Other way to achieve flat space are to avoid object movement perpendicular to the camera, keep all movement parallel. You can also use Pan's, zooms and tilts, these don't create any depth cues as all the objects move in unison, there is no relative movement, with a zoom for example everything gets larger simultaneously.
Other ways to maintain flat space are to: have a detailed background, overwhelming ariel diffusion, no difference in tone, singular colours, same height in objects, no overlapping and blurred objects. It is also noted that reversing the deep space depths cues will often create a flatter image, for example having darker tones in foreground and lighter tones in background.
Limited Space is in between deep and flat space, it can only use frontal planes and can only use movement parallel to the camera, this eliminates the two strongest deep space visual cues. Yet you can maintain any other element mention before hand to create the illusion of depth. For example using multiple frontal planes with size difference and tonal separation would be limited space, think of it as two or three elaborately placed layers of glass in front of the camera.
Ambiguous Space is the final type mentioned, this replies on creating anxiety and a tense mood, often found throughout horror and thriller films. The tense mood come from being unable to identify the size and relationship of objects in frame, it is often achieved by tonal and textural camouflage (shadows and lights), mirror and reflections and disorienting camera angles, it is noted that for the effect to work the objects must be of unknown size.
Controlling space during production
Deep Space
1) Emphasise longitude planes
2) Use size change, arrange objects perpendicular to the camera, small in BG, large in FG. keep movement perpendicular
3) Move the camera, link movement to dramatic purpose
4) Tonal separation, light to dark, warm to cold
5) Use wide angled lens
Flat Space
1) Eliminate longitude planes
2) Stage objects parallel to picture plane, all movement parallel
3) Don't use dolly or crane movement, pans and zooms fine
4) No tonal separation, all one colour
5) Use telephoto lens
6) Use blurring
Part Two: The Frame
The second section of the chapter discusses space in relation to the size of the real world picture frame not just what we see in the screen world. Aspect ratio is explained, it is when you compare the portions of height of a frame to the portion of width, height is always 1, while width is how many times greater than the height it is. For example if a screens width is 200x and the screens height is 100x, the aspect ration would be 2.0:1, as the width is two times the size of the height.
It goes on to say that, anything which divides the frame into two or more areas is classed as a surface division, it can be shown by a visual split screen or an actual object in shot. For example it could be a door way, or a tonal change in a wall, a lighting change. Horizons can create a division in the middle, a doorway could create a rectangle division, a division of thirds could be a set of windows, surface division can emphasise similarity and difference between objects, the audience will compare and contrast each area of the frame.
To summarise we learn that everything in the space chapter including surface divisions, deep space, flat space, limited space and ambiguous space can be related back to contrast and affinity. contrast and affinity of space can occur in shot, from shot to shot or from sequence to sequence. For example you could shoot a flat space to deep space shot to show contrast, or divide flat and deep space using surface divisions to show a contrast. Keep everything the same for several shots and you have affinity of space, mix contrast and affinity for best results. Deep space is however more inheritenly intense so keep that in mind, finally experiment to find out what works best for you
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