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Focus on: Cinematography

Focus on: Cinematography. Cinematography. Etymologically breaks down to writing by movement. Like photography, light translates into visual information and meaning; however, apparent motion differentiates photography from cinematography. Elements of Cinematography:. Lighting

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Focus on: Cinematography

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  1. Focus on: Cinematography

  2. Cinematography Etymologically breaks down to writing by movement. Like photography, light translates into visual information and meaning; however, apparent motion differentiates photography from cinematography.

  3. Elements of Cinematography: • Lighting • Color (formally)/Contrast • Film stocks & gauges • Opticals (lenses, filters) • Effects • Shots*

  4. Shots are defined according to… • Size/Distance • Angle • Content • Movement • Point of view • Conventions Examples to follow from each category… Initially, size/distance…

  5. Defining shots by size/distance… • Long shot • Full shot • Medium shot • Closeup NB: Use ‘extreme’ sparingly

  6. Defining shots . . . • . . . By size/distance: a long shot often scans a wide area, providing information (literal and symbolic) including setting; it establishes parts of the narrative. (Signs)

  7. Defining shots . . . • . . . by size/distance: A full shot reveals a character from head-to-toe or a full object, often providing some contextual information (literal and symbolic) such as setting and action. (The Matrix Reloaded)

  8. Defining shots . . . • . . . by size/distance: a medium shots reveals a character from waist up or most but not all of an object. Meaning (literal and symbolic) is created by being this close to the object or character--not full and not so close. (Signs)

  9. Defining shots . . . • . . .by size/distance: a closeup reveals a character’s face or a detail of an object. Consider how these two close shots from XXX literally show us Diesel’s character and symbolically make us feel intimidated.

  10. Compare sizes/distances…

  11. Shots are defined according to… • Size/Distance  • Angle • Content • Movement • Point of view • Conventions

  12. Defining shots by angle . . . • High or Angle-down • Eye-level • Low or Angle-up • Bird’s eye • Aerial • Reverse • Oblique or canted frame

  13. Defining shots . . . • . . . By angle: High angle shot looks down on the subject, suggesting its literal shortness and symbolic weakness or inferiority. (Spy Kids II)

  14. Defining shots . . . • . . . By angle: eye-level shot looks a character ‘in the eye,’ suggesting respect and equality or simply neutrality.

  15. Defining shots . . . • . . . By angle: a low angle shot looks up to the subject, suggesting its literal height and symbolic power. (Blue Crush)

  16. Compare these angles . . .

  17. Defining shots by angle . . . • Bird’s eye • Aerial • Reverse • Oblique or canted frame

  18. Size/Distance  • Angle  • Content • Movement • Point of view • Conventions

  19. Defining shots by content . . . • One-shot • Two-shot NB: check conventions for overlaps

  20. Defining shots by content . . . • . . . a one-shot reveals one character • . . . a two-shot reveals two characters (Frida)

  21. Size/Distance  • Angle  • Content  • Movement • Point of view • Conventions

  22. Defining shots by movement . . . • Moving camera shots include dolly, tracking, crane, aerial, pan, tilt, etc. • Movement within the frame includes horizontal movement, through the depth of the frame, etc.

  23. Size/Distance  • Angle  • Content  • Movement  • Point of view • Conventions

  24. Defining shots by pov . . . As in literature, film observes three points of view • 3rd person (She, he, or it does it…) • 1st person (I do it…) • 2nd person (You do it… or, Do it!) Unlike literature, film has more gradual shifts in point of view.

  25. Defining shots… • . . . by pov: 3rd person is the most common perspective in narrative film. The camera acts as an observer of some actor or action. (Collateral Damage)

  26. Defining shots . . . • . . . by pov: shifts occur in film from 3rd to 1st and back again relatively frequently. A 1st person shift places the viewer of the film in the place of a character. This can be gradual or complete.

  27. Defining shots . . . • . . . By pov: 2nd person directly addresses the viewer of the film. This often enables some theoretical level in the film.

  28. Size/Distance  • Angle  • Content  • Movement  • Point of view  • Conventions

  29. Defining shots by convention . . . • Shot/countershot is one of the most significant and popular of the Hollywood tradition. • Typically starts with full 2-shot; • Cuts in to medium one-shot of ‘a’ character; • Then, cuts to medium one-shot of ‘b’ character on opposite side.

  30. Defining shots by convention . . . • Shot/countershot (s/c or s/r) • Reaction shot • Establishing shot (inside/out editing) • Eyeline match (cut) • Devil’s in details NB: overlaps with content and other categories

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