o the process of capturing moving images on film (or digitally) o everything that has to do with...
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Cinematography
o the process of capturing moving images on film (or digitally) o everything that has to do with cameras and lenses, with film/film stock (and its digital
o the process of capturing moving images on film (or digitally)
o everything that has to do with cameras and lenses, with film/film
stock (and its digital equivalents), exposure and processing of
film/digital images o Cinematographer = Director of Photography
(DP)
Slide 3
o Mise en Scene refers to what is filmed o Cinematography
refers to how it is filmed o Some elements like lighting, can be
both
Slide 4
o Framing and Composition o shot types o camera angles o depth
o camera movement o aspect ratio o lighting* o Camera and exposure
choices, film stock and lenses*
Slide 5
o extreme long (ELS) o long (LS) o medium (MS) o close-up (CU)
o extreme close-up (ECU)
Slide 6
Extreme Long Shot aka: used when/for:
Slide 7
Long Shot used when/for:
Slide 8
Medium Long Shot and Medium Shot used when/for:
Slide 9
Close-Up used when/for:
Slide 10
Extreme Close-Up used when/for:
Slide 11
Over the shoulder shot used when/for: establish the position of
each person; feeling of looking at person from the other's point of
view; common to cut between these shots during conversation
Slide 12
Point of View Shot (subjective shot) used when/for: as if
seeing through the character
Slide 13
eye-level (straight angle) high angle low angle dutch
angle/tilt
Slide 14
Eye-Level (straight angle) used when/for:
Slide 15
High Angle used when/for:
Slide 16
Low Angle used when/for:
Slide 17
Dutch Tilt used when/for:
Slide 18
o Challenge: how to give the illusion of depth o using the
planes of mise en scene (fore/middle/back) to create an illusion o
deep-focus composition o rule of thirds
Slide 19
Framing can become a directors signature - using the natural
framing occurring in objects M. Night Shyamalan door ways Quentin
Tarantino from below/trunk shotsfrom below/trunk shots - or
direction and perspective Wes Anderson from abovefrom above Stanley
Kubrick one-point perspectiveone-point perspective
Slide 20
Pan Tilt Dolly/tracking shots Crane/boom/jib shots Hand-held
and steadicam shots
Slide 21
o Pan camera rotates horizontally, side to side o Tilt camera
vertically pivots/rotates up and down o In pans & tilts, camera
does not change position, it pivots or rotates o Usually tripod
mounted o example example
Slide 22
o Dolly/tracking shots o Crane/boom/jib shots o Hand-held and
steadicam shots The camera is mobile
Slide 23
o Dolly/tracking shot: camera fixed to wheeled support o dolly
in: o frequently used at moments of characters realization and/or
decision, or as a pov shot of what the character is having a
realization about o dolly out: o used for slow disclosure o Spike
Lee - dolly Spike Lee - dolly o Children of Men Children of
Men
Slide 24
o Boom/jib shots: Camera mounted on counterweighted boom o some
can also telescope in or out can use for combinations of pans &
tilts, horizontal (tracking), vertical or diagonal moves o Crane
shots: Shots look the same as boom shot, but often motorized or
with hydraulics for movement o Crane shots are typically long or
extremely long shots and long takes
Slide 25
o Crane and boom shots o Opening of Touch of Evil Opening of
Touch of Evil o Opening of The Player Opening of The Player
Slide 26
o Hand-held and Steadicam shots o can pan, tilt, or track o
Hand-held o movement is obviously unsteady--which is how we know
its a hand-held shot o Steadicam o a patented device dampens
unsteadiness, producing a relatively smooth movement, even when
walking or running o Steadicam first used in Rocky (1976)
Slide 27
Steadicam HandheldHandheld **
Slide 28
The Zoom camera doesnt move, but frame changes as the lens
focal length is changed zoom in or out/magnification
Slide 29
Left: move the camera (track in) short focal length lens Note:
Relation of back/foreground, changed angles distortion at edges
Right: Camera stationary Change of focal length (i.e., zoom in)
Relation of back/foreground closer (telephoto effect of flattening)
No distortion at edges Zooming is unnatural to the human eye *
Slide 30
o And there are endless combinations o Jaws (3:51) Jaws
Slide 31
Rules of the Game, Jean Renoir, 1939 1.33:1 (4 to 3) actually
1.37:1 Aliens, James Cameron, 1986 1.85:1 Rebel Without A Cause,
Nicholas Ray, 1955 2.35:1 (Cinemascope)