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  • Hi my name is Tony and this is a quick Every Frame a Painting.

  • One of the best compliments you can give a movie is that it just feels alive

  • There’s something in there that has a pulse, that's unpredictable.

  • It’s not just the story or the actors

  • it’s in the frames themselves.

  • Consider this short scene from Nicolas Winding Refn’s "Drive"

  • At first glance, it doesn’t seem all that special.

  • Check this out. Cover up half the frame. Notice that the right side of frame

  • tells an entire story about these characters on its own

  • and the left side tells another complimentary story.

  • So a shot that could have told one thing actually tells two.

  • And instead of being bored, our eyes are constantly switching

  • between the two halves of the screen.

  • This time, the dynamic isn’t left and right,

  • but top and bottom.

  • --Hi --Hi

  • --Oh you two know each other. --Don't

  • Up here, we have a beautiful triangle of faces,

  • and a composition full of vertical and diagonal lines.

  • But check out what’s happening below.

  • Even though were not consciously thinking about it,

  • the bottom half of this frame tells an entire story

  • through the hands of the actors.

  • --Oh you two know each other. --Don't

  • --Oh look at that. --We're neighbors.

  • --Neighbors? Well, we'll try to be neighborly, too.

  • And when we say a film is alive, this is part of what we mean.

  • There are subtleties of storytelling and behavior not just where we look,

  • but where we don’t look. And as you watch Drive you start to see the pattern

  • Almost every shot has a compositional balance

  • between left and right, and also top and bottom.

  • A quadrant.

  • At first, this might seem restrictive. But using this basic tool,

  • watch how the director takes a conventional scene

  • and does unconventional things.

  • As the Driver enters, he’s up in the top-left

  • So naturally we assume the next shot will have the other person in top-right

  • But instead...

  • Once the shots move closer, we get two characters short-sided like this

  • with tons of space behind them. Even though they want to talk...

  • there are other obligations.

  • Once the two men confront each other, notice they occupy the same quadrant,

  • with their eyes in the same spot because theyre fighting for the same position.

  • Meanwhile, Irene is framed top-right or dead-center, the object of

  • their affections. Even though she’s out of focus watch her performance.

  • The scene finally pays off in this image,

  • balanced between top-left and bottom-right, letting us

  • visually compare the two men and see the long shadow one casts towards the other.

  • Even though weve seen this exit door

  • since the first shot of the scene, the visual payoff is actually unexpected.

  • And the director by emphasizing different quadrants, can create shots

  • that are both tightly-composed

  • and weirdly unpredictable.

  • --All these priceless cars.

  • --One would think you'd have better locks.

  • If you enjoyed this, feel free to play around with quadrants.

  • Theyre a very old simple tool.

  • And you shouldn’t copy Refn, just start with the same toolbox

  • and see what you come up with.

  • Remember you don't need steadicams, cranes, drones or the latest 4K whatever

  • You need top, bottom, left, right

  • and the good sense for how to put them all together.

  • Subtitles by the community

Hi my name is Tony and this is a quick Every Frame a Painting.


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B1 中級

ドライブ (2011) - クオドラントシステム (Drive (2011) - The Quadrant System)

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    呂敏如 に公開 2021 年 01 月 14 日