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Cinematic composition. Cinematographer. Cinematographer= also known as Director of Photography (DP) Responsible for artistic and technical decisions related to images captured on screen In charge of camera crews, lighting crews, etc. The Big Picture.
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Cinematographer • Cinematographer= also known as Director of Photography (DP) • Responsible for artistic and technical decisions related to images captured on screen • In charge of camera crews, lighting crews, etc.
The Big Picture • Every shot the cinematographer makes must be designed with the goals of cinematic composition in mind. • Especially attendant to the Mise-en-Scene! Sunset Boulevard - Billy Wilder (1950)
Goals of cinematic composition • Goal 1: Directing attention to the object of greatest significance Road to Perdition – Sam Mendes (2002) American Beauty, Revolutionary Road, Skyfall
Goals of cinematic composition • Goal 2: Keeping the image in constant motion Indiana Jones and the Kingdom of the Crystal Skull – Stephen Spielberg (2008)
Goals of cinematic composition • Goal 3: Creating an illusion of depth Hugo – Martin Scorsese (2011) Taxi Driver, Raging Bull, Goodfellas, Casino, The Departed, Shutter Island, Gangs of New York…
Size and Closeness of an Object • Normally the eye is directed toward larger and closer objects rather than smaller and distant objects. • Foreground= closer to the camera, thus larger • Background= further from the camera, thus smaller
Foreground versus Background in V for Vendetta (2005, James McTeigue)
Foreground versus Background in V for Vendetta (2005, James McTeigue)
Sharpness of Focus • The eye is drawn to what it can see best • Sharp Focus= image that is clear • Soft Focus= image that is blurry Pan’s Labyrinth (2006 – Guillermo del Toro, Hellboy)
Sharpness of Focus • May overrule foreground/background rule
Movement • Objects in motion draw the eye • A moving object can divert our attention from a static one • Constant movement in the background may not divert our attention from the still but more important objects in the foreground Chariots of Fire (1981 – Hugh Hudson)
Extreme Close-Up Objects featured in extreme close-up give the audience nothing else to see!
Arrangement • There are no specific positioning formulas, but a director will arrange people and objects in relation to each other. • Possibilities: • Symmetry • Pyramid • Balance
Symmetrical Arrangement Eyes Wide Shut (1999) Stanley Kubrick 2001, Dr. Strangelove, Full Metal Jacket, The Shining, A Clockwork Orange
Pyramid Arrangement Reservoir Dogs (1992– Quentin Tarrantino)
Dynamic Arrangement The Hunger Games (2012) (Gary Ross) Seabiscuit, Pleasantville
Framing • Think of a picture frame. • Draws attention to the object of greatest significance, the object being framed • May add symbolism
Lighting and Color • Used for focus, symbolism, emphasis, etc. • Light versus Darkness Establishes Contrast
Color Schindler’s List (1993 – Spielberg)
Dramatic Lighting Citizen Kane