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o the process of capturing moving images on film (or digitally) o everything that has to do with cameras and lenses, with film/film stock (and its digital equivalents), exposure and processing of film/digital images o Cinematographer = Director of Photography (DP)

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o Mise en Scene refers to what is filmed o Cinematography refers to how it is filmed o Some elements like lighting, can be both

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o Framing and Composition o shot types o camera angles o depth o camera movement o aspect ratio o lighting* o Camera and exposure choices, film stock and lenses*

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o extreme long (ELS) o long (LS) o medium (MS) o close-up (CU) o extreme close-up (ECU)

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Extreme Long Shot aka: used when/for:

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Long Shot used when/for:

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Medium Long Shot and Medium Shot used when/for:

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Close-Up used when/for:

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Extreme Close-Up used when/for:

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Over the shoulder shot used when/for: establish the position of each person; feeling of looking at person from the other's point of view; common to cut between these shots during conversation

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Point of View Shot (subjective shot) used when/for: as if seeing through the character

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eye-level (straight angle) high angle low angle dutch angle/tilt

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Eye-Level (straight angle) used when/for:

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High Angle used when/for:

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Low Angle used when/for:

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Dutch Tilt used when/for:

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o Challenge: how to give the illusion of depth o using the planes of mise en scene (fore/middle/back) to create an illusion o deep-focus composition o rule of thirds

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Framing can become a directors signature - using the natural framing occurring in objects M. Night Shyamalan door ways Quentin Tarantino from below/trunk shotsfrom below/trunk shots - or direction and perspective Wes Anderson from abovefrom above Stanley Kubrick one-point perspectiveone-point perspective

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Pan Tilt Dolly/tracking shots Crane/boom/jib shots Hand-held and steadicam shots

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o Pan camera rotates horizontally, side to side o Tilt camera vertically pivots/rotates up and down o In pans & tilts, camera does not change position, it pivots or rotates o Usually tripod mounted o example example

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o Dolly/tracking shots o Crane/boom/jib shots o Hand-held and steadicam shots The camera is mobile

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o Dolly/tracking shot: camera fixed to wheeled support o dolly in: o frequently used at moments of characters realization and/or decision, or as a pov shot of what the character is having a realization about o dolly out: o used for slow disclosure o Spike Lee - dolly Spike Lee - dolly o Children of Men Children of Men

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o Boom/jib shots: Camera mounted on counterweighted boom o some can also telescope in or out can use for combinations of pans & tilts, horizontal (tracking), vertical or diagonal moves o Crane shots: Shots look the same as boom shot, but often motorized or with hydraulics for movement o Crane shots are typically long or extremely long shots and long takes

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o Crane and boom shots o Opening of Touch of Evil Opening of Touch of Evil o Opening of The Player Opening of The Player

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o Hand-held and Steadicam shots o can pan, tilt, or track o Hand-held o movement is obviously unsteady--which is how we know its a hand-held shot o Steadicam o a patented device dampens unsteadiness, producing a relatively smooth movement, even when walking or running o Steadicam first used in Rocky (1976)

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Steadicam HandheldHandheld **

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The Zoom camera doesnt move, but frame changes as the lens focal length is changed zoom in or out/magnification

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Left: move the camera (track in) short focal length lens Note: Relation of back/foreground, changed angles distortion at edges Right: Camera stationary Change of focal length (i.e., zoom in) Relation of back/foreground closer (telephoto effect of flattening) No distortion at edges Zooming is unnatural to the human eye *

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o And there are endless combinations o Jaws (3:51) Jaws

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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)

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