The Shot: Cinematography

The Cinematographer’s Raw Materials Critical flicker fusion (phi phenomenon, persistence of vision – 24 fps) Film stock, gauge, format – color vs. BW, 35mm, IMAX, etc. Frame – what’s viewable Shot – what’s captured by a run of the camera Exposure - filters & gels to manipulate light & color

Film Stocks

Exposure, Filters

Areas of Cinematographic Control Photographic aspects of the shot Framing of the shot Duration of the shot

Photographic Aspects of the Shot Composition Symmetry vs. asymmetry (rule of thirds) Glass shot – shooting through painted glass Superimposition – laying one shot over another Projection composite work (rear, front) – green-screen work Matte composite work – high-tech copy/paste Deep focus – several planes in sharp focus Racking focus – pull focus from background to foreground or vise versa

Symmetry, Asymmetry

Superimposition

Projection Composite Work

Matte Composite Work

Deep Focus, Racking Focus

Photographic Aspects of the Shot Light and Color Color timer or grader – person who oversees color in development of film Contrast – relations between dark/light Tinting – dipping developed film into dye, colors light areas Toning – developing film in dye, colors dark areas Hand-coloring – painting individual elements within the frame

Tinting, Toning

Hand Coloring

Framing the Shot The Effects of Framing Size/shape of frame Onscreen/offscreen space Vantage point Movement (mobile framing)

Framing the Shot A. Size/Shape of Frame Aspect ratio (Academy, widescreen, etc.) Depth of field (degree of focus available with the camera) Focal length Wide angle (captures great width, distorts edges) Normal (captures “normal” width, edges have straight lines) Telephoto (captures great distance, flattens planes) Zoom (focal length of lens varies)

Depth of Field/Degree of Focus

Wide Angle Shot

Telephoto Shot

Framing the Shot B. Onscreen/Offscreen Space Onscreen space Six zones of offscreen space: Above Below Left Right In front Behind

Awareness of Offscreen Space

Framing the Shot C. Vantage Point: Distance of the Shot Seven gradations of camera distance: Extreme long shot - landscape Long shot – full human figure, head to toe Full shot (medium-long or Plan Americain) – human figure from the knees up Medium shot – human figure, waist up Medium close-up – shoulders up Close-up - face Extreme close-up – single feature (e.g. eye)

Extreme Long Shot

Long Shot

Full Shot (Medium-Long, P.A.)

Medium Shot

Medium Close-Up

Close-Up

Extreme Close-Up

Framing the Shot C. Vantage Point: Angle of the Shot POV shot – camera “sees” exactly what the character sees Upward angle – camera is pivoted vertically on a horizontal axis to “look” up at its subject Head-on angle – camera “looks” neither up nor down at its subject Downward angle – camera is pivoted vertically on a horizontal axis to “look” down at its subject Canted angle – camera “leans” right or left to upset the horizon line

Upward Angle

Head-On Angle

Downward Angle

Canted Angle

Framing the Shot D. Movement or Mobile Framing Pan shot – camera moves horizontally on a vertical axis Tilt shot – camera moves vertically on a horizontal axis Crane shot – camera is mounted on a crane to shoot from high above the subject Tracking shot – camera is mounted on a moving vehicle that follows the subject Hand-held/Steadicam – maximum flexibility in the shot

Pan Shot (Hyperlink)

Tilt Shot (Hyperlink)

Tracking Shot (Hyperlink)

Crane Shot (Hyperlink)

Handheld/Steadicam (Hyperlink)

Duration of the Shot The Properties of Time The take Speed of motion Punctuation shots

Duration of the Shot A. The Take Length of take – short, medium, long Sequence shot – a single, long take comprising multiple beats and camera movements

Sequence Shot (Hyperlink)

Duration of the Shot B. Speed of Motion Slow motion – shot at more fps than projected to slow down the movement High speed photography – shot at much more fps than projected to achieve an exaggerated slowdown Time lapse photography – shot at much fewer fps than projected to speed up the movement Ramping – alternating among slow, high and normal speeds

Slow Motion (Hyperlink)

High-Speed (Hyperlink)

Time Lapse (Hyperlink)

Ramping (Hyperlink)

Duration of the Shot C. Punctuation Shots Fade out – from shot to black Fade in – from black to shot Dissolve – Shot A fades in as Shot B fades out Freeze frame – film becomes still photo