Here are the main compositional elements that demonstrate the sublime and cinematic character of Marco Beyermann's short: Uniqueness of texture and background: Several shots emphasise distinct textures and layers in each scene, creating depth and drawing attention to the environment around the subject. Off-centre and asymmetric: Many shots are composed with the subject positioned off-centre. This approach creates visual tension and interest, directing the eye across the frame and making effective use of negative space. Symmetry and centring: In contrast to off-centre compositions, some shots are symmetrical, using centring to create a balanced and formal aesthetic. These shots often add a sense of stability and focus. Eye line and rule of thirds: The positioning of the subjects' eye lines, often aligned with the top third of the frame, and the use of the rule of thirds provide a pleasing and cinematic framing. This technique emphasises the importance of the direction of the gaze and the relational space within the frame. Pictorial reserve and double decentring: Some shots use the negative space around the subject, called ‘pictorial reserve’, which accentuates the presence and isolation of the subject in the frame. Double decentring’ involves framing subjects off-centre in two dimensions, reinforcing dynamism and unpredictability. Hyper-dissymmetry of sky vs earth: In a shot, the sharp contrast between the sky and the ground creates a strong vertical division, accentuating an impression of space and scale, which reinforces the cinematic grandeur. These techniques, used together, establish a visual language that emphasises depth and cinematic narrative through compositional choices that are consistent with classical cinematic principles. The short film as a whole, combined with the choice of golden hour, is truly sublime.
@@marcobeyermann3435 I worked on your movie, which I love. It helped me to compose my future shots with the Canon C400 which I will receive next week. It's not that easy to compose in CinemaScope format. Thanks for sharing.
@@ianmackenna looks pretty clean on my screen but I can see some compression. The image gets a bit noisy when shooting 12800 base iso but it's easy to clean. I still need to try it more in low light scenarios. This was shot at iso 800
Brighton must surely now be confirmed as the camera test capital of the world!
That's so true lol. That Philip Bloom review on the OG A7s started it all!
Here are the main compositional elements that demonstrate the sublime and cinematic character of Marco Beyermann's short:
Uniqueness of texture and background: Several shots emphasise distinct textures and layers in each scene, creating depth and drawing attention to the environment around the subject.
Off-centre and asymmetric: Many shots are composed with the subject positioned off-centre. This approach creates visual tension and interest, directing the eye across the frame and making effective use of negative space.
Symmetry and centring: In contrast to off-centre compositions, some shots are symmetrical, using centring to create a balanced and formal aesthetic. These shots often add a sense of stability and focus.
Eye line and rule of thirds: The positioning of the subjects' eye lines, often aligned with the top third of the frame, and the use of the rule of thirds provide a pleasing and cinematic framing. This technique emphasises the importance of the direction of the gaze and the relational space within the frame.
Pictorial reserve and double decentring: Some shots use the negative space around the subject, called ‘pictorial reserve’, which accentuates the presence and isolation of the subject in the frame. Double decentring’ involves framing subjects off-centre in two dimensions, reinforcing dynamism and unpredictability.
Hyper-dissymmetry of sky vs earth: In a shot, the sharp contrast between the sky and the ground creates a strong vertical division, accentuating an impression of space and scale, which reinforces the cinematic grandeur.
These techniques, used together, establish a visual language that emphasises depth and cinematic narrative through compositional choices that are consistent with classical cinematic principles. The short film as a whole, combined with the choice of golden hour, is truly sublime.
@@MrNeblas thank so much for the analysis 🙏🙏 I'm glad you enjoyed it and picked up on the composition rules
@@marcobeyermann3435 I worked on your movie, which I love. It helped me to compose my future shots with the Canon C400 which I will receive next week. It's not that easy to compose in CinemaScope format. Thanks for sharing.
Love it
Thank you!
a bit noisy?
@@ianmackenna looks pretty clean on my screen but I can see some compression. The image gets a bit noisy when shooting 12800 base iso but it's easy to clean. I still need to try it more in low light scenarios. This was shot at iso 800
What base iso did you use on the darker scenes
That was all shot on 800 BASE ISO