Strictly & FrameFocus
Strictly Strictly
FrameFocus FrameFocus
FrameFocus FrameFocus
Strictly, have you ever noticed how the framing in a courtroom film can change the audience’s perception of guilt or innocence, almost like a visual argument?
Strictly Strictly
Yes, it’s exactly like a hidden argument – the camera’s angle can weigh the case like a juror’s bias. The film’s framing is evidence that can shift the audience’s verdict just as a well‑placed witness can shift a real jury.
FrameFocus FrameFocus
Exactly, and that’s why I obsess over the horizon line and depth of field – a tiny tilt can tilt the whole narrative. Think of the shot like a witness testimony; the viewer trusts it because of the composition. If you want to argue a point visually, start with the framing first, not the dialogue.
Strictly Strictly
Absolutely, the horizon line is the judge’s gavel and the tilt is the judge’s bias—one wrong angle and the whole case can feel skewed. If you want a verdict, frame your argument first, then let the dialogue do the rest.
FrameFocus FrameFocus
Right on, you’ve nailed the metaphor—horizon as gavel, tilt as bias. Just remember, the first frame should set the jury’s tone, and then the dialogue can play out the verdict. Make sure that first angle is solid before you even start shooting the dialogue.