“Stories” by Elias Ruiz Monserrat is licensed under

• FOLLOW THE DIRECTIONS IN THE:
  • Read CINEMATOGRAPHY The Visuals and the Story by Bruce Block (PDF)
    • Author, The Visual Story: Creating the Visual Structure of Film, TV and Digital Media
  • Study each component and look for examples in films
  • Review the Visual Story Template (PDF)
  • Use the  Story Visual Intensity Structure Scene Worksheet (PDF) to plan out the Visual Story component
  • Use the Story Visual Intensity Structure Film Worksheet (PDF) to plan out the complete production
• REVIEW THESE POST EXAMPLES:
  • Coming Soon!
• DELETE ALL OF MR. LE DUC’s INSTRUCTIONS DETAILED ABOVE AFTER COMPLETING THEM

Seven Visual Story Components

• SPACE
• LINE & SHAPE
• TONE
• COLOR
• MOVEMENT
• RHYTHM

Cue	Notes
What does it mean to emphasize the longitudinal plane? How can the setting of a scene create emotion?	Space: Affinity – Limit space, make ambiguous, eliminate perspective, stage objects parallel to the picture plane, remove relative movement, reduce tonal/color separation, use telephoto lenses, and let objects blur Contrast – Deep space, make recognizable, emphasize longitudinal plane, stage objects perpendicular to the picture plane, move the camera, take advantage of tonal separation, and use a wide angle lens
Why does diagonal to horizontal to diagonal build intensity? How can shapes communicate character development?	Line and Shape: Affinity – Horizontal or vertical line, straight line Contrast – Diagonal line, curved line Controlling line and shape – squint, evaluate the lighting, stage movements carefully, create a linear motif storyboard, evaluate the shapes (actor, scenery, set dressing), control the lighting, and simplify
	Tone: Affinity – Coincidental Contrast – Non coincidental Controlling tone – find the subject, don’t confuse color with tone, and hide or reveal objects
Besides cyan and red, how do other colors on the color palette communicate emotion?	Color: Affinity – Desaturated, cyan Contrast – Saturated, red Controlling color – color palette, filters (lens and lighting), time/location, and digital capture photography
How do we control movement in production? How does continuous movement and separated movement differ in story telling?	Movement: Affinity – Horizontal movements Contrast – Diagonal movements Involves the objects in the frame, communicating and creating feeling with movements
What is the difference between rhythm and movement in relation to film? How can rhythm be shown with stationary objects?	Rhythm: Affinity – Slow rhythm and pace Contrast – Fast rhythm and pace Controlling rhythm – watch the lines, don’t confuse rhythm with movement, find rhythm in movement, find the rhythm for a scene, and plan the editing

Summary

Resources

• Mr. Le Duc’s Blog with numerous examples and further details
• Read The Visuals and the Story by Bruce Block (PDF)
• Visual Story Template (PDF)
• Story Visual Intensity Structure SCENE Worksheet (PDF) to plan out the Visual Story component
• Use the Story Visual Intensity Structure FILM Worksheet (PDF) to plan out the complete production
• Advanced Storyboard Template Explained
  • Modified Interactive Storyboard (PDF)
• Blocking Planning Guide (PDF)
• Blocking and Acting Worksheet (PDF)
• 5 Stages of Blocking Worksheet (PDF)
• Light Settings and Set-Up Worksheet (PDF)
• Camera Operation and Control
• Lens Operation and Control
• Audio Deck Operation and Control
• Acting Operation and Control
• Blocking Operation and Control
• Lighting Operation and Control
• Editing Operation and Control