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7/24/2019 Cinematography in Major Detail
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Cinematography
Versus Mise-en-scene
7/24/2019 Cinematography in Major Detail
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Cinematography
• Cinematography: "writing
in movement”• Digital Cinematography and
Computer-Generated Imageryhave brought changes inCinematography, which was
traditionally based onchemical/photographicimages and efects
• Cinematography !verything that has to do with
cameras and lenses, with#lm/#lm stoc$ %and its digitale&uivalents', e(posure andprocessing o) #lm/digitalimages
Citizen Kane (Welles)
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Cinematography vs. Mise-en-Scene
• Cinematography can be
contrasted to *mise-en-scene”%staging', which re)ers to *whatis #lmed”+ whilecinematography re)ers to *howit is #lmed”
• his diference raises
&uestions – .isual pecial fects01)ten done in post-production %esp digitalefects' o, is thatCinematography0
– 2ighting0 fects e(posure,lens setting, )ocus, etc,3sually under control o)Cinematographer %Directoro) 4hotography' 5ut2ighting, since it is part o)*what is #lmed,” could also
be seen as part o) a #lm6s*mise-en-scene” 7hat is
Is this cinematography or mise-en-scene?
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Main Elements ofCinematography• (1) Composition of the frame and
moile framing.
!rame shape (aspect ratios)"camera distance (types of
shots: e.g." C#" Medium Shot)"angle" level" height" $ moileframing (cameramovements and %ooms)" perspective"
pov.• (&) Camera" 'ens" $ Eposure
Choices $ echni*ues (+hat used toe called ,photographic elements)
Camera Choices (speed of motion"
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C/M0/S/2 /! 3E !45ME
Camera 5ngles
3igh angle4sycho %8itchcoc$'
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C/M0/S/2 /! 3E !45ME
Camera 5ngles
traight angle+ traight on9ebecca %:l)red 8itchcoc$, ;<=>'
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C/M0/S/2 /! 3E !45ME
Camera 5ngles
'o+ angle
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C/M0/S/2 /! 3E !45MECanted framing (a.6.a. 7utch
angle) ?an with a ?ovie Camera %.ertov' @
one o) the #rst #lms to use Canted angles• Canted
)raming – Camera
not level /not
horiAontal – 1)tensuggeststension,trouble,distress,
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Did you $now0
• he term *Dutch angle” originates)rom the term *Deutsch” whichmeans German German
e(pressionism used canted angled inmany #lms to denote madness anduneasiness
The Cabinet of Dr. Caligari (1919)Dir. Robert Wiene
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Braming can become adirector6s signature
• here are other e(amples o) )raming,which include using the natural)raming occurring in obects
Tarantino’s
low angle
trun shot.
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C5ME45 7S52CE
Camera8Shot 7istance or,ype of Shot1. etreme long (E'S)&. long ('S)
9. medium long shot (M'S)
. medium (MS);. medium close-up (MC#)
<. close-up (C#)
=. etreme close-up (EC#)
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Etreme long shot (E'S)
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'ong shot ('S)
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Medium long shot(6nees or shins to head> a.6.a. 5mericanshot or 6nee shot)
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Medium shot (MS)
!osferatu (".W. #urnau)
#o$ern Ti%es (Cha&lin)
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Medium close-up (MC#)
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Close-up (C#)
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Etreme close-up (EC#)
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/ther "shots" that aren?tnamed for their shot
distance:• Estalishing shot
• Master shot
• +o and three shot• 4everse shot or reverse-angle shot
• 0oint-of-vie+ (0/V) shot (a.6.a.
su@ective shot)
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C1?41II1 1B 8 B9:? :spect9atios%ratio o) width to height'
Rules of the Game' ean Renoir' 199
1.*1 (+ to ) a,tuall- 1.*1
Aliens' a%es Ca%eron' 19/0
1./*1
Rebel Without A Cause' !i,holas Ra-' 19
2.*1 (Cine%as,o&e)
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!raming: aspect ratios
• 5cademy ratio A 1.9=:1" ut often saidto e 1.99:1
• 2ote ho+ framing aBects alance"visual information" $ relationship of
on- $ oB-screen space
EE to ; 4an F can+ ;to ;
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5spect 4atios (+hen shooting digital)
– : = - composition wellsuited )or a close-up
– 5 ;H< - loss o) )ocus -
ie, )rame includes*e(traneous”in)ormation
– C ;H< - letter bo(ed -)ace is smaller
– D ;H< - to commandattention - ie, #ll-up the)rame - )ace is cropped
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Mobile Framing
1. 5ctual Movements of Camera
&. ooms" +here Camera doesn?t
move" ut the frame changes as thelens focal length is changed: oomn or oom /ut. (Magnies)
9. Computer-generated shots: for e:
,Dy-ys" ,rotations. Computers"li6e traditional animation" canpotentially generate anymovement.
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Mobile Framing:
Camera Movements• 0ans A rotates hori%ontally" side to
side (,camera rotates on verticalais)
• ilts A vertical pivot8rotation" upand do+n
• n pans $ tilts" camera does not
change position" it pivots orrotates. #sually tripod mounted.
• 7olly8trac6ing8traveling shots
• Crane (and ,oom or @i) shots
• 3and-held and steadycam shots
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Mobile Framing:Camera Movements
• 7olly" rac6ing" raveling shots: allasically the same.
• Sometimes people use ,trac6ing shot
to mean a ,follo+ing shot• ut name ,trac6ing shot came from
the ,trac6s that dollies moved on.
• So" dolly and trac6ing interchangealeterms.
• raveling shot is generally reserved formore epansive movements" ta6en from
a vehicle.
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Dolly Shot, on Tracks
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Dolly hotSpi6e 'ee - he 7olly Shot
: montage o) uni&ue dolly shots )rom the#lms o) pi$e 2ee
htt&s*33www.-outube.,o%3wat,h456Cu978-%:&#
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Mobile Framing:Camera Movements
• Crane and 5oom/ib shots• 5oom/ib shots Camera mounted on
counterweighted boom %similar to booms)or microphones'+ some booms can alsotelescope in or out Can use )orcombinations o) pans F tilts, horiAontal%trac$ing', vertical or diagonal moves
• Crane shots hots loo$ the same as boom
shot, but o)ten motoriAed or with hydraulics)or movement 3sually cranes have seat)or operator, wheels ome can be driven
• ?otion-control techni&ues computerprograms to direct elaborate cameramovements
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1pening 7ellesJ Touch of Evil;<KL
htt&s*33www.-outube.,o%3wat,h456;g/#<=o"5-+
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1pening 9obert :ltman6s he4layer %;<<E'
htt&s*33www.-outube.,o%3wat,h456>:$h?D<CT@o
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Mobile Framing:Camera Movements
• 3and-held and Steadicam Shots:
• 3and-held $ Steadicam shots can panor tilt or trac6.
• 3and-held movement is oviously,unsteady--+hich is ho+ +e 6no+it?s a hand-held shot.
• Steadicam: a patented device +h8dampens unsteadiness" producing a
relatively smooth movement" even+hen +al6ing or running. /peratorsmust e trained to use.
• Steadicam rst used in Rocky (1H=<).
Early prominent use in Guric6?s The
$i h t
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rac$ing hot @Goofellas !"##$%
htt&s*33www.-outube.,o%3wat,h456&5!=bt"9Ag
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Mobile Framing
• Khen vie+ing a lm" moile framingcan e hard to spot" ecause +e oftenfollo+ +hat is eing photographed"rather than ho+.
• 5nd often" multiple cominations ofcamera movements:
• E: rac6ing shots often include
some panning.• 5nd cominations of cameramovements can ecome *uitecomplicated" as in some Crane Shots.
• 5lso" can comine camera movements
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Mobile Framing
Vertigo' :lfre$ Ait,h,o,' 19/
Doll- Boo%
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Mobile Framing
• Bamous shot )rom &aws %;<MK', which uses both )orwardtrac$ing and a Aoom out
•9everse o) 8itchcoc$6s 'ertigo shot, which Aoomed in while
trac$ing out 5oth )orms are o)ten called *dolly Aoom” shots
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– 2e)t• move the camera %trac$ in'
• short )ocal length lens
• ote 9elation o)bac$/)oreground, changed
angles• distortion at edges
– 9ight
• Camera stationary
• Change o) )ocal length %ie,
Aoom in'
• 9elation o) bac$/)oregroundcloser %telephoto efect o)Nattening'
• o distortion at edges
• Oooming is unnatural to the
Tracking 's( )ooming
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• 2i$e the Dutch angle, using mobile)raming can denote a particularpsychological efect
• In .ertigo, the motion represents asudden rush o) adrenalin much li$ewhat you )eel when you6re bungee
umping• hese types o) )raming are cinematic
depictions o) a highly psychological
)eelings
Emotional Framing
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Who is the au$ien,e looing at' an$ fro% who’s &ers&e,ti5e4
What &ers&e,ti5e $oes the ,a%era &ut the au$ien,e in4
M (191 "ritz ang)
Cinematogra*hy an
+ers*ective
Black !an (2E1E D. :ronofs-)
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Su@ective shot(or point-of-vie+ shot)
• ubective hot/Camera )rom theposition/point o) view o) a character--as i)seeing through character eyes :lso called
41. shot Cinema e&uivalent o) *Birst4erson” in writing
• ome people ma$e distinction betweensubective shots F 41. shots use *41.
shots” to include *over-the-shoulder” shots--which give a sense o) 41. without actuallybeing )rom the position o) the character
• 5ut easier F better treat 41. and
ubective as the same+ over-the-shoulder as
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Su@ective shot(or point-of-vie+ shot)
• ubectivity/41. is crucial to Classical8ollywood style shot/reverse shots F
eyeline matching are based on theidea o) seeing )rom character6s 41.
• 5ut, shot/reverse shot shows both"subective" and "obective" views8ollywood %most cinema' mi(es bothtogether
• 7hat happens i) subectivity is ta$en toe(treme0 I) we see onl sub ective
ohn Car&enter’s "allo!een trailer (19/)
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8ow many camera techni&ues can you #nd0
ohn Car&enter s "allo!een trailer (19/)
htt&s*33www.-outube.,o%3wat,h456Te9FGTF>
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