Chapter 4 Storytelling with Light 149to shoot with less light and smaller crews. A number of fi lms and television
shows of the early twenty-fi rst century have capitalized on this accessibility
and have been made quickly and with smaller budgets than would have been
previously possible. Th is includes many comedies such as Th e Offi ce and even
complicated dramatic productions such as Battlestar Galactica (executive
produced by Ron Moore and David Eick).Screen Dimensions
Now we will examine the last key consideration of the motion picture
viewing experience: the screen itself. Earlier, we discussed the importance
of focal length in lenses to determine the relative width of the image being
photographed in relation to its distance from the camera. When considering
the size of the fi eld viewed by the lens and camera, it is essential to consider
the size of the frame on which the image is being recorded.
Motion pictures are recorded onto frames that have two dimensions:
width and height. Th e fi rst motion picture images fi lmed by Edison and
Lumière show the same relationship of width to height that is seen on
traditional televisions and personal computers: 1.33 to 1. In other words, the
rectangle that constitutes the frame of motion pictures is one-third wider
than it is tall, which is expressed as a 4:3 aspect ratio for television. Th ere
are both practical and aesthetic reasons for the establishment of this screen
ratio, among them the fact that human eyesight is experienced naturally with
more width (perpendicular vision) than height. Aft er all, our eyes are side
by side, so we can take in and enjoy more comfortably a moving image on a
screen that is wider than it is tall.- Do you know of any examples when aspect ratio
was used to excellent effect in a motion picture?
Consider screen dimensions of height and width
to find two examples and compare and contrast
them. - Think of a movie you have seen within the last
month. Try to remember the shots that made up
the first sequence of the film. How were colors
used in the shots of this sequence? Were there
strong primary colors, or hues muted towards
black, white and gray, or soft color tones? Did
the color scheme of the opening continue through
the film? Was there a distinct shift in the movie
in the use of color? Were there any particular
patterns you could see in the use of color in
different sections or sequences of the film? Were
these uses repeated?- Now think of a dramatic climax to a movie that
you have seen recently. What colors stand out for
you when you remember this sequence or section
of the film? Does the use of color in this movie
seem important to you? How does it contribute to
the visual style of the movie? Are any of the uses
of color in this climax employed throughout the
film or echoed in any other sequences or parts of
the movie?
Framing the Discussion
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