PT Cinematography in the Prequel Trilogy

“You tell a story using tools.”
- George Lucas

“Precision is one of the basic elements of poetry.”
- Paddy Chayefsky

Composition is a thing that is seen by the spectator every second, during two hours. Beautiful composition = beautiful movie. Bad composition = messy movie.

It is an interesting fact that George Lucas's composition can be a high standard of composition in cinematography. Of course, it is impossible without David Tattersall, cinematographer of the Prequel Trilogy. But, as he himself said, "he had to unlearn a lot of things he'd been doing, so it is Lucas's demands.

https://theasc.com/magazine/jan07/archival/page1.html

The composition has its rules, but even if you know them all, it doesn't make you a good cinematographer or photographer - you need a talent to apply them. You should know what you want, what you need to show or highlight, which rule is the best for this or that scene and why.

Let's go.

INTRODUCTION

Aspect ratio

The prequel trilogy has 2.40 : 1 aspect ratio, which is used for epic movies. For example, “Ben Hur” (1959) has 2.66 : 1 (8mm) or even 2.76 : 1 (70 mm prints). This aspect ratio represents the way how we look at the world.
And here I should say about Lucas's documentary style, which is a good choice for 2.40 : 1 - because it can help to observe wide plans.

Rule of thirds vs. Phi Grid

In the Rule of Thirds each line divides the shot 2:1 (9 equal parts).
Phi Grid is a ratio of proportions 1:1.618 (golden ratio). Examples:




https://designshack.net/articles/layouts/looking-at-images-phi-grid-vs-rule-of-thirds/

Either rule of thirds or phi grid (golden ratio) has its advantages and disadvantages; nothing is a panacea. The mastery of the director or the cinematographer is in that they know what they want to show and which way is better. In different cases advantages can be enhanced and even disadvantages can help to improve cinematography. But what was chosen by George Lucas? And why?
This is very interesting. As we can see, Phi Grid highlights the central part (it is more concentrated than in the Rule of Thirds). But look at this picture.



It is obvious that if we have aspect ratio 1.6 : 1, the central part is too small. It is not good to locate objects in the intersections, because we don't have enough space.
But for 2.40 : 1, phi grid is pretty... perfect. The central part has enough space, it is highlighted by the wide “wings”.
And here is my first example from the movies.



Perfect choice, George.

Golden spirals

Golden spirals, of course, can't guarantee the high “quality” of the composition. They are perfect to locate 2-3 objects, and these objects should fit all elements/rules in composition: phi grid, perspective, colors and others. If it is the main spiral, it is often used to locate the main object or the only object of the composition. Golden spirals can enhance the composition mainly by its proportions. Of course, like every other rule in composition and in filmmaking at all, it is not a panacea. And it should be used with talent - only where it can help.

Do you remember Chayefsky's quote? He said it about dialogues, but it works for every aspect of filmmaking. Objects can be located in the frame with geometrical precision, and if it doesn't disturb other rules of composition, it will look good.



The golden spiral can be stretched or squeezed, like in this tutorial (6.40)


“Less is more”

This is an example how to remove unimportant objects from the shot.




Lucas's example (aside from Anakin's face, everything is a blur).




A perfect example of the composition. Only the lake and the light, obscured by clouds. The whole composition is used as something like “nirvana” after Anakin's nightmare.

Angle

The camera plan. Can be one of the 1000000 variations, but the most common are: “Eye-Level shot”, “Low-Angle shot”, “High-Angle shot” and “Worm's-Eye shot”. The most important thing is that the director should know what effect he is going to create by the angle.
Here is Tattersall's “Worm's-Eye" shot from The Green Mile.



Lucas's angle. A good way to make the spectator feel like in the space car. Also, look at the line of the lights, which enhances the depth of the shot.



Perspective

There are two types of perspective: the linear perspective and the aerial perspective. Both types help to create the illusion of depth and distance.








A very “monumental” composition by Robert Surtees from “Ben-Hur”:


The Rule of the Gaze

One of my favourite examples of the rule of the gaze, which shows all its strength. Though Anakin is highlighted by the dark colour, we all look at Padme.



Symmetry

The rule, which was widely used by Kubrick, but also isn't a panacea.



Colours

Again, the meadow scene. A perfect combination of the colours of the nature. Golden (sunlight), sky blue, green and brown. By the way, a good example of the aerial perspective.



Natural framing

Not so popular and showy as others, but useful, too.

Empty spaces

Can be combined with “Less is more” very well.



So, we know basic rules and now can research more complex compositions.
Even the best photographer has problems controlling so many factors. Anyway, combinations of rules are the most interesting part in compositions.

https://compofoto.lluisribes.net/en/less-is-more/

 

PART I. ATTACK OF THE CLONES

Possibly, the main part of cinematography in the Attack of the Clones is colours. Combinations of colours highlight the atmosphere of the futuristic Blade Runner on Coruscant, retro atmosphere on Naboo, another type of the futuristic waterworld Kamino (by the way, I wonder: if George Lucas read Solaris?), the desert on Tatooine and the red desert on Geonosis.

The first what I would want to mark is that the establishing shot has the similar colors as Coruscant at night (blue tones, grey tones, purple tones). And, by the way, this first shot is divided in 1.618 : 1 - the golden ratio.



A simple composition, but it looks good: the empty space (the left wing), the central part, the ship is located in the eye of the spiral, the right wing creates a depth of the picture.

The geometrical composition.


The left part matches “phi grid”, the yellow space car is located in the intersections, lines of lights run through the same intersections. The whole composition doesn't look like a mess and looks beautiful.

The symmetry and the golden ratio.


“Photography Hero” gives an example of the composition with the golden ratio and the bridge. This technique can be recognized in this composition.



Again, colors in Lucas's shot are lined up very well: R2D2 and Anakin's clothes merge with pillars, Padme's clothes merges with the wall.

The Jedi Temple. The geometrical composition.


The great depth, the aerial perspective, which is located in the intersection, the combination of the brown and golden (sunlight) colors. Also, the effect of the “fourth dimension” (the down floor).

“The Knight and his Lady”


Another perfect combination of colors and glares of the sun on the water. Guards in the dark clothes stand in the shadow, Padme is in the sunlight. In the left part in this composition there is a golden spiral, but it isn't so important. Also, the aerial perspective isn't forgotten.

Another composition, which reminds one of the previous compositions with Anakin, Padme, R2D2 and white pillars.


Meadow scene. The real depth, which can be created by the aerial perspective. Again, the perfect combination of colors and leading lines to the most deep point of the shot.


Anakin and Padme on a picnic. Aside from the rule of the gaze, this shot contains another secret - proportions.


Tatooine desert. “Wasteland's caress”


The golden ratio; the subtle perspective, which is created by the water vaporators. Aside from the line of the horizon, almost doesn't contain any other techniques of composition to create a very “light” atmosphere.

https://neiloseman.com/composing-a-wide-shot/

Neil Oseman in his article “Composing a Wide Shot” writes how leading lines help to highlight the object and gives an example from ("The Road to Perdition"). Conrad L. Hall has won his 3th AA for Best Cinematography posthumously.


The Shroud of the Dark Side.


A witty composition. Horizontally Lucas used Rule of Thirds, because it isn't need to highlight the central part, but vertically he used Golden Ratio. The shot looks “squeezed”, which helps to highlight “the shroud of the dark side”. And, of course, leading lines.

A sparkling conclusion.


“Less means more” - C3PO and R2D2 merge with the tree and with the railings and all attention is drawn to Anakin and Padme. The golden ratio; the small golden ratio to have enough space to watch the Lake Como. Natural framing. Colors of nature - brown, green, golden. Red roses don't fall out of the shot, but enhance it by their red color. Padme's wedding dress isn't striking and also doesn't fall out of the shot. The real sunlight; the play of light and shadow. The great combination of techniques. One of the most beautiful compositions in movie history.

 

PART II. PRECISION AND HIDDEN ARTISTRY

Compositions of “The Phantom Menace” strike by their precision.

Aside from the golden spiral, notice that droids merge with the wall and all bright objects (the queen and handmaidens) are located in the central part.



Again, the golden spiral, the precision of the red line and blue line. You can't do that by accident. All pods are located between these lines.


One of the best examples of leading lines. All lines converge at one point, which is located in the intersection of the horizon line and the golden ratio.


Again, the precision of the red line and of the blue line.




Cinematography of the “Revenge of the Sith” is fantastic. As before, it works for the storytelling. The first thing, which everyone can notice, that it has the most wide palette of colours, which highlights many different planets in the galaxy and the war. But, in it, there are three main schemes of colours: “the white day”, “the setting sun” and “the night with the sky blue”.

In the battle, Lucas used absolutely incredible camera angles.


Incredible miniatures, which can show enormous spaces of Utapau, very subtle camera moves is “Padme's Ruminations” - you know all this.

But... look at this hidden artistry.
"The Abyss"


Incredible. The precision, wide “wings”, the central part, the night aerial perspective and the abyss as a creepy leading line.

“The whole galaxy is in my hands”


The beauty of Coruscant. Again, the example of the precision.


Leading lines don't converge in one point to increase the width of the shot.

Neil Oseman in his another article “Is the Rule of Thirds right for the 2.39 : 1?” mentions this shot by Andrew Lesnie from The Lord of the Rings:


But look how Lucas can compose his shot.


The lighting, the eye line, the lips line, shadows, Anakin's face is a blur (to draw attention to Padme) - do you realize why it is so beautiful? Notice that Padme's hairstyle turns the whole left wing into the shadow.
A perfect way to highlight Natalie's acting. And, the last, possibly, my favourite composition ever.

“The Loss”


Did you notice that your eye is literally driven to the burning temple?
Again, everything is perfect: subtle leading lines, which more like in “Slumdog Millionaire” than in “The Road to Perdify”. The aerial perspective, the golden ratios, the good combination of colours.

Yes, these guys loved cinematography.

 

Ok, but like, how many of those "shots" were filmed in a real desert? HM?!

#GeorgeLucasFakedTheMoonLandingInACGIDesert

 

35:10

 

You win this round, George!

 

Great stuff! IMO It's the ability to communicate meaning, subtext, and emotion through the framing that separates the merely proficient filmmakers from the true artists. Some things I noticed about this shot in particular:


Padme and her handmaids are intentionally placed lower in the frame then the Neimoidians and the droids. Generally, in film, height is indicative of power, so this framing makes sense given Padme's position at this point in the story. This is reinforced by the fact that she is "trapped" in between Nute Gunray and the droids. It is also interesting to note that the characters are descending the stairs in this shot. Lucas could just have easily have had them move up the stairs or simply walking in a hallway but this downward movement is more indicative of the hero's plight at this point in the film. Finally the droids are present all over this shot and, as you pointed out, merge into the wall behind them. This is symbolic of the trade federations dominance of Naboo.

 

Hey there! I stumbled upon this old thread and couldn't resist adding my two cents. Cinematography is such an essential aspect of storytelling, and it's fascinating to explore how different techniques and rules can impact the overall composition. George Lucas definitely had a unique vision for the Prequel Trilogy, and his collaboration with David Tattersall brought it to life. It's interesting to hear that Tattersall had to unlearn certain things to meet Lucas's demands. Collaboration is key! As for golden spirals, they can certainly enhance the composition when used with talent and precision. It's all about finding that balance between rules and creativity! By the way, have any of you checked out the cinematography course at the Prague Film Institute? I heard it's pretty amazing. Here's the link if you're interested https://www.praguefilminstitute.cz/1-year-cinematography-course/. Anyway, sorry for reviving the thread. Just thought I'd share my thoughts as a newbie on this forum.

 

Why the apology?
In fact I'm glad you revived this thread. Even though I was already active in this forum when this was posted, I somehow missed it. Rare to read something this professional and educated on an internet forum. Unfortunately most of the images won't load anymore. Or are images generally removed after some time?

 

Hm. I can view all of the images, as far as I can tell. Interesting!

 

You are right, now I can see them as well, couldn't yesterday. I guess it's just my connection being unreliable.

 

George was and is a master of the form, but he never thought of this: