Visual Composition – Visual Montage (Pre)

Light, speed, sharp, or dull. Why do I mention this? It’s simple. In The Bare Bones Camera Course for Film and Video, Schorpell kicks things off by covering camera basics—aperture, shutter speed, and ISO. These are the fundamentals that control how much light hits your camera sensor, how sharp movement appears, and how to adjust focus to make backgrounds look softer or sharper. Once you get the hang of these settings, you’re set to start telling visual stories more intentionally.

Okay, so you figure out the basics of camera operation. What then? How do I take my picture to the next level? Well, this one’s a little tricky. However, composition is the key. Schorpell addresses composition by discussing several types. He discusses the rule of thirds, which involves picturing a grid over your viewfinder and placing your subject on one of the intersecting lines to create a balanced and eye-catching composition. And he gets into tricks like using leading lines, use a road or railing that pulls the viewer’s eye toward the subject—little details that add a ton of depth to your shots. He also covers camera movement, explaining how things like a slow pan or tilt can add emotion, while a tracking shot can create energy or tension. And when he talks about montages, he demonstrates how you can piece together short clips or stills to tell a story without relying on dialogue. It’s like crafting a visual narrative with just the basics—no fancy gear required—just a smart use of what you have to make each shot count.

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Think of storyboarding as laying the tracks before the train comes barreling through. Creately’s guide explains how storyboarding sets up each scene, making sure everyone knows what’s coming. Imagine planning a product promotion: your storyboard would map out shots, such as close-ups of the product, wide shots for context, and any text overlays. With a clear visual guide, your team can make creative tweaks before filming, way easier (and cheaper) than during! Whether it’s a new product launch or a quirky explainer, having a storyboard provides everyone with a clear direction and saves a significant amount of time on set.

NYFA’s rundown on camera shots illustrates how different angles can completely change the vibe. Take the classic “close-up”: perfect for that intense, emotional moment—think actor zoomed in, every micro-expression visible. Now compare that with a wide shot, where your subject’s tiny in a big landscape—it screams isolation or vastness. So, if you’re shooting a dramatic testimonial, close-ups get you those heartfelt reactions, while wide shots work wonders for setting up context or mood. Knowing these shot types keeps your visuals engaging and gives your story the punch it deserves.

One Market Media’s checklist covers everything that happens before the cameras roll—this is the stuff that makes or breaks a project. For example, setting a clear goal helps define the tone and target. Are you aiming to educate or entertain? Knowing this upfront shapes the whole video. And don’t skip the budget talk—knowing your limits keeps ideas realistic. Picture filming in a busy downtown; securing permits and scheduling talent right means less chaos on shoot day. All these little details make sure you’re not just “winging it” and that every dollar and minute is working toward a smooth, on-point production.

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The scene immediately following the movie’s opening introduces our hero, Scott (aka Ant-Man). I chose this clip because the scene is an extreme close-up (XCU) of what appears to be a city landscape. We also hear, for those of us old enough to remember, the theme song from Welcome Back, Kotter, and an old 1970s TV comedy starring a young John Travolta. I digress, anyway, the camera pans left to reveal it’s a sign setting the location San Francisco. We hear the sound of a bus, and then it turns to the next shot. This is a wide shot (WS) of Scott walking toward the camera in the bustling neighborhood where we infer Scott lives.

Besides being a cult classic and my favorite movie, I chose this scene because of the many different camera movements and compositions used. The opening scene is a close-up (CU) of a skull in the lower right corner of the screen, with a hill in the background, as the knights enter the scene. The perspective is shot from a lower angle to give the audience the perception that the knights possess a higher power or greater calling. However, the music indicates a sense of danger. At 1:41, when the knight, not mentioned in this film, goes to take care of the rabbit, we get a wide shot (WS) of the area, showing the carnage of bones lying about. Just then, the bunny attacks, killing the knight. The parody of the King Author tale by Monty Python is whimsical and lighthearted.

Saving Private Ryan was viewed by those who survived that fateful day as the most realistic and accurate depiction of what they experienced. I chose it because throughout the movie, we see D-Day and the events that follow through the eyes of the cameraman. Many of the shots are from a first-person point of view. Immediately, we have a close-up (CU) shot looking up of a barricade on the beach, and then it pans down to a close-up of the ocean rushing past the barricade, revealing to the audience the date June 6, 1944. We then go to a medium shot (MS) side view of the landing crafts with the camera shaking on purpose as if the cameraman is with them. The shots then switch between extreme close-ups (XCU) of hands shaking and holding a canteen of water. At 0:41, we see another CU of Tom Hanks’ character, and then the camera pulls back to reveal the rest of the men on the craft with him. As the camera continues to pull back, men are seen vomiting (0:54) due to the rough seas. This is all before they land on the beach. Just before landing, we get an even closer view of the men as they are being shelled by the enemy, showing the wincing and scared looks on some of their faces. Finally as they’re ready to land (1:52) we get a CU of hands turning the opening mechanism to lower the landing craft’s ramp. This is all packed into just the first two minutes of the film’s opening! Powerful!

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Pre-production is essential for any filmmaker to help them stay on track. Establishing your shot list, creating and working from a storyboard, and writing the script are all important to a well-produced piece. Overall, most of the process wasn’t too bad. I create storyboards and write scripts for my current position as a Learning Creation Developer. That was the easier part of the process. However, the composition shot list and shooting on location proved difficult for me. This was my first time taking photographs for a piece. Sure, I’ve snapped photos on vacation or out and about, but having never done this before, I was like the Titanic lost at sea and sinking. Luckily, my daughter, who’s a senior in high school, is taking a Digital Photography class, and she was with me on the photo shoot. While her class is using slightly different terms, they are focused on composition, so this was like having a tutor with me. I had her with me for two reasons. One to keep me sane, but two because she’s a manager at the ranch where I plan to shoot the montage video.

You see, I’ve decided to create a one- to two-minute promo montage that the ranch can post on its website and Instagram pages. Anyway, I was constrained by time. I had to take time off work during the day so I could get these shots. Plus, I was limited on the days I could go. Weekends were out because they are extremely busy, and I’d be in the way if I tried. During our shoot, the horse at the creek shot took the longest because I had to walk over a mile into the park to meet my daughter, who was riding her horse. This ate up one and a half hours of the three hours of daylight we had to complete the photo session. This was stressful. However, I got what shots I could.

The thing I learned from this was about timing and perhaps what additional shots I would like to include in my montage. For instance, I have access to a drone and will get drone footage for part of the video. Just a few shots to provide a different perspective. The other thing I learned was that I will need to shoot the video over two or three days since I don’t have much daylight at the time I go. Because of this, I will need to be particular about what shots I plan to take on what day. Additionally, I plan to bring a second tripod and shoot additional footage (at a different angle) on my iPhone 16 Pro. While I know the composition shots were a challenge for me, I’ll walk away from this experience taking photographs differently and with more intention now. I plan to take a digital photography class so I can continue to hone the skills I lack.

Below are the composition shots. Have a look.

Now that you’ve seen the composition shots, look below at the pre-production planning document. This document builds upon the shots above, adding more depth and substance to the overall video shoot.

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Athuraliya, A. (2022, November 24). Learn what is a storyboard and how to use it to make better videos. Creately. https://creately.com/guides/how-to-make-a-storyboard-for-video/

Nyfa. (2022, November 16). Acting tips: 12 camera shots every actor should know. NYFA. https://www.nyfa.edu/student-resources/12-most-popular-camera-shots-actors-should-know/

says:, A. J., says:, J. F., says:, A. F., says:, J., says:, J., says:, R., says:, A. T., & says:, J. (2019, December 16). Video planning checklist – 12 keys to success. One Market Media Ottawa. https://onemarketmedia.com/2019/12/16/video-planning-checklist-12-keys-to-success/

Schroeppel, T., & DeLaney, C. (2015). The Bare Bones Camera Course for film and video. Allworth Press.