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The Shot:

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

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The Shot:

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  1. The Shot: Cinematography

  2. 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

  3. Film Stocks

  4. Exposure, Filters

  5. Areas of Cinematographic Control • Photographic aspects of the shot • Framing of the shot • Duration of the shot

  6. Photographic Aspects of the ShotComposition • 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

  7. Symmetry, Asymmetry

  8. Superimposition

  9. Projection Composite Work

  10. Matte Composite Work

  11. Deep Focus, Racking Focus

  12. Photographic Aspects of the ShotLight 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

  13. Tinting, Toning

  14. Hand Coloring

  15. Framing the ShotThe Effects of Framing • Size/shape of frame • Onscreen/offscreen space • Vantage point • Movement (mobile framing)

  16. Framing the ShotA.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)

  17. Depth of Field/Degree of Focus

  18. Wide Angle Shot

  19. Telephoto Shot

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

  21. Awareness of Offscreen Space

  22. 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)

  23. Extreme Long Shot

  24. Long Shot

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

  26. Medium Shot

  27. Medium Close-Up

  28. Close-Up

  29. Extreme Close-Up

  30. Framing the ShotC. 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

  31. Upward Angle

  32. Head-On Angle

  33. Downward Angle

  34. Canted Angle

  35. Framing the ShotD. 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

  36. Pan Shot(Hyperlink)

  37. Tilt Shot(Hyperlink)

  38. Tracking Shot(Hyperlink)

  39. Crane Shot(Hyperlink)

  40. Handheld/Steadicam(Hyperlink)

  41. Duration of the ShotThe Properties of Time • The take • Speed of motion • Punctuation shots

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

  43. Sequence Shot(Hyperlink)

  44. Duration of the ShotB. 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

  45. Slow Motion(Hyperlink)

  46. High-Speed(Hyperlink)

  47. Time Lapse(Hyperlink)

  48. Ramping(Hyperlink)

  49. Duration of the ShotC. 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

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