3.3.1: Framing the Shot

Filmmakers use framing to direct our attention.

Composition, the arrangement of people, objects, and settings within the frame of an image, has already come up a few times in previous chapters. That’s because how a cinematographer composes the image, how they design each shot, is one of the most important elements in cinematic storytelling. How those people, objects, and settings are arranged within the border of the image can bring balance or imbalance, reveal or hide information, indicate power or weakness, all without a word of dialog, an edit, or even a character on the screen.

But before a cinematographer can start to think about how to properly compose a shot, they have one more decision to make: the shape of their frame. Okay, every frame (for now) is some variation on a rectangle. But the proportions of that rectangle will dictate how people, objects, and settings are arranged within it. This is known as the aspect ratio, the width of the frame relative to its height. The current standard for motion pictures is 16:9, or 1.78:1, a rectangle that is almost twice as wide as it is tall. But in the early days of cinema, the standard was much closer to a square, 4:3, sometimes called the academy ratio. And sometimes filmmakers opt for a much wider frame, as wide as 2.35:1. That aspect ratio is a particular favorite of Quentin Tarantino. Whatever aspect ratio a filmmaker chooses will affect the choices they make regarding composition. Check out this quick comparison:

Once a filmmaker has chosen their aspect ratio, the most basic starting point for composition, one we all intuitively understand from our own experience snapping photos with our phones, is balance. Images that are well-balanced use the space within the frame to evenly distribute visual interest, creating a proportional, pleasing composition. (Unless that’s not what you’re going for, but we’ll get to that). One way to achieve that balance is the rule of thirds. The idea is to divide the frame into thirds horizontally and vertically and line up areas of visual interest at the intersection of those points. Here’s an example:

By arranging the actors along the intersection of the grid lines, the composition feels well-balanced and proportional. It has the added benefit of helping to tell the story, where the two characters share the screen as equals.

Now take a look at another image from the same film:

In this composition, the subjects are still evenly distributed within the frame, but the relative size difference between the characters indicates an unequal power dynamic. Again, helping to tell the story.

The rule of thirds is all about balance and proportion in the composition, to bring a sense of symmetry to the image. Some filmmakers take this notion of symmetry in composition to the extreme. Check out this supercut of Wes Anderson’s apparent obsession with symmetry in his films:

This consistent use of balanced composition is one of the elements that makes a Wes Anderson film a Wes Anderson film. That pattern in his framing is part of his signature mise-en-scéne.

But just like three-point lighting, the rule of thirds is really just a starting point for understanding how composition can be used to help tell a cinematic story. Framing the shot is really about directing our attention, showing us where to look in the shot or scene, and ultimately, how to feel about it. There are lots of ways to do this.

Take a look at how Nicholas Winding Refn uses another way to divide up the frame, a quadrant approach, to direct our attention in a given shot or sequence:

Or how Japanese master filmmaker Akira Kurosawa combines framing and movement to constantly redefine relationships and motivations using simple geometry:

Sometimes a filmmaker will direct our attention by framing the subject within another frame in the composition. Check out how Wong Kar-Wai uses this technique in the stunning romance In the Mood for Love (2000):

All of these examples demonstrate how filmmakers use framing to direct our attention and help tell the story. As discussed in Chapter Two, these techniques contribute to our shared cinematic language as filmmakers and viewers. Some of the more obvious ways filmmakers employ framing as a form of communication is by using imagery we already intuitively understand from our everyday lives. Take, for example, the apparent proximity of the subject to the camera. As discussed in Chapter Two, a close-up creates a sense of intimacy with the subject, just like it would in real life if we stood within inches of another person (hopefully with their permission, because if not, that’s just creepy). If the subject appears far away, as in an extreme long shot, that communicates a sense of disconnection or emotional distance from the subject. In fact, directors and cinematographers have a convenient shorthand for how close or far away the subject should appear, a code for where to place the camera (or what focal length to use). A close-up and extreme long shot is obvious enough. But there is also the extreme close-up, medium close-up, medium shot, medium long, long, etc. Each term means something specific in terms of composition. A medium-long shot, for example, will typically compose a character from the knees up. A medium shot will be from the waist up. Having a specific term for a specific composition saves time (and money) on the set during production.

Another way filmmakers can communicate through composition using imagery we already intuitively understand is by adjusting the angle of view. If a cinematographer frames the shot below the eyeline of a character – so we are literally looking up to them – that character will feel dominant and powerful. Frame the subject in profile, and the character will feel a bit more mysterious, leaving us wanting to know more about them.

A filmmaker can also “break” the rules of balance and proportion for a desired effect. For example, if a cinematographer intentionally creates an asymmetrical, unbalanced image, it will likewise make the viewer feel uneasy and off balance. Or they can compose the image so the main subject is isolated and small relative to the rest of the frame, creating what is known as negative space. This can help communicate a character’s isolation or powerlessness in a scene.

Want more examples? Check out this video essay on how filmmakers use composition to tell a cinematic story: