Composition is an essential skill for any creative, but it’s especially important for videographers. It frames the story, and shapes how audiences experience the film. Of course, many of the components are technical, like knowing how aperture and focal length can affect depth of field. But there are many creative choices as well, such as unexpected angles, framing decisions, and visual balance. Every decision behind the camera helps to set the mood and influences the viewer’s understanding of the content. 

Classic guides like Tom Schroeppel’s, The Bare Bones Camera Course for Film and Video, remind us that the principles of composition remain timeless, even as technology evolves. Modern tools may speed up the process, but nothing has yet to replace pre‑production planning or the importance of storyboarding. Stories and strong visuals begin long before the camera rolls. Let’s explore how these enduring standards can be applied to create compelling video montages today.

Reading & Writing

In 1982, when Tom Schroeppel wrote, The Bare Bones Camera Course for Film and Video,  video was still taken on film. It seems like a long time ago, but all of the principles are still relevant when it comes to capturing a strong visual composition. In fact, given the ease at which video can be captured on our mobile devices, they are probably more important than ever. Here’s a breakdown of Schroeppel’s timeless standards.

Chapter 1: Basics
In the first chapter, Schroeppel outlines exactly how the camera works, so that videographers can make the most of their shots. Among the most important considerations is exposure, or how much light is allowed through the lens. The actual hole that allows light through is called aperture, which is measured in f/stops. A lower f/stop creates a shallower depth of field, meaning one area will be in focus, while the foreground and background will blurry, or vice versa. Depth of field can help direct the viewer’s attention to a specific subject or area, giving the videographer more control of the picture. 

The author also explains how color temperature is key to capturing the scene correctly and creating the right mood. Importantly, light can produce either a warmer or cooler color, making white balance and/or lens filter selection a crucial part of filmmaking. Color temperature is measured in Kelvins. A lower Kelvin, like 2000K, produces a reddish light, while a higher Kelvin, like 8000K, makes a more bluish light. As Schroeppel suggests, understanding how to adjust white balance and ISO settings on a camera goes a long way when attempting to create an appropriate look and feel for any video.

Chapter 2: Composition
In Chapter 2, we learn that composition is about making specific choices to guide what viewers see. They should see the filmmaker’s vision without distractions, so a tripod is necessary. Schroeppel then outlines a series of rules for achieving proper composition. Probably the most important is the Rule of Thirds, which suggests placing the most important elements along the horizontal and vertical axis on an imaginary grid of thirds. Leading looks, balance, angles, and framing also help to create engaging shots, and Schroeppel provides plenty of simple drawings to show how various compositions can be improved. Leave space around subjects to avoid clutter and direct attention. The biggest takeaway? Continuously search for better compositions. It's the only way to avoid the ordinary and expected.

Chapter 5: Camera Moves
As the title suggests, Chapter 5 is all about camera movement, and author outlines the three basic camera options: zooms, pans, and tilts. Schroeppel suggests all camera movements should guide the viewer’s understanding of what they’re seeing. Unnecessary motion should be avoided. I also learned that most movements should begin and end will with a well-composed static shot. Following this advice usually makes editing a lot easier. Schroeppel speaks from experience — start a pan or tilt before any zoom, in or out. “I don’t know why it works better this way,” he says, “but it does.”

Chapter 6: Montages
Chapter 6 is another short chapter, but it describes what a montage is perfectly. Schroeppel defines a montage as, “a series of related shots used to condense time, set a mood, or summarize information. I couldn’t have said it better myself. He goes on to recommend that each shot in a montage be different from that last. Otherwise, every shot looks like the same thing. Shooting different angles and image sizes works nicely and so does tilting the camera. Enough said.

Video Pre-Production Planning Check-list – 11 Steps to A Successful Project
In his article, by Jimm Fox, the author explains that successful video productions start with careful planning. Pre-production tasks like defining objectives, identifying the audience, setting a budget, and crafting key messages ensure the video is focused and aligned with project goals. Tools like creative briefs, storyboards, and distribution plans provide structure, while logistical details such as scheduling, location scouting, and shoot organization keep the project on track. By addressing creative direction, video length, and approval processes early, teams can avoid delays and unexpected issues.

Learn What is a Storyboard and How to Use it to Make Better Videos
The last article I read, by Amanda Athuraliya, clearly defines what a storyboard is, outlines the steps to creating a successful one, and lists all the valid benefits before shooting any type of video. The four main steps include: 1. Planning Your Video, 2. Visualizing Your Script, 3. Adding Script Notes, and 4. Collaborating and Revising. Planning means that the video’s main objectives and messages are well-defined. Sketching scenes helps the team visualize the video, while the script’s technical notes add context. Finally, revisions are made to gain clarity and improve overall quality. 

There are several different ways to create a storyboard, and Creatley is an online tool that offers helpful template options. The benefits of a well-crafted storyboard include improved clarity, streamlined collaboration, and a reduction of costly production errors. Storyboard makers should avoid pitfalls like unclear visuals, overcomplicated shots, and inconsistent pacing to create a document that helps the entire production visualize the ideas and gain alignment before starting to make anything.

After reading these chapters and articles, I started to search for videos that practiced the composition skills I had just learned about.

Research to Inform

Meet Amy & Jen Hood, the founders of Hoodzpah
When I discovered this video montage of the design company, Hoodzpah, I immediately realized I wanted to create something similar for my business. In, Meet Am & Jen Hood, there are a few segments of extreme closeups that use a shallow depth of field. Check out the record player at :49! Throughout, the video uses a playful visual composition that reflects Hoodzpah’s creative approach to problem solving and elevates the story they’re telling. The founders are often creatively framed within the scene — see how the blurry computer monitor and utensils frame Jen’s face at :52. It’s also a great example of the rule of thirds. Lead room? Peek at 1:26-1:30, where the negative space to the left comfortably guides your eye as they strut down the boardwalk. Quick cuts and dynamic camera angles keep the pacing moving, while the integration of design examples reinforces the agency’s balance of professionalism and fun.

Wylie Dufresne for Nat Geo's Expedition Granted
The visual composition in this National Geographic montage featuring chef Wyle Dufresne takes a much different approach than the Hoodzpah example. Instead of playful framing and quick cuts, the shots are steadier and more centered, reflecting a more authoritative tone. Also, notice how there are so many extreme closeups? That’s no mistake. By looking directly at Dufresne’s eyes, especially from :17–:49, the viewer is forced to carefully consider his words and questions about cooking. That segment happens to be a bit long for my personal taste, but I do like when the video is broken up with closeups of the chef cooking. The ECU of his hands cutting the meat at 1:38 perfectly divides the screen into thirds. I must admit, though, that both the rule of thirds and depth of field is applied less creatively in this video — subjects are often placed centrally and with everything in focus, emphasizing communication over artistic playfulness. Perhaps a few different camera angles or unique perspectives could have been incorporated more often.

Wind Power
Speaking of unique perspectives, though, take a look at this short montage on wind power for Wasatch Electric. After three short establishing shots set to quiet ambient wind, the video’s music quickly changes to an adrenaline-pumping riff, and quick action shots follow. The camera angle changes from low to the ground, to eye-level, to far above. This sequence helps to show the dynamic work that the company is doing with wind power and creates excitement around something that can be visually boring. For the most part, everything is kept in focus, except for the extreme closeups of the equipment. The idea with this approach is to get a sense of the expansive landscape. Constantly shifting angles, panning, zooming-in and zooming-out, and cutting between wide shots and closeups makes for a somewhat chaotic video. I’m sure this is probably the level of excitement that the client was looking for.

Create

Scavenger Hunt
Looking for objects to shoot for a specific composition can be challenging, especially for a designer that prefers landscape photography. It really forced me to consider the rule of thirds, depth of field, balance, and perspective, among other things. But the biggest challenge? Capturing a still photograph of a moving car while panning. To get that shot, your camera needs to be set at a slow shutter speed, the aperture needs to be wide open, and you need to be panning at the same time. I easily took over 70 shots just to get two that were successful. 

Otherwise, you’ll notice that the location for my scavenger shots varies. That’s because I kept bouncing back and forth between ideas for the video montage. Originally, I was thinking about highlighting a local cemetery. There, I was able to capture several composition examples, including proper balance, and noseroom. Then, I briefly considered focusing on Fairfield Hills, a historic hospital in Newtown that closed in 1995. I brought my kids and easily found plenty of examples of leading lines that would direct the viewer’s attention to the subject. Finally, I settled on the location of my office, where I staged the remaining compositions, including shallow depth of field and a few unique perspectives.

Understanding what makes a strong composition will be crucial in developing a video montage. By practicing the various arrangements and options, I will be well prepared when it comes time to take footage. Combined with a solid storyline and audio, I look forward to creating a compelling video montage next week. Hopefully, I’ll be able to use it to promote my own business in the future! Take a look at all of the shots here:

Pre-Production, Script Writing, and Storyboard
As always, pre-production began with the creative brief. After absorbing all of the research and inspiration, I regrouped and identified the story I wanted to tell — the connection between Sandy Hook’s history and the founding of Map Agency. The factory building is the perfect location to frame the narrative and make a visual connection for the montage.  

I wrote the script with the dialogue in mind. Writing the narration itself required balancing casual storytelling with interesting tidbits about graphic design and the creative process. I brainstormed visuals based on the dialogue, using a mix of wide shots, close‑ups, and extreme close‑ups to establish rhythm and variety. Next, I layered in audio cues such as ambient noise, music transitions, and sound effects to match the mood and energy of the narration. The pacing needs to build naturally toward the conclusion, which is all about Sandy Hook being the perfect setting for a design studio.  Read the brief, script, and storyboard here:

During each phase described above, I took notes with visual ideas for a video montage. Once the script was developed, the storyboard came together rather quickly. I sketched rough frames to represent how the scene could be framed, focusing on composition techniques like the rule of thirds. Ideally each visual supports the narrative. Alongside each frame, I added notes to clarify the specific type of composition, depth of field, and any necessary movement that needed to be captured. While it’s not perfect, the storyboard will be used as a roadmap to plan for both shooting and editing the final video content.