The 5 C’s of Cinematography

Camera SAMComposition

CuttingClose-up

Continuity

The Elements of Cinematography

Camera SAMShots – Angles – Movements

To Begin:Some Basic Terms

Frame:– The perimeter of an image as seen when projected

on a screen.

To Begin:Some Basic Terms

Foreground:– What is occurring or seen in the front of your shot

—closest to the camera.

To Begin:Some Basic Terms

Background:– What is occurring or seen in the rear of your shot—

the area farthest from your camera.

The Elements of Cinematography

Camera Shots-A-M

Establishing Shot

Establishing Shot:– Reveals the setting

where the action will take place.

– The first shot in a scene.

– Often are Extreme Long Shots.

Extreme Long Shot

Extreme Long Shot:– Shows the vastness of

location. – EXTREME.– Often is an

Establishing Shot.

Extreme Long Shot (cont.)

Maybe the best opening Establishing Shot ever:“Star Wars: Episode IV ‘A New Hope’”

Beginning of the of a scene.Shows location/setting

Long ShotFull body shot:

– Head-to-toe in frame– Shows background– Good for action shots

or

Wide shot: – Contains the entire

subject you are shooting

– Shows background– Good for action shots

Medium Shot

Medium Shot:– Also called a Half shot.– From the knees or waist

up– Shows some

background.– Used for dialogue shots;

presenting conversation.

Bust Shot

Bust Shot: – Includes the head

and shoulders of a person

– Little or no background seen

Close-up Close-up:

– Subject fills up the frame– Little or no background seen– Used for interest and

emotional shot

Extreme Close-up:– Enlarge to monstrous

proportions.– EXTREME.– Fills up frame-no background

All Close-ups are used to point out something the director wants the audience to know!

The Elements of Cinematography

Camera S-Angles-M

Normal Angle

• Eye-to-eye level

• Objective angle used for interviews or dialogue settings

High Angle

• Camera is placed above, looking down on subject

• Gives the appearance of weakness or subservience.

Low Angle

• Camera is placed below, looking up at subject

• Gives the appearance of strength and dominance.

Dutch Angle

• Adjusting the frame to a 45–degree slant

• Used to add interest to the shot.

• Creates potential chaos.

Point-of-View (POV)

• Shooting from a character’s point-of- view (POV).

• An angle in which the camera shows what would be visible from a particular subject's position.

Over the Shoulder (OTS)

• Shooting from a character’s point-of- view (POV).

• Using part of a subject’s shoulder to shoot a tight medium shot of another subject.

The Elements of Cinematography

Camera S-A-Movements

Pan

Sweeping the camera horizontally, left or right.

If hand-held:• Feet planted.• Hips rotate.• Slow and smooth.

Tilt

Angling the camera vertically, up or down.

If hand-held:• Feet planted.• Movement slow

and smooth.• Details character’s

stature or costume.

Zoom In/Out

Camera Lens moves in and out.

Creates subject size changes and focal points.

• “T” Telephoto: zooms in – making subject larger with background being eliminated.

• “W” Wide-angle: zooms out – making subject smaller with more background included.

Physical Movements

• Physically moving the position of the Camera and/or Tripod from side-to-side.

• Called Dolly, Truck or Traveling/Onride movements.

Physical Movements (cont.)

• Dollies are often used in point-of-view shots to give the audience the impression of approaching someone or something with the character.

• Although they look very similar at first glance, when zooming in on an object, by simply enlarging part of a frame, the object seems to be propelling itself towards the camera.

• Cool Effect: Combine the zoom in/out and the dolly in/out at same rate of speed for a animated movement to subject/object.

Camera Movements (cont.)

• Tracking shots are conventionally used to follow movements across a frame, often moving parallel to characters, and can help to involve the audience in characters’ actions and discussions.

• Both camera and subject should travel same rate of speed for best effect.

• Cool Effect: Have the subject turn the opposite direction of the cameraperson’s track.

• Use behind the subject the least—it gets boring quickly.

Dolly

• Camera and/or Tripod moves toward and away from the subject/object.

“Dolly in” or “Dolly out”

Truck

• Camera and/or Tripod moves left or right from the subject/object.

“Truck left” or “Truck right”

Pedestal Movement

• Camera and/or tripodmoves up or down along the height of the subject/object.

• Different than a tilt effect, without the angling.

Rack Focus • Utilizing the

manual focus to blur and focus between two stationary subjects/objects.

• Creates interest for character dialogues.

Hand–Held

• Not using the tripod.

• Creates a less stable effect.

• Can give a “reality” to the footage.

• Avoid too much bumpiness or you will make the audience sick. “Blair Witch” or “Cloverfield” footage gets old real fast.

Subject or Character Movement

Mise’-En-Scène:Movement within the scene.

Character/Subject Movement:

Camera does not move – just the character(s)

Mise’-En-Scène

• “Putting on stage” • Letting the characters

move into, within and out of the frame of the camera.

• Used primarily in action sequences.

• Camera remains still.

Character/Subject Movement:

Toward the camera: Scare tactic to shock the audience.

Away from the camera: Creates closure to the scene

FIN

That’s it – The End