1. Elements of Cinematography

2. How Motion-Pictures Work

3. The film rate for motion-picture films is 24 FPS (frames per second). The film rate for video is 30 FPS. A 1 minute video consists of 1800 individual frames (30 FPS x 60 sec).

4. Time Stamp / Code: 01:25:45:05 The above Time Code reads: 1 hour, 25 minutes, 45 seconds, and 5 frames. If we are working in 30 FPS, the final segment of the time code will never read more than “:29”.

5. In filmmaking, a Shot is a continuous group of frames. By combining shots, we create a Scene. A Sequence is a collection of related shots and scenes.

6. Types of Camera Shots

7. Wide / Long Shot A wide (or long) shot shows the entire character from head to toe. Gives a sense of scale and a sense of place. Often used as an “establishing shot.” Image from “The Art of Technique: An Aesthetic Approach to Film and Video Production,” by John Douglass and Glenn Harnden.

8. Medium Shot A medium shot generally shows the characters upper body while still including elements of the setting. Image from “The Art of Technique: An Aesthetic Approach to Film and Video Production,” by John Douglass and Glenn Harnden.

9. Close-up Shot A close-up shot shows only the characters face and / or shoulders. Subtle expression should be clear. Image from “The Art of Technique: An Aesthetic Approach to Film and Video Production,” by John Douglass and Glenn Harnden.

10. Other Shots Extreme Wide Image from “The Art of Technique: An Aesthetic Approach to Film and Video Production,” by John Douglass and Glenn Harnden. Medium Wide / LongExtreme Close-up

11. Types of Camera Angles

12. Eye Level An Eye Level camera angle feels “natural” and is the most commonly used. Image from “The Art of Technique: An Aesthetic Approach to Film and Video Production,” by John Douglass and Glenn Harnden.

13. High Angle High Angle shot - the camera is placed above eye level, looking downward. Image from “The Art of Technique: An Aesthetic Approach to Film and Video Production,” by John Douglass and Glenn Harnden.

14. High Angle High Angle shot - the camera is placed above eye level, looking downward. Can make the character look small, childish, weak, or confused. Image from “The Art of Technique: An Aesthetic Approach to Film and Video Production,” by John Douglass and Glenn Harnden.

15. Low Angle Low Angle shot - the camera is placed bellow eye level, looking upward. Image from “The Art of Technique: An Aesthetic Approach to Film and Video Production,” by John Douglass and Glenn Harnden.

16. Low Angle Low Angle shot - the camera is placed bellow eye level, looking upward. Can make the character look large, strong, noble, or intimidating. Image from “The Art of Technique: An Aesthetic Approach to Film and Video Production,” by John Douglass and Glenn Harnden.

17. Bird’s-Eye View Bird’s Eye Shot - the camera is placed above looking directly down.

18. Bird’s-Eye View Bird’s Eye Shot - the camera is placed above looking directly down. Can be used as an to emphasize insignificance or a feeling of voyeurism.

19. Canted / Oblique / Dutch Angle Canted Angle - is composed by tilting the camera to one side. Image from “Battlefield Earth.”

20. Canted / Oblique / Dutch Angle Canted Angle - is composed by tilting the camera to one side. Can emphasize uneasiness or tension in the subject. Image from “Battlefield Earth.”

21. Types of Camera Movements

22. Image from “The Art of 3-D Computer Animation and Imaging,” by Isaac Kerlow.

23. Basic Composition

24. Rule of Thirds The Rule of Thirds divides the frame into thirds vertically and horizontally. Where these divisions intersect are aesthetically pleasing spots to place subjects. Image from “The Art of Technique: An Aesthetic Approach to Film and Video Production,” by John Douglass and Glenn Harnden.

25. 180 Degree Rule When planning a sequence of shots for a scene (or when using multiple cameras), the cameras should stay on the same side of the line of action. A line of action is an invisible line between two characters who are interacting. Image from “The Five C’s of Cinematography,” by Joseph V. Mascelli

26. 180 Degree Rule By using cameras 2 and 3, the audience stays on one side of the line of action. This results in clear continuity. Image from “The Five C’s of Cinematography,” by Joseph V. Mascelli

27. 180 Degree Rule If cameras 2 and 4 are used, the audience crosses the line of action. This breaks continuity and the result is confusing and disorienting. Image from “The Five C’s of Cinematography,” by Joseph V. Mascelli