2. 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)

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

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*

5. o extreme long (ELS) o long (LS) o medium (MS) o close-up (CU) o extreme close-up (ECU)

6. Extreme Long Shot aka: used when/for:

7. Long Shot used when/for:

8. Medium Long Shot and Medium Shot used when/for:

9. Close-Up used when/for:

10. Extreme Close-Up used when/for:

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

12. Point of View Shot (subjective shot) used when/for: as if seeing through the character

13.  eye-level (straight angle)  high angle  low angle  dutch angle/tilt

14. Eye-Level (straight angle) used when/for:

15. High Angle used when/for:

16. Low Angle used when/for:

17. Dutch Tilt used when/for:

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

19.  Framing can become a director’s 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

20.  Pan  Tilt  Dolly/tracking shots  Crane/“boom”/jib shots  Hand-held and steadicam shots

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

22. o Dolly/tracking shots o Crane/“boom”/jib shots o Hand-held and steadicam shots  The camera is mobile

23. o Dolly/tracking shot: camera fixed to wheeled support o dolly in: o frequently used at moments of character’s 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

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

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

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 it’s 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)

27. Steadicam HandheldHandheld **

28.  The Zoom camera doesn’t move, but frame changes as the lens focal length is changed zoom in or out/magnification

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 *

30. o And there are endless combinations… o Jaws (3:51) Jaws

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)

32. *