Filmmaking or video production, whether animation or live-action, is a process of acting and dialogue or, what we can say, communicating a believable story or concept that takes the lead over style using audio and visual mediums. They can evoke feelings like happiness, sorrow, pity, and fear in their audience.
But the question arises – What are the key elements to consider while doing video editing and to become a compelling storyteller?
There are many mise-en-scene components or elements within the frame of a video that help make it a good one, such as good script, acting, animation, music, dialogues, etc., but what goes unnoticed are the visual aspects, such as the setting of shot, framing, composition, art direction, etc.
Even if your video has the best story to tell, the best cast, and top-class shooting equipment, the audience will not like the video if visual communication is weak.
Let us explore more into this.
What is Mise-en-scene?
The true strength of a shot and its unique qualities come through the “Mise-en-scene.” This is a French term meaning placing on stage that describes the overall look of a film/video and how you place things in a frame.
Mise-en-scene was initially utilized in the theatre. It included types of film stock or components of a set design, plan, lighting, costume choices that characters wear, figure articulation, and development. Movie researchers stretched out the term to movie bearing; they use it to imply the chief’s command over what appears in the film/video outline.
In controlling the mise-en-scene, a movie maker stages the occasion for the video camera to shoot a film or video. In film/video examination, mise-en-scene is much of time utilized yet differently deciphered terms.
Mise-en-scene analysis, a settled way to deal with film/video investigation, centres around what can be found ‘in the image.’ By and large, mise-en-scene study examines these components: colour, lighting, framing & composition & editing.
Analysis of the Mise-en-scene Components
Colour is a huge factor in the settings, props, and outfits of a film/video. The sort of lighting influences the colour found in a film/video. At the point when cinematographers choose colours for their films/videos, it’s about more than style and looks.
Picking the correct palette for your film/video can greatly assist in recounting your story. Also, making use of hues can make a significant impact. Take a look at what hues can do:
The right lighting can decide the state of mind of the scene and thus can shoot the best quality video. This strategy goes past the standard three-direct lighting arrangement toward the story’s drama, depth, and environment, maintaining the overall effect of the film/video.
Once you understand the importance and application of various shots like single, medium, long, frenetic, etc., you must consider the great compositions while shooting.
The composition of a shot is determined by how the elements within the frame are arranged, such as their size, shape, order, dominance, hierarchy, pattern, and resonance. A well-composed shot can offer meaning beyond the simple representation of the objects captured.
4. The rule of thirds
The rule of thirds starts by dividing the frame into thirds. The rule of thirds proposes that a useful approximate starting point for any compositional grouping is to place major points of interest in the scene on any of the four intersections of the interior lines.
The rule of thirds is a simple but effective rough guideline for any frame composition. It helps create a sense of balance and harmony of objects within the image, making it visually pleasing to the viewer. Using the rule of thirds, filmmakers and photographers can create more dynamic and engaging compositions that are more likely to hold the viewer’s attention.
The rule of thirds has been used by artists for centuries, including painters, sculptors, photographers, and filmmakers. It is a flexible and adaptable principle that can be used in many different contexts and genres that can be adapted to suit the specific needs of the composition.
Certain standards apply to shooting individuals, especially in a medium shot or close-up. One of these standards is headroom, which refers to the space above the subject’s head within the frame.
Too much headroom can be problematic, making the figure appear lost in the frame. This can create a disconnection between the subject and the viewer, making engaging with the image’s final look difficult.
On the other hand, too little headroom can make the subject feel cramped or claustrophobic within the frame, which can be equally distracting to the viewer.
The ideal amount of headroom depends on the specific shot and the intended composition, but as a general rule, it’s best to leave just enough space above the subject’s head to create a sense of balance and proportion in the shot.
Headroom is likewise squandered compositionally as it is frequently simply a sky or void divider. It adds no data to the shot and may draw the eye away from the focal subject.
6. Nose Room
The look may have a specific visual weight if a character is gone aside. Subsequently, we once in a while position the head in the center of the edge, aside from when the on-screen character looks pretty much straight toward or away from the camera.
By and large, the more the head is gone, the more nose room is permitted. Consider it this way: the look has visual weight, which must be adjusted.
Check out this video on how directors like Kubrick master visual storytelling elements to understand more about Mise-en-scene.
Ready to edit videos like a pro?
Here we mentioned everything you need to know. I hope you got an idea of the Mise-en-scene and its components that can help you enhance your video quality while editing and post-production. If you are wondering how to take your video production to the next level, taking care of the above can make a significant difference.
There are many things you can do for your video marketing strategy. Making heavy films can be quite a task, but getting animators to do the work for you has a lot of advantages.
Editor: Vaishnavi Jain