Composition Rules
Khuleshov stated that 70% of the meaning communicated to the audience in media products was communicated by the use of images, what this means is that media products will use images to convey certain meanings and because of this filmmakers will use a terminology that allows them to communicate certain meanings. This terminology is known as the composition rules of which there are over 200 and in this blog I will deal with a few of these rules.
In life we are able to divide what we see into three basic shots: Longs shots which create first impressions, mid shots which allow you to gain more information) and close-ups which supply the detail. It is essential that professional and amateur video producers understand what shots sizes are and what they communicate.
Mid shots and close-ups, like long shots, are the establishing shots. These are the shots that make up the scene.
In television, the first shot the director usually shoots is the establishing shot as it allows them and everyone else involved to know what is going on. The other shots evolve out of the information given by the establishing shot. It would make sense then that the most common shot is the establishing shot. However, there is a whole range of shots, which give different types of information to the audience. They are:
The extreme long shot (ELS) – this shows scale, distance and geography. Extreme long shots are great at creating an overall atmosphere, although people will be extremely small and barely noticeable. This shot works best if there is an action involved; for example, a plane landing at an airport while travelling towards the camera.
The long shot (LS) – this shot introduces people at full length and creates a sense of place, time and atmosphere; what this means is that it will usually show if the individual is inside or outside, whether it is day or night etc.
The medium long shot (MLS) – the medium long shot is good at showing the character and location. If, for example, the character is moving, e.g. walking, this can be a very useful shot to capture the character and location change.
The mid shot (MS) – here the shot is close enough to see facial expressions of the character yet far away enough to capture the characters body gestures.
The close-up (CU) – this shot is able to capture emotions from the characters and any impact created by a stimulus. This shot is also used to ‘sell’ the ‘stars’ face to the audience. However, the audience member can become uncomfortable if this shot lasts longer than ten seconds.
The big close-up (BCU) – this shot is very similar to that of the close-up and is used for the same reasons.
The extreme close-up (ECU) – is an unusual shot, especially as you don’t often get this close to someone in real life. It is used to shock the viewer. ECUs of objects can bring a new perspective to the story.
Camera Position and Angle
Slanted Angle – A slanted angle shot is used to portray imbalance and instability and is often used in Point-of-View shots.
The Bird’s Eye View – This shot is directed from above and it is a very unnatural and outlandish. It can promote a sense of uneasiness in the audience but the shot does give the audience more status as it makes the character seem insignificant.
High Angle – This is not as elevated as a Bird’s Eye View shot as it is merely above the on-screen action to give the audience a general overview yet the angle still gives status to the audience as the on-screen characters are made to look insignificant. The object of the shot is usually swallowed by its surroundings, often used to suggest a wider object.
Eye Level – Here the camera is positioned as if the audience is viewing the scene and action in real life. So, naturally, the actors will be at eye-level with the audience. This gives them equal status to that of the audience.
Low Angle – Low angle shots increase the height of smaller objects, and as of such makes an actor shot with this angle appear dominant and superior, or even arrogant. Low angle shots also manage to give a sense of speeded motion. The background to a low angle shot tends to be that of scenery or plain sky, which adds to the disorientation of the viewer.
Camera Movements
Pan – With a pan you would scan a scene horizontally. 
To do this you would place the camera on a tripod, which operates as a stationary axis point while the camera is being turned, usually to follow a moving object that is kept in the middle of the frame.
Track – Here the camera is placed on a fixed track or even a vehicle and moves alongside the action, which is being filmed, which is generally a moving figure or object. The camera will usually be placed on a track when it is used for complicated dolly shots. A dolly shot is a good way of portraying movement or even moving from a long shot to a close-up as it gradually focuses on a particular object/character from the long shot.
Tilt – With a tilt you would scan a scene vertically. Exactly the same as a pan except when you move the camera on its axis point, you do so vertically.
Handheld – The handheld camera technique gives a jerky, ragged effect, which is entirely different from that of the smooth and organised movement of a dolly shot. A handheld shot give a more intimate and close environment.
Crane – A crane shot involves hooking the camera to the crane and filming the action in whatever way the cameraperson wishes to shoot the shot. You could state that a crane shot is like a dolly shot in the air.
Zoom – A zoom lens contains a mechanism that changes the magnification on the image. What this means is if the photographer wishes to they can get a close up on an object when they are far away. A video zoom can change the position of the audience immediately or slowly.
Aerial – An exciting variation of a crane shot, usually taken from a helicopter. This is often used at the beginning of a film, in order to establish setting and movement. A helicopter is like a particularly flexible sort of crane - it can go anywhere, keep up with anything, move in and out of a scene, and convey real drama and exhilaration — so long as you don't need to get too close to your actors or use location sound with the shots.
Lighting
Redhead – A small light, usually between 100 and 200 watt studio lamp used to light from all angles, 
the beam can be focused and the fixture facilitates a set of barn doors for illuminating certain areas and narrowing down the beam. Gels can be applied to the lamp to change the color of the lighting.
Blonde – A blonde is more or less the same as a Redhead, except it is usually larger and can go up to around 500 watts. Gels can be applied to the lamp to change the color of the lighting, much like a Redhead.
Spot – A spot is focused beam of light on a specific area, it is used to emphasize this area and the reader is meant to draw closer and feel more emotionally attached to the subject.
Rule of Thirds
Naturally the way we read a screen is from left to right at the top of the screen then left to right at the bottom of a screen. This creates four ‘hotspots’ in the frame when we scan a frame. This is why usually when we compose a shot it is good to get your main subject on one of those four hotspots as it would then capture the audiences attention.
Colours
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