Schroeppel, Tom. The Bare Bones Camera Course for Film and Video. Miami: T. Schroeppel, 1981.
In The Bare Bones Camera Course for Film and Video, Tom Schroeppel addresses some very valuable aspects of the filmmaking . Those which called my attention include the composition strategies and some tips on lighting and axis of action.
Regarding the composition, I think it is extremely valuable how he emphasizes the “action space.” Every subject or object is developing an action in the frame, even if the person is just staring at the blank or if the object is there only for observance. For this reason, Schroeppel argues that we should always give some space in front of the subject/object according to his/its action. For instance, if a man is looking at the off-frame left, he should be positioned in the frame right, and there should be space in his left. The right positioning gives more balance to the image.
Another important composition issue addressed in Bare Bones is the difference between flat and angled images. The author claims that filmmakers need be aware of the intentions behind the angle of a frame. When filming an object from the front, it will look flat and two-dimentsional. But from an angled perspective, the image will gain volume.
Great composition can also be found through “frames within the frame”. Sometimes a shot looks more beautiful when there is an object or natural landscape framing the subject. For instance, it might be more interesting to see a person eating dinner from the outside of the house, through a window. The window works as a frame within the frame. This kind of composition drives more attention to the subject, making the image more aesthetically beautiful.
In addition to the composition, Schroeppel also comments on the lighting. One valuable information is about the sun position for outdoor shooting. He defends that the sun casts ugly shadows on subjects during noon time. Eye sockets get darker, and weird shadows show up on chins and under cheekbones and noses. This is something to consider when planning the shots. Perhaps this ugly feel can even be used in favor of the film.
Finally, Bare Bones gives helpful advice on how to cross the axis. In addition to the two basic ways of doing it, which are moving the camera continuously in a circular dolly shot while crossing the line or using a neutral shot, Schroeppel mentions the cut on the action and the use of a reference. In the first case, the cut to the other side of the axis is made when the subject is performing an action. In this case, the effect of crossing the axis is reduced because the audience is following the action and might not perceive the change in the axis. In the second case, stairways, tables, roads work as references to the audience, easing the effect of crossing the axis.
In general, The Bare Bones Camera Course for Film and Video bring some tips that can be very valuable if considered altogether. Because the video art depends on a plethora of small details (camera settings, camera moves, composition, lighting, art direction, performance, etc), these specific strategies can be worthwhile to deliver a a good project that is pleasing to watch.