Dynamic Symmetry: An Introduction for Filmmakers

The Stareway Team has been deep diving into the mathematic theory of Dynamic Symmetry: where the phrase comes from, how it applies to composition, and how we as filmmakers can intuitively use Dynamic Symmetry when composing our own shots!

It’s not uncommon to hear that math plays a role in the creation of art. Whether we’re talking about composing music, paintings, sculptures, or even crafting narratives in a story. But what kind of math is it? And how exactly does it come into play? You might have seen grids superimposed over Kubrick’s shots, DaVinci’s paintings, Degas, Van Gogh. These grids match the images perfectly. But, where did they come from? Did these artists just have incredible intuition, or did they plan it out.

Jay Hambidge, the canadian-born artist who formulated the theory of dynamic symmetry.

In his book The Elements of Dynamic Symmetry, Jay Hambidge tells us, “The basic principles underlying the greatest art in the world may be found in the proportions of the human figure and in the growing plant. […] The principles of design to be found in the architecture of man and of plants have been given the name ‘Dynamic Symmetry’.”

The whole point of this is to induce the satisfying sensation of symmetry in an audience, even when the elements portrayed in the image do not mirror each other.

We tend to think of symmetry practically as a mirrored image, but there is a broader definition of symmetry that involves a pleasing relationship between the composing elements of something to the complete thing itself.

“The symmetrical composition of a picture is a problem of two dimensional pattern. Lines, angles, and curves are regarded merely as defining areas which compose the units of a map-like arrangement within the boundaries of the picture frame or the canvas stretcher.” Different dimensions of a frame set different stages for the images inside, each with a unique attitude. Beyond that, the way the interior of the frame is divided affects the message the image is conveying. In order to decide what dimensions and grids we should use for our frames, we need to understand the math behind the shapes. For painting that means learning the ins and outs of your options for canvas size. For photography, your options for aspect ratios. Both of which, of course, can be customized to your design.

Immanuel Kant

The philosopher Immanuel Kant asked the question

“What can we know?” “a priori?”

More specifically,

“What can we know before we experience it?”

Before we can speak, before we know anything else, what can we know? He concluded there were two things: Space and Time. Essentially, very basic mathematical concepts.These things are irreducible and insuppressible from the mind.

Picture a space. Now picture no space. Can you do it?

No. It’s impossible! There’s always going to be some kind of space in your mind. You can make it bigger or smaller…. Kind of. What’s outside the space? I’m willing to bet it’s more space.

The same thing applies to time. That’s what makes it so hard to understand theories like the infinity and expansion of the universe. The irreducibility of space and time are at the very core of the human mind.

Kant went a bit further. He thought: If we’re aware of space at our cores, might we also be innately attuned to the relationships between different dimensions of space? This would mean that Aesthetics is also something we know at our very cores. It would explain why we’re attracted to certain proportions, ratios, symmetries. We’re attracted to these relationships that make mathematical sense and math is core to our understanding of the world. Because of this: Beauty is something that we can spontaneously identify.

Dynamic Symmetry can do more than just make a picture look better. It’s also a valuable tool filmmakers can use to further express components of a narrative. Because different shapes evoke different sensations, different grids can be used to suggest something about a specific character, to foreshadow something sinister, to create a link between different elements or images, and so much more. Conscious application of Dynamic Symmetry can be the difference between a good photograph and a great photograph.

The only limit is how far you’re willing to take it. The more work you put in, the less you’ll be relying on your limited intuition. Every cinematographer uses dynamic symmetry differently. You can define your own style based on the rules you decide to follow and where you trust your own intuition.

Before we go into the complexities of using dynamic symmetry, let’s have a look at some iconic images from some renowned cinematographers.

Here are some examples from different movies that seem like they used Dynamic Symmetry to compose some of their shots:

- Can you come up with these grids intuitively?

- What do you think comes first? The grid or the image?

- Should the image be made to match the grid, or should the grid be made to match the image?

- Can grids be drawn for an image composed by someone who didn’t consciously make use of the rules of dynamic symmetry?

If you want to play around with these grids on your own, you have a couple different options!

1. Transparent Paper: Simple to create and fairly inexpensive, you can cut out sections of transparent paper that match the dimensions of your monitor, and draw a grid onto it’s surface.

2. Image Overlay: Upload a digital image file of the particular grid of your choosing from your SD card. From there, using the Image Overlay function in your monitor’s settings, you can place the grid onto your monitor digitally

We've created a few bundles of grids that can be overlaid on the Canon 5D Mark III, several different phone screens, and the smallHD 702 external monitor. You can download the grids here: https://starewayfilms.com/downloads

Also! Be sure to check out our video essay on Dynamic Symmetry: https://bit.ly/2Tkuptk

WRITTEN BY: Oscar Garcia Chavez & Jordan Spayd