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Cinematography

The document provides an overview of cinematography and film techniques. It discusses key concepts like shot composition using rules of thirds, depth of field, camera angles, movement, and lighting. The director of photography leads the camera, lighting, and electrical crews and works to implement the director's vision through cinematography. Understanding these techniques helps viewers analyze how meanings and ideas are conveyed visually through film.

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An Introduction to Cinematography
Why Study Film?  In 1965, Marshal McLuhan pointed out that old mediums become the content of the new medium. So, photography became the content of film, novels and drama became the source of films, and films became the content of television.  Like traditional print texts, film and television have a grammar of their own, produced through camera techniques and editing. It is crucial in the 21st Century that children and teens are taught how to read, i.e. analyze and write, i.e. produce non-print media like film and television. Noted media educator and theorist Len Masterman (1982) argues that young people need to be made aware that film and television are ‘constructions’ that convey meanings and ideology.  It is the role of not only media educators but also English Language Arts educators to help students understand who, why, how and for what purposes media are created. Young people must also be conscious of how the values and ideologies in media texts help to position them as readers.
Cinematography  Photography – “writing in light”  Cinematography – “writing in movement”  Cinematography includes: – lighting – shot composition – selection of cameras, lenses, and filters – special effects
The Director of Photography  Individual responsible for the cinematography – uses camera and light to implement the director’s vision  The head of the camera, lighting, and electrical crews – Camera Operators – First Assistant Camera & Second Assistant Camera – Steadicam operator – Digital Imaging Technician (DIT)
Director of Photography (DP)  The DP was usually also the director and the person operating the camera – when movies were a new art form  As the art form and technology evolved, a separation between director and camera operator emerged.
Shot Composition  A shot is the continuous run of the camera. – the moment between when the camera starts & stops recording  Shot composition refers to the framing of the image. – as well as the arrangement of objects within the frame – also referred to as framing
The Rule of Thirds  Compositional guideline – used by artists to compose aesthetically pleasing images  Divides the frame into: – three vertical sections – three horizontal sections
The Rule of Thirds & Aesthetics  Helps artists produce aesthetically pleasing images – a guide for the off-center placement of subjects – rule comes from hundreds of years of artistic experimentation  Subjects should be placed along the lines.
“Hotspots”  The intersection points are called hotspots – objects of interest are placed at the intersection of these lines  Produces a more engaging composition
The Rule of Thirds & Balance  The rule can be used to create symmetrical compositions – shots with equal distribution of objects within the frame – also referred to as a balanced composition
Symmetry  Objects on either side of the frame match each other – size, shape, and relative position of objects matches – a mirror-image arrangement of objects
Asymmetrical Compositions  Shots that have an unequal distribution of objects. – also referred to as imbalanced compositions
Asymmetry  Objects on either side do not reflect each other. – The sides of the frame are not identical. – the absence of symmetry
Plane of Depth  The film frame is composed of three planes of depth: – foreground – middle-ground – background
Planes of Depth  The film frame is a two-dimensional image. – placing objects or people in various planes gives the image the perception of depth
Depth of Field  Distance in front of the camera that will appear in focus – a zone of sharp focus
Shallow Depth of Field  Only one plane is in focus. – often used to direct the audience’s attention – create a sense of claustrophobia
Deep Depth of Field  Multiple planes of the film frame are in focus.
Lenses  Depth of field varies by lens. – Wide-angle lenses have a wider depth of field. – Telephoto lenses have a shallower depth of field.  Types of lenses – normal lens – wide-angle lens – telephoto lens – zoom lens
Wide-Angle Lens  Exaggerates the frame’s depth – expands space between objects – distorts straight lines, bulging them outward – Wide-angle lenses have a deep depth of field.
Telephoto Lens  Reduces the frame’s depth – compresses space between objects – the background and foreground seem squashed together – Telephoto lenses have a shallow depth of field.
Zoom Lens  Alters the size of the subject without changing the distance between the subject and camera. – magnifies the subject – minimizes the subject  The camera doesn’t necessary move.  Permits filmmaker to change from wide-angle and telephoto lenses during shooting.
Rack Focus or Pull Focus  the practice of changing the focus of the lens during a shot, this can refer to small or large changes of focus.  if the focus is shallow, then the technique becomes more noticeable
Shot Composition  Shot composition is determined by: – camera distance – camera angle – camera level – camera movement
Camera Distance  The names of shots refer to camera distance – the space between the camera and the subject – the subject-to-camera distance  Extreme long shot (XLS) – The subject is barely visible.
Long Shot (LS)  The subject is more prominent – the background still dominates the frame
Medium Long Shot (MLS)  The subject is framed from the knees up.
Medium Shot (MS)  The subject is framed from the waist up.
Medium Close-Up (MCU)  The subject is framed from the chest up.
Close-up (CU)  Just the head, hands, feet, etc appear in the frame.
Extreme Close-up (XCU)  Only a small portion of the body appears in the frame
Camera Angle  Low-angle shot – camera is positioned below the subject – aimed upward – The subject appears powerful or important.
Camera Angle  High-angle shot – camera is positioned above the character – aimed downward – subject often appears vulnerable or powerless
Overhead Shot  The camera is directly above the subject. – also referred to as a bird’s eye view shot
Dutch Angle  The camera is tilted – the framing is not level – often signifies a moment of imbalance, dynamism, or stress – also referred to as canted framing
The Origin of the Term  The term is derived from Deutch – which is the German word for “German”  Used extensively in German Expressionist films – in the 1920s
Point-of-View  Camera simulates a character’s field of vision – depicts the action through a character’s eyes – a subjective shot
Camera Movement  Mobile camerawork changes the distance, angle, level, during the shot.  Types of camera movement – pan – tilt – dolly – crane – Steadicam – handheld
Pan & Tilt  Pan – Camera rotates left or right – Camera body does not move  Tilt – Camera rotates up or down – Camera body does not move
Dolly Shot  A shot in which the entire camera moves on a wheeled platform. – enables the smooth movement of the camera