The key to a smooth production
The First Congregational Church of Cheshire in Cheshire, Connecticut.
When working on any sort of creative project, it is crucial to spend as much time as possible in the planning phase. Depending on the project, you may even spend more time planning than creating.
Most people will likely agree that if something can go wrong, then it will. This is why planning for creative work is so important. The more time you spend planning a project, the less that will go wrong when you get there.
To illustrate this process, let’s look at my process for planning a video project I am currently working on.
In the center of Cheshire, Connecticut is a historic district than many call “Cheshire Village”. It is an incredibly aesthetic area with a lot to do and see. My goal is to create a 5-minute montage showing off all that Cheshire Village has to offer.
Scouting and Practicing Composition
My first step was to go to the location and scout out some specific spots that I can include in the video. I also used this process to practice my visual composition skills.
Subject placed in the center of the frame.
Subject placed on the right third of the frame.
An example of one composition fundamental using the rule of thirds. This rule states that placing a subject on one of the four intersections created by a three-by-three divider (similar to a tic-tac-toe board), it will create a more pleasing image.
This concept is scene above. The image to the left with the subject in the middle is almost uncomfortable, whereas the other image feels more natural and helps distribute the visual
“weight” of the image better.
I won’t go through the entire shot list I accumulated during this exercise right now, but the full pdf is linked below. This exercise was incredibly valuable because it helped me to understand the location better and begin visualizing how the different shots should be composed in the final product. Although the shots in the video will not all be exactly like what is in the document below, the exercise helped me to better prepare for the final shoot.
Preproduction and Storyboarding
The next step in the process was to iron out all of the details of the shoot, so that I could be completely ready on the day of.
This started with a general creative brief, laying out what the project is and the parameters around it. Next, I took notes about the feel and mood of the video, making sure to include information on sound design and music.
I then wrote a brief script for the project. However, this is currently not 100% complete, as I will have to write certain parts based on what I end up shooting on the day of. Finally, I created a rough storyboard of the shots that I plan to get on the day of the shoot.
Although my specific project does not call for super specific details (like a movie would) and I plan to use a level of intuition on the shoot to capture the surroundings as they happen, this planning is still invaluable. Having all of this information ahead of the shoot helps me to feel confident going into it.
As mentioned before, both of the documents showing every step of the planning process are linked below.
Readings
The Bare Bones Camera Course for Film and Video – Tom Schroeppel
Chapter one of the book gives an overview of basic camera principles including exposure, focal lengths, and depth of field. It begins by comparing the camera to the human eye, showing how an image is created from light being captured by a lens. It describes how still film cameras record light onto a chemical-coated film, while digital cameras convert light into electronic signals. By adding these still images into a sequence, you get the appearance of motion.
The chapter also covers the exposure triangle – the relationship between shutter speed, ISO, and aperture. F-stop settings control the amount of light entering the lens, higher ISO values increase sensitivity to light but may reduce image quality, and shutter speed controls the speed that the shutter opens and closes. The text also addresses the use of light meters for proper exposure and how different color temperatures influence image color, particularly when filming under varying lighting conditions.
Finally, this chapter discusses different lenses (wide-angle, normal, and telephoto), focusing on their impact on depth of field, image distortion, and focus control. Depth of field is affected by aperture size, focal length, and the distance between the subject and the camera. Wide-angle lenses create a greater depth of field and may introduce barrel distortion, while telephoto lenses narrow the focus area, often leading to background blur.
Chapter two focuses more on camera composition and how properly framing a shot relates to storytelling. A camera is a tool of “selective vision” meaning that you provide the viewer with visual context in a scene. The "rule of thirds" is probably the most fundamental composition technique. It divides the frame into a grid to place subjects along intersections for balanced and engaging visuals.
Other aspects of composition include maintaining balance in the frame – also known as providing proper "leading room" and "head room,". Balance is described in terms of visual weight, where objects are balanced across the frame by adjusting sizes, positions, and colors. Color and brightness are important for guiding viewer attention, with the brightest or most colorful areas naturally drawing the eye.
Controlling your background is another important aspect when framing up a shot. Considering and adjusting background elements to avoid distracting or cluttered visuals is a must. This includes using techniques like framing within the frame, adjusting angles, and positioning objects to create depth and focus on the main subject.
Chapter five discusses camera moves and how they effect a scene. Techniques such as zooming, panning, and tilting are a few of these moves. A zoom-in draws the viewer's attention to a particular subject, while a zoom-out reveals context or new information in the scene. Panning (horizontal movement) and tilting (vertical movement) are ways to uncover more details in the frame, often guiding the viewer’s focus along with the camera's direction. It is important to start and end every movement with a well-composed static shot and transitioning between uncomfortable and comfortable positions for smoother camera control.
Avoid using unnecessary or excessive camera movements as this can distract viewers. Instead, each move should serve a narrative or visual purpose, enhancing the audience’s understanding of the scene. In general, keeping things simple will often be more effective.
Chapter 6 is brief, highlighting the technique of assembling a series of related shots to convey time, distance, mood, or information. For effective montage, each shot should differ in composition, angle, or size to maintain visual interest, avoiding repetitive frames that appear awkward when edited together. Techniques such as Dutch tilts (slanted angles) can add dynamic variation to a montage, enhancing the visual impact and storytelling.
Video Pre-Production Planning Check-List – One Market Media
This checklist by One Market Media emphasizing the importance of planning and defining clear goals at the beginning stages of working on a video project. The checklist starts with setting a specific “business” objective, which could range from raising brand awareness to driving sales or educating a target audience. Defining your audience and crafting key messages tailored to their needs are essential to plan early to make sure you video performs its intended purpose after its completion. This is why you should develop a creative brief. It will help you to maintain focus throughout the course of the project.
The guide continues with recommendations for creating a storyboard to outline the video's structure and ensure all elements align with the initial objectives. Other steps include determining the video length based on audience attention spans, choosing a distribution strategy to maximize impact, and setting up approval processes to avoid issues later in production. The pre-production phase concludes with planning logistics, such as location scouting, permits, and equipment, to minimize disruptions.
Learn What is a Storyboard and How to Use it to Make Better Videos – Creatly
This guide by Creately outlines the process of creating an effective storyboard for video production. Storyboards allow you to visualize and organize scenes before filming, making the process smoother when you get on set. Storyboards, which are structured similarly to a comic strip, showcase each critical scene. Storyboards can vary in the detail they show including characters, dialogue, and other visuals. The guide further elaborates on adding script details and visual cues including actor and camera movements.
The most important thing when storyboarding a piece is to make sure you have a goal in mind throughout the process. In doing this, you will ensure that your storyboard is tailored toward understanding and preparing for the film you are creating.
Research
To further explore concepts of visual composition, I compiled a few examples of these principles through popular films.
Everything Everywhere All At Once
The first of these scenes is from the end of Everything Everywhere All at Once. The male character, Waymond, is giving a monologue about being kind to each other after all of the violence that occurred prior in the film. In this two-minute clip alone, there are a number a great compositional principle that are used.
When the scene jumps to clips of from the universe where Evelyn and Waymond are in the alley way, the rule of thirds is used to put focus on the subjects and create depth in the scene. By switching back and forth between the characters and composing them on opposite thirds, you get a sense of their back-and-forth conversation. This almost acts an alternative to the typical over the shoulder shot-reverse-shot style of shooting conversations. This composition creates an incredibly cinematic look and does a lot of good for the storytelling paired with Waymond’s monologue.
Another great composition in this clip is the wide shot of Waymond standing between Evelyn and the enemies. This shot uses depth to draw the viewer into Waymond and Evelyn, making them the focus of what is otherwise a busy image. By composing them in the center of the frame between a very clear foreground and background, you are not distracted by everything happening around them. However, the viewer is still given context to what where they are – which is crucial in a movie that jumps between multiple universes.
Asteroid City
The next clip is from Wes Anderson’s most recent project: Asteroid City. Anderson in general is known for his distinguished use of symmetrical and center compositions which seek to separate his unique work. This style makes his work feel dystopian and almost uncomfortable to watch yet satisfying at the same time.
In this specific scene, June is talking to a group of students who are in asteroid city with their families. You can see throughout the entire clip these center compositions and symmetrical scenes. These compositions allow the subject to be framed by the rest of the scene in this case. It is also important to not Anderson’s distinct use of color in the scene, which helps to create an old-school filmic vibe to the movie.
The Menu
The final scene is from The Menu. In this clip, there are a lot of minimal, yet well-executed compositions. You can see a number of clips with great uses of the rule of thirds and depth to put emphasis on particular characters at particular moments. However, there is one specifc shot here that stands out in my opinion.
After Chef Slowik claps to grab the attention of everyone in the room, the rest of the chefs stand at attention behind him. This layering and repetition visually satisfying, but unnatural and somewhat creepy. Although this is the beginning of the movie, this shot sets up the feel for the rest of the movie and the events that are going to take place as you continue watching.
Hi! My name is Peyton McKenzie.
I am a professional graphic designer, photographer and content creator.
I encourage you to explore my portfolio to get a better idea of the work I create. If you are interested in working with me or have inquiries of any kind, don’t hesitate to reach out over email.
