Framing and Composition - Camden Shots

Whilst filming in Camden, we spent a lot of time framing each shot, ensuring that each had interesting visual elements that conform with framing and composition rules, such as the rule of thirds and diagonal lines.

We used the rule of thirds when composing this shot. The main focus is the clock so we made sure that it was at one of the intersecting points of the grid. I like the black space on the right-hand side that contrasts the bright orange and blue lights on the left, the clock in the centre of these two sections, I feel that this places more importance on the clock as the focal point. I also like the repetitive aspect of the vertical lights that draw the viewer's eye across the frame, again, leading to the focal point.



Perspective was the most important element of this shot. The high angle combined with the lines created by the edges of the walls lead the viewer's eye to the centre of the frame, where the focal point of the artist is.





We used the eyeline rule for this shot, my eyes are exactly 1/3 of the way down the shot. We also centralised the focal point to emphasise its importance.





We used leading space on the left-hand side of the subject (our artist) to add fluidity, the diagonal line created by the bottom of the wooden door also helps to add movement as the eye is drawn across the frame, from left to right, towards the focal point. We also used the idea of surrounding the subject as a way of drawing attention to it, the painted 'Jack Daniel's' image acts as a frame whilst also helping to balance the empty space around the subject.


I like the repeated diagonal lines within this shot, created by the lights on the tunnel ceiling. This adds movement and draws the eye across the frame, this element of movement is also supported by the ripples in the water and the off centre positioning of the focal point (the artist).





Again, we used the eyeline rule for this shot, ensuring that my eyes were 1/3 of the way down the frame.








We used the rule of thirds to make this shot more interesting. The tunnel ceiling lying 1/3 of the way down the frame and the railing starting 1/3 from the bottom of the frame. We also ensured that the boat was roughly where the grid lines intersect. Diagonal lines were also used to add movement.




We contradicted the eyeline rule in this shot as we wanted the character to appear more vulnerable and lost, fitting with her mindset and the music video's theme of escaping.







We played on the perspective of this shot in order to create movement across the image. The diagonal lines help to emphasise the movement within this shot (the shot actually pans across the bridge).