1 / 29

Cinematography

Cinematography. “Laughter is timeless. Imagination has no age. And dreams are forever.” ― Walt Disney. Cinematography. Cinematography: "writing in movement” Roles of Cinematographer:

brian-russo
Download Presentation

Cinematography

An Image/Link below is provided (as is) to download presentation Download Policy: Content on the Website is provided to you AS IS for your information and personal use and may not be sold / licensed / shared on other websites without getting consent from its author. Content is provided to you AS IS for your information and personal use only. Download presentation by click this link. While downloading, if for some reason you are not able to download a presentation, the publisher may have deleted the file from their server. During download, if you can't get a presentation, the file might be deleted by the publisher.

E N D

Presentation Transcript

  1. Cinematography “Laughter is timeless. Imagination has no age. And dreams are forever.” ― Walt Disney

  2. Cinematography • Cinematography:"writing in movement” • Roles of Cinematographer: • Commonly, Cinematography = Everything that has to do with cameras and lenses, with film/film stock (and its digital equivalents), exposure and processing of film/digital images. • Cinematography is “how it is filmed” vs. “what is filmed”. E.G… • Composition • Photographic elements • Lighting • Special effects, etc. • Everything we will do will be digital (for ease).

  3. Elements of Cinematography • (1) Scenes and Composition • Rhythm, Axis rules • (2) Movement, Framing, Lighting, Sound • Angle, Pan, Zoom, Outdoors, Indoors (lens), Microphone • (3) Photographic elements • Camera, Lens, Exposure, Shutter • (4) Role of Cinematographer

  4. Rythm • Rythm in film editing is time, energy and movement. • Timing and pacing between shots and scenes. • Shots shouldn't be too long and each scene should feel fluid into the next one.

  5. 180 Degree Rule

  6. Mobile Framing:Camera Movements-PAN • pans = rotates horizontally, side to side (usually on a tripod) • tilts = vertical pivot/rotation, up and down • pans & tilts, camera doesn’t change position, it pivots or rotates. Usually tripod mounted. • dolly, crane/boom, hand-held and steadicam shots. • computer generated pan, zoom, etc.

  7. Dolly Shot, on Tracks

  8. Mobile Framing-ZOOM • Actual Movements of Camera • Zooms, where Camera doesn’t move, but the frame changes as the lens focal length is changed: Zoom In or Zoom Out. (Magnifies) • Laboratory and animated mobile framing. • Computer-generated shots: for ex: “fly-bys,” “rotations.” Computers, like traditional animation, can potentially generate any movement.

  9. Framing: Aspect Ratiosratio of width to height 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)

  10. Sydney Pollack on Widescreen vs. Pan and scan http://www.youtube.com/watch?v=tEPAgNrvZaw

  11. Camera Angle/Height • Eye-level shot (from typical POV) • High angle shot (from overhead) • Low angle (from below) • Dutch angle (tilted) • Aerial view (from above – long shot)

  12. framingCamera Angleshigh angleTouch of Evil (Orson Welles, 1958)

  13. framingCamera Anglesstraight angle; straight onRebecca (Alfred Hitchcock, 1940)

  14. framingCamera Angleslow angleBride of Frankenstein (James Whale, 1935)

  15. Height of Framingnote low framing/position, but not low angle Tokyo Story (1953) Yasujiro Ozu

  16. extreme long shot (ELS)The Conversation

  17. long shot (LS) Bride of Frankenstein

  18. Medium long shot(knees or shins to head; a.k.a. American shot or knee shot) Ascher & Pincus call Medium Shot

  19. medium shot (MS)The Big Heat (Fritz Lang, 1953)

  20. medium close-up (MCU)Touch of EvilA & P call this a CU?

  21. close-up (CU)Touch of Evil(A & P: big close-up)

  22. extreme close-up (ECU)Dracula (Tod Browning, 1931)

  23. Lighting • How shots are lit affects how we perceive them • Lighting ratios: hard/high key, soft/low key • 3-point system: keylight, fill light, backlight • What’s NOT lit is an important aspect of lighting (just as offscreenspace is as important as onscreen space) • Blah blahblah – Just make sure there’s enough or not too much, especially if you are using manual settings like I do. Auto should take care of everything for you.

  24. Types of Lenses • Aperture: an iris that limits light • Focal length: wide, narrow angle, zoom. Different lenses are employed for different focal lengths (prime lenses, zoom lenses) • Depth of field: what planes are in focus (DSLR vs. Camcorder [not much choice])

  25. Film stocks / Digital Resolution • Gauges of film (8 mm – 70mm) – width • Speed of film (fast, slow) – “graininess” • Home uses: • 1960’s Super-8 (8mm film [no sound]) • 1980’s Videotape (VHS/Beta) – (352x240) but analog. • 1990’s DVD (720x480) [pixels] • Most older small digital camcorders • 2000’s (newer digiatl camcorders) • 720p (1280x720) - 24-60 Frames per second (fps) • 1080p (1920x1080) - 24-60 Frames per second (fps) • Equals (approx) the quality of 35mm film but still not as sharp (no dust) • Nothing comes close to 70mm IMAX • 2048 x 1080 – Developing now – 4k DLP chips • Future??? • Digital tape, Flash memory, etc.

  26. Show nVidia 1080p demo…

  27. Music / Sound • Music - very important - Walt Disney • Sound - a big room with lots of echo need close up microphone. • You may need a shotgun microphone or a wireless lapel • The mic on the camcorder might not be sufficient. • Show microphones. • Combined with effects like slow motion it can be very dramatic (show sample.wmv).

  28. Editing (another night) • Editing in Sony or other • Cropping, Slow motion, Music • Scene overlap or separation • putting music in • transitions (use rarely) • digital effects • lighting and contrast • color • black and white • old fashion • Bring your clips on CD/DVD next time

  29. Other angle – shot examples

More Related