色，一切祥和而且寧靜。It's peaceful and its harmonious. This is the power of composition at work. 這就是構(gòu)圖在發(fā)揮作用。These very different compositions tell us very different stories. 不同的構(gòu)圖講述不同的故事。And chances are you've seen some of these compositions in a lot of different places.你在不同地方有機會見到不同作品。?

P9 - 03:44列舉經(jīng)得起考驗的經(jīng)典作品。?

So I'm gonna run through some of the most classic compositions that have withstood the test of time. 考慮下你的構(gòu)圖，Consider it your composition, cheat-book, 這就是速成班標題擬定的由來。which is why this is called crash course composition. ?

P9 - 03:55第一，?

第一是隱藏和窺視，So number one is hiding from or spying on. 有強大明顯的前景，This composition typically has a very strong foreground. 似乎藏匿著你想窺視的秘密。It's meant to make you feel as if you're keeping into something.如同你管窺一豹獵奇心。 It's basically like you're looking through a keyhole and being kind of stalker-ish.?

P9 - 04:14舉例子 鑿壁借光。?

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.前景時醫(yī)院單元房的前景，觀眾可以直接看角色。

P9 - 04:27影視花樣年華，?

in the move in the mood for love.《mood for love花樣年華》中有很多這樣的構(gòu)圖， They have a lot of shots in this exact composition, 因為影視講的是婚外戀，涉及隱私的事情。because the movie is about these two people having an affair, which is a very private thing. 大部分鏡頭時很大的前景，So most of the movie is shot with these super large foreground.你可以看到門占據(jù)了大半熒屏， You see this door is blocking half the screen, 就像是角色間相互偷窺視奸彼此，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，注意力專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下一個案例。?

《大大小小》又稱為大衛(wèi)對歌利亞風(fēng)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. 可以理解成大衛(wèi)和歌利亞。Or you're basically presenting a small object and a big object, side by side.?

P9 - 05:15大小并排放的意義？?

小的愈發(fā)渺小，大的愈發(fā)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. 比如小伙計和克蘇魯巨獸。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角色在前后背景環(huán)繞的效果。?

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.一般情況前景暗一些，背景亮一些。?

P9 - 05:46其它案例。?

You can see other examples.龐然大物不一定是動物可以是環(huán)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.可以看到空中飛舞小飛禽，和巨大植物形成的對比。 Here is a small guy. And here is the big guy. ?

P9 - 05:59大大小小傳遞的意義？?

This is obviously the darling composition for giant monster movies or showing off how cool technology is.比如在《哥斯拉》中看到巨型動物，還有巨型飛船。 So of course, you'll see this in things like Godzilla. And of course, you'll see this when you look at giant spaceships. 適合做插畫和影視海報。 It’s great for illustrations and movie posters, because it's meant to demonstrate some kind of feeling of all in wonder and 贊嘆宏偉奇觀同時，感受到自己渺小?；蛘呙鎸嬋淮笪锩媲暗牟缓酢ake your audience just tremble at the scale and grandeur of your piece.?

P9 - 06:27抵達目標地的劇照。?

Next is the arrival shot. This shot is also meant of a grandeur, but in a very different way. 也是宏偉構(gòu)圖，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.有天際線，給觀眾傳遞廣袤無垠的環(huán)境。 And you get to see this giant, vast piece of environment, as if you had well, 遵從二八分的比例規(guī)則，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目標是？?

展示會當(dāng)臨絕頂，一覽眾山小的感覺。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抵達劇照。?

給人為之震撼的效果，比如哇塞，這樣的世界，要么壯觀的，令人心馳神往的，或者慘不忍睹的。 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.不管什么效果都是幫助影視構(gòu)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.比如一個城市的照片，標題布滿整個屏幕，就是抵達劇照。 That can be considered an arrival shot.告訴你身處何方，地標是什么。 It's supposed to tell you where you are in the world, and it's supposed to establish location. ?

P9 - 07:44舉例子。?

比如《邊境殺手》很渺小的角色和廣袤的廣場，So for example, here in Sicario, this arrival shot features very small characters and a very wide encompassing background. 告訴角色在哪里，空曠的停車場，離城市很遠的地方。It tells you where your characters are and in a empty parking lot and somewhere that it's very far from the city.可以構(gòu)建一天中什么時間。 It can also establish things like the time of day. 給觀眾大概人物時間地點，Essentially it gives your audience a bearing.?

P9 - 08:04《天降殺機》例子。?

Take these shots from the sky fall James bond movie where bond is darting from location to location. 主角是不同地點到另一個地點的。Each time a new location is introduced,每次切換故事發(fā)生地點，拍攝視角切換到廣袤無語的地況， the camera first shows off a super big environment scene, 讓我們領(lǐng)略該地點的風(fēng)情韻律。giving us a taste of the location.然后把焦點切換回到角色身上。before they move back into focus on specifically the characters. ?

P9 - 08:21該劇本另一個案例。?

Another example is when James bond is arriving into this house. So this would also be an arrival shot.舉例子主角夫婦抵達別墅前，進入別墅屋內(nèi)， And then they enter this house which leads to a second arrival shot of the inside of the house. 可以看到視平線很高，二八分的比例，And you can see that the horizon line again is quite high, leaning around the 2080, 構(gòu)建了室內(nèi)場景后，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. 這些構(gòu)圖主要重點描述故事發(fā)生場景， So of course, this composition is mainly focused on simply the environments. 人物通常都很小，因為焦點是廣袤無垠，襯托出人的渺小。Characters are usually very small. And the focal point is much more broad.?

P9 - 08:57墓碑場景。?

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.與抵達場景描述不同的是，介紹故事場景是廣袤無垠的風(fēng)格，墓碑場景是聚焦在屏幕中心點。 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. 墓碑場景特點是對稱的，并且很多視線條指引你的視線滑落到屏幕中的聚焦點。You can see how all of these streets here, all converge into one point, which is your person. ?

P9 - 09:29舉藝術(shù)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. 之所以歸類為墓碑劇照，是因為對稱的，聚焦點在中間，And there's this very strong emphasis on what is exactly in the middle,著重強調(diào)畫幅中間的人與物，有種被仰視的神圣感。 making it almost feel kind of holy.?

P9 - 09:51《亞瑟王的神劍》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. 確保神劍在畫幅中間沐浴神圣光芒。So this would be considered the altarpiece.?

P9 - 10:02墓碑劇照和對稱的區(qū)別聯(lián)系？?

Now, I don't want you to get this confused with just regular symmetry.不是所有的對稱畫幅刻畫的都是墓碑場景。 Because in cases where you have Wes Anderson, where almost all of those frames are symmetrical, not all of them are altarpieces. 對稱的不一定強調(diào)點在中間，而墓碑劇照著重強調(diào)點在中間，這是區(qū)別，An altarpiece composition should really draw attention to something of heavy significance in the story. 周邊黑暗來烘托出中間的圣潔。And usually they block everything else out with darks and make the middle of glory and bright.?

P9 - 10:27總結(jié)。?

總有萬一的特例，這是一成不變的規(guī)律。Again, as always, there will always be exceptions. But this is the general rule of thumb.取決于你想探索的環(huán)境，幾個需要引人注意的人與物。 This is fantastic for exploring just a little bit of environment, but mainly on a very special item or person of your choice. 為了把注意力吸引到中間，需要中間和周圍形成對比。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. 這部分是為了刻畫角色情感。Normally, the character would take around either 1/3 or even 2/3 up on the screen.角色一般占據(jù)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舉被角色帶動觀眾又哭又笑例子。?

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. 角色臉上洋溢的感情，帶動觀眾的感同身受。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，看著角色眼淚順著面龐滑落，我們也開始感覺到壓抑。Or if a character is in pain and agony, then the closer we are to the character, the more that we feel that too.或者角色在痛楚和劇痛，離角色越近，我們越能存在這些感覺。?

P9 - 11:40特寫鏡頭適用于？?

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. 雖然太近距離的鏡頭特寫讓觀眾和角色面對面，有些不舒服，但是也確實捕捉到角色心路歷程，達到描述情感歷程的效果。But regardless this composition is fantastic for capturing character development and capturing emotion. ?

P9 - 12:14可以在環(huán)境中烘托特寫角色情感。?

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這樣歸類，如果面面俱到，我們講不完的。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總結(jié)標準。?

But these are the most standard and commonly seen. And i'd argue most useful for concept design. 最終目標，你的構(gòu)圖為了喚醒人的反應(yīng)，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.越是仔細觀摩插畫或劇照，越是可以捕捉到要傳遞的意義， 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. 當(dāng)然現(xiàn)在給到你很多的信息，畢竟速成班也是有東西的。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.