Classes are until May 15, 2024. A little kembot and twerk and I’m done. I’M DONE.

JDFBVDKJ
Cinematography

Shot
- one uninterrupted action within the screen frame
- action is presented to us by mise-en-scene
Cinematography
- frames the images of mise-en-scene

Topic: Shots

Photographic Image
Cinematography
- Writing in movement
Cinematographer
- May choose to use particular developing procedures that heighten or decrease contrast

Photography
- Writing in light
- Commonly think that it should be well-exposed
Filmmaker
- Creates patterns of light on celluloid
- Uses a camera to regulate how light from some object will be photogenically registered
on the sensitized film
- IN ANY EVENT, can select the range of tonalities, manipulate the spend of motion, and
transition perspective
- They control the degree of contrast in the image in various ways
- Controls exposure by regulating how much light passes through the camera lens, though
images shot with “correct” exposure can also be overexposed or underexposed in
developing & printing
- Manipulate exposure for specific effects

The Range of Tonalities

- The image may seem all gray or stark black & white
- Display a range of colors
- Textured may stand out clearly or recide into a haze
- May control all these visual qualities by manipulating the film stock, exposure and
developing procedures
Types of film stocks
- Differentiated by the chemical qualities of the emulsion
- Has many artistic implications
- The image will have more/less contrast depending partly on the stock used
Contrast
 - refers to the degree of difference between the darkest and lightest areas of the frame
- iIF THERES CONTRAST within the image enable filmmakers to guide the viewer’s eye
to important parts of the frame
- the amount of light used on the set during shooting affects the image’s degree of
contrast
- The strength and temperature of the chemicals and the length of time the film is left in
the developing bath affects contrast
Very “fast” stock
- One which is very sensitive to reflected light, will produce a contrasty look
Slower or less sensitive stock
- One will be low in contrast
High-contrast image
- image displays bright white highlights, stark black areas, and a narrow range of grays in
between
Low-contrast image
- Possesses a wide range of grays with no true white or black areas
Human vision
- Highly sensitive to differences in color, texture, shape and other pictorial properties

Figure 7.2 Other films–combine film stock, overexposure and laboratory processing to create a
bleached-out look

Figure 7.1 Black & white films–balance grays, blacks and whites

Film stock
- By manipulating these, lighting factors and developing procedures, filmmakers can
achieve enormous variety in the look of the film image (Figs. 7.1-7.2)
 - Most black & white films employ a balance of grays, blacks, and whites
- The effect suggests old war footage that has been recopied or shot under bad lighting
conditions–the high contrast look suited a film about the grubbiness of war
Soviet filmmakers
- Long used a domestically made stock that tends to lower contrast
- Give the image a murky greenish-blue cast

Figure 7.3 Other films–newsreel-like quality heightened by both the film stock and lab work that
increased contrast

EXAMPLE of post-filming manipulations of film stock

- the Shot’s newsreel-like quality is heightened by both the film stock and lab work that
increased contrast (Fig. 7.3)
- Made on special dark high-contrast stock
- Always to their highest contrast

Color stock
DIFFERENT COLOR film stocks–yield varying color contrasts
- Technicolor is famous for its sharply distinct, heavily saturated hues
- The richness of technicolor was achieved by means of a specially designed camera and
a sophisticated printing process
- Technicolor example–Meet me in St. Louis
- Tonalities of color stock may be altered by laboratory processes

The role of COLOR TIMER or GRADER

- The person assigned has a wide choice about the color range of a print
- Example is a red patch–image may be printed as crimson, pink or any shade in between
Color Printer
- Can be made for purposes that require a diff. Color balance
- TODAY most prints made for 35mm exhibition are printed somewhat dark, to create rich
shadows and darker colors
- Prints struck for transfer to video are made on special low-contrast stock in order to
compensate for television’s tendency to heighten contrast
 - Resulting image often has a lighter, brighter color range than seen in any theatrical print
Timer
- Consults w/director to select a key tone that will serve as a reference point for color
relations throughout the film
Certain procedures
- May add color to footage originally shot in black and white
- Mostly used tinting and toning
Tinting
- By dipping the developed film into a bath of dye
- Dark areas remain black and gray
- Lighter area pick up the color
Toning
- Works in an opposite fashion
- Dye is added during the developing of the positive print
- Darker areas of frame are colored
- Brighter portion of frame remain white or fairly fainted color

BOTH tinting & toning

- Common in silent cinema
- Night scenes often colored blue
- Firelight frequently colored red
- Interior often amber
- May use pink to suggest the glow of an erupting volcano

Hand coloring
- Rarer method of adding color
- Portions of black & white images are painted in colors, frame by frame

Ways of filmmakers manipulate image’s tonalities after filming

- Scratching off the emulsion in certain parts of the shot
- Shot image on 35mm film, then transferred the footage to video & used digital
manipulation to drain out much of the color–transfer back to film, resulting in desaturated
images which tremble and shimmer

Range of tonalities
Affected by the exposure of the image during filming

Exposure
- underexpose shadowy regions of the image in keeping with low-key lighting techniques
- Overexpose the prop in order to create a mystical religious atmosphere
- CONTRASTING–overexpose window, sharpen contrast between characters
- CHOICES are critical
- May choose to emphasize tones within shaded area and exposes
 - TO EMPHASIZE CENTRAL OUTDOOR AREA; Vibrant hues of the store’s wares stand
out; countryside–overexposed & city area underexposed
Exposure can be altered by:
1. Filter
2. Flashing

1. Filter
- Slices of glass/gelatin put in front of lens of camera or printer to reduce certain
frequencies of light reaching the film
- ALTERS the range of tonalities in quite radical ways
- Can block out part of the light making the footage shot in daylight seem to be
shot by moonlight–this technique called Day-for-Night filming
- Applied during shooting or during printing can also alter the color image
2. Flashing
- Film is expected to light (often white/gray card) before shooting/processing
- Lowers contrast as it makes shadows grayer and transparent
- Reel can be different–changing the color scheme as the film progressed
- BOTH in filming and in laboratory MANIPULATE FILM STOCK AND EXPOSURE
affecting the image we see in the screen

Speed of Motion
- May see slurred slow-motion
- Ordinary action accelerated to comic speed
- Object stopped in freeze frame
- Filmmaker dictates the pace of the action
- can also be controlled by a photographic power unique to cinema: the control of the
speed of movement seen on screen
- Depends on the relation between the rate at which the film was shot and the rate of
projection
- Both rates are calculated in frames per second
- SILENT FILMS were shot at a variety of speeds ranging from 16-20 frames per
second–gradually getting a bit faster in the mid-1920s

Ways to project Depicted movement

To look accurate, the rate of shooting must correspond to the rate of projection
- Projectors must run at 16-18 frames per second or run at variable speed that can
tailor the speed precisely in the film
- Filmmaker can control the rate of the film’s movement through camera’s drive
mechanism to vary the shooting rate (common range 35,, cameras today is
between 8 & 64 frames per second)

FAST MOTION EFFECT–Constant projection speed

- The fewer frames per second shot, the greater the acceleration of the screen action
SLOW MOTION EFFECT
- The more frames per second shot, the slower the screen action will appear
- This technique can be used for expressive purposes
- To create a comic depiction of noiseless movement
- To suggest that the action takes place in a dream/fantasy
- To express lyrical quality
- To convey enormous power like in fighting
- To emphasize a scene to make audience dwell on a moment of spectacle or high drama
- Slow motion scene of violence has become a cliche of the modern cinema

CHANGING THE SPEED OF MOTION

- To enhance expressive effects filmmakers do the ff:
1. Filmed object at 100 fps, slowing down its progress and then shot at faster
speeds to create an explosive acceleration
2. Control the shutter and the speed of filming in computer program
3. Mixing of shots made at 4 fps, 6 fps, and even 96 fps

Time lapse cinematography

- Permits us to see the sun set in seconds or a flower sprout bud in a minute
High speed cinematography
- Camer amay expose hundred/thousands of frames per second
Stretch printing
- Slowing the action
- Reprint a frame at desired intervals
Perspective relations
- Closer objects look larger, the farther objects look smalle–even if they are uniform size
Optical system of eye
- Register light rays reflect from the scene, supply a host of information about scale, depth
and spatial relations among parts of the scene

Photographuc lenses
- May change
- Each type of lens render a perspective
Wide angle lens
- Exaggerate the depth you see down the track
- Could make treet and buildings seem to bulge
Telephoto lens
- Reduce the depth–making the trees seem close together and nearly the same size
Focal length (the lens)
- Is the distance from the center of lens to the point where light rays converge to a point of
focus on the film
- Can affect perspective relations in diff ways since it alters the perceived magnification,
depth and scale of things in the image–3 types of lenses on basis of perspective:
1. Wide angle lens–Short focal length
 - 35mm-gauge conemtography
- Less than 35mm in focal length
- Distorts straight lines lying near edged of frame, bulging outward

______________________________________________________________

FRAMING :

CAMERA ANGLE

Camera Angle
- level and height of camera in relation to subject being photographed
- Most movies pertain the angle with EYE LEVEL or High Angle (leveled with subject
eyes) to how we normally see the world
High angle
- leveled with subjects eyes
- Looks down at its subject who appear smaller or weak
- Depending on context, it can be different—like the angle has nothing to do but visually
represents the fate of the actor
Extreme high angle or Bird’s eye view
- positions the camera directly above the subjects creating a disorienting viewpoint
- To shock audience or presenting an unnatural situation like being murder or rampage
looked above the scene
Low angle
- leveled with foot to head
- Lowered to shoot up subject
- If your looking up at someone whose bigger or standing over you in a position of
power—you perceive them as powerful or threatening
- If camera looks up at subject then identify the camera’s pov, subject appears threatening
or powerful but not always
- We can associate with looking up at a statue of someone impressive or imporatnt person
on stage—can appear superior or noble or heroic when seen in a low angle
- This effect is reflected in an expression used to describe ppl we admire
Extreme low angle
- convey a character in a moment of weakness or confusion
- Depends on context though like in the shining she reflects Wendy’s weakness in a low
angle by shooting her moment of realization from seeing evidence of her husband being
crazy and making that evidence large and significant than the actress
- creates tension by denying us chance to see whats behind the actor
- Like slanted low angle in return of the kings, as actor has no idea whats behind him and
making him look smaller
Viewer
- identifies with the lens
Dutch Angle or Oblique angle
 - To hint something is going on, it tilts the camera’s level to change our vertical/horizontal
viewpoint something like diagonal
- Audient pov is off balance to make them feel

SHOT SIZE

Shot size
- or proximity or proximix
- Implied distance between camera and subject
Close up
- camera is close to subject
- Subject is large within the camera’s viewing area
Medium shot
- Medium distance of subject to camera
Long shot
- longer distance
Implied distance
- certain lenses allow camera to film a close up of subject standing a feet away
Idea of distance
- between viewer and camera then subject of that view is important cuz it uses certain
shots and meaning—the whole idea of significance
Shot types
- play off the way ppl instinctively process and react to visual information in their own non
movie watching lives
- When we watch in move threatres, weidentify with the viewpoint of the camera that
teplaced our own view point
- The viewer identifies with the lens
- Filmmakers use to imply significance
- Convey info and meaning
- Shape unfolding drama
- Illicit emotional response from audience
- Communicate character’s state of mind

Shots are classified in terms of:

- amount of general/bg information in each shot
- amount of specific/subj information in the shot
- Size or portion of the human figure in the shot
- Implied significance of the subject
- Psychological subject info
- Physical subject info

Extreme long shot

- Dominated by bg info
- Specific subj info takes very little screen space
 - If theres specific human Subject or character, their too small to recognize by anything
other than context
- Handy for establishing general locales as opposed to specific locations
- Depicting a character dwarfed by his or her environment
- Depicting large scale actions in which masses of figures function as a collective subejct
Long shot
- Kind of who what where shot
- Used as an establishing shot at beginning or ending of the scene because it balances
specific subject info w/general location and bg information
- Handy for establishing who is in the scene, where everyone is in relation to everybody
else, where action is taking place, and whats going on in the situation
- subject/s are large enough in frame to read in a physical or psychological detail to at
least be recognizable
Full shot
- frames the human subject typically from head to toe
- Bg is beginning to be reduced
- The subject conveys more physical/paychological detail and is growing large enough to
dominate the frame
- Scene will typically cut to a full shot at moments a physical action and figure movement
is featured like fights, braces or physical comedy
Medium long shot or American shot
- frame subj from knees up and falls betwen full and medium shot in how it looks and used
- Frames subj somehwere around the waist up just enough room for two-three characters
- Subject becomes bigger to reduce bg to point of insignificance
- Read leading subtle psychological physical info on increasing dominant significant
subject
- Often used to convey interaction between on screen characters
- Editing bridge between a long shot and close up
Close up
- pure subject
- Bg info is cirgually eliminated
- Single faced dominates the frame
- Face and subtle shift of expression take monumental significance
- Typically used to punctuate important dramatic moments
Extreme close up
- more extreme version of close up
- Filling the frame with just fragment of face or object revealed in great physical detail
- Enlarges normally small object on monumental proportions to be used in cinematic
options properly
- Sometimes anticipates the use of an object
- If object is isolated and presented with great implied signifiqnce the audience knows that
the obj is important and will be used—generate suspense
- Gives an object give symbolic value to the object
 - Isolated and enlarged in an extreme close up transcends its meaning to communicate
symbolic meaning of what the scene is

When someones close

- it dominates our whole field of vision
- Perceive them typically more significant whether attracted or afraid to use CLOSE UP in
the scene to demand dramatic impact

CAMERA MOVEMENT

tilt
- camera pivots vertically
- Up and down in stationary axis like a tripoid standing
Pan
- pivots camera in stationary axis
- Horizontally

Dolly or tracking shot

- camera to move to keep up w/subject
- Camera rides in a dolly which is a cart and rolls around metal track and makes it smooth

Crane shot
- move which way it wants especially vertically

Jib arm
- used for crane shot
Steadicam
- harness device that employs sophisticated system of hydrolics and counterweights to
combine mobility of hand held camera w/smoothness of a dolly or tracking shot
Handheld
- shakey look to indicate the stress of state of mind
- Chaotic situations or evoke documentary work to indicate a sense of realism

Zoom
- camera tracks in something

Zoom—Magnification
Moving camera-movement

Moving camera shot

- dolly or tracking shot
- Physically moves the camera

Zoom lens
 - makes the subj larger or smaller not by moving camera but by shifting lens elements
outside to change focal links and thus magnifying the view of the subjec
Zoom in
- subj gets bigger
- Spacial relationship w/ppl and stuff around her doesnt change
- Zoom looks artificial
- Nothing and nobody’s relative position shift
- Everything becomes bigger
- Magnification but no shift in perspectuve
- more relegated to home movies
Zoom out
- the subj and background stays lock in the same relative position
- Nothings position in relation to anything else shifts in the slightest

Moving camera
- everything relative position changes
- Subj’s bg changes
- Bg becomes more detailed and revealed
- dominates most motion pics
- Closely replicates our visual expectations of movement

Both dolly and zoom

- Creates shots where foreground characters stay the same size in frame but bg becomes
bigger
- Get bg to grow, use zoom lens to shift between short to long focal length
- Foreground grows, but to remain stable while bg shifts, camera moves as we zoom to
keep foreground the same
- Remains a telephoto but zooms out to wide angle to shrink bg while we dolly in to keep
subj’ size and disconnect foreground and bg
- To create intense form of realization either negative or positive
Zooming in (to magnify bg)-Dolly out (to compensate for magnification)
- Keep subj’s size same
- Bg grows
- Foreground remains the same
- For realization either positive or negative way
Telephoto
 - Or local focal length
- Magnify everything
Wide angle

- Or short focal length

- Shrinking bg

SUMMARY CAMERA MOVEMENTS

EDITING

- GROUP HMWORK
- CRITIQUE PAPER ON CINEMATOGRAPHY LIKE THE SHOTS-WISE NOT THE
REACTION

- information control
- Essentials—moving image,Camerawork and editing the things that make films film
- To evaluate: not the story but the cinematography of the work