Chapter 5 The Shot: Cinematography

Cinematographic qualities include ..

1. the photographic aspects of the shot

2. the framing of the shot

3. the duration of the shot

Tonality

the visual brightness, contrast, and color values of an image; determined by how light registers on the film itself.

Contrast

the difference between the lightest and darkest parts of an image; affected by film stock, lighting, filters, and developing procedures

Exposure

How much light reaches the camera’s sensor; can manipulate color and contrast, as well as achieve special effects

Depth of field

A range of distances within which objects can be photographed in sharp focus, given a certain exposure setting – depends on the camera, with the lens determining what layers of deep-stage spacing are in focus.

Fixed focal-length lens

lenses that can not be changed during a shot

Focal length

the distance from the center of the lens to the point at which the light rays meet in sharp focus

Long-focal-length (telephoto) lens

lens that flattens the space along the camera axis – planes seem squashed, and they take in a narrower angle of vision than the wide angle or normal lenses do. Magnifies action at a distance

Middle-focal-length (normal) lens:

lens that seeks to avoid noticeable perspective distortion – horizontal and vertical lines are straight and perpendicular, and the foreground/background are not stretched or squashed

Short-focal-length (wide angle) lens

lens that takes a relatively wide field of view – tends to distort straight lines lying near the edges of the frame, exaggerates depth, and makes figures in the foreground seem unnaturally large and vice versa.

Zoom lens

A lens with a focal length that can be changed during a shot

Selective focus

choosing to focus only on one plane and letting the other planes blur

Racking focus

Shifting the area of sharp focus from one plane to another during a shot

Combining two planes of action in one shot can be achieved through …

Superimposition, process shots, and matte work

Superimposition

The exposure of more than one image on the same film strip to layer visuals – usually used when presenting dreams, visions, or memories

Process shots

General term for techniques that combine images, often done on set using rear projection, green screen, etc.

Matte work

A type of process shot in which different areas of the image are photographed separately and then combined in laboratory work

Aspect ratio

The relationship/ratio of the frames width to its height (ex: an image that is twice as wide as it is high is said to be in a 2:1 ratio) – early film inventors set the proportions at approximately 4:3

Iris

A round, moving mask that can close down to end a scene (iris-out) or emphasize a detail, or that can open to begin a scene (iris-in) or to reveal more space around a detail.

What are the six zones of offscreen space?

the four edges of the frame, and the space behind and in front of the screen

Panning

A camera movement that swivels horizontally from a fixed position on a tripod — left or right — revealing or following action across the space.

Tilting (Tilt)

A camera movement that swivels vertically from a fixed position — up or down — to reveal information or follow movement.

Tracking Shot (Dolly Shot)

 A camera movement in which the camera itself physically moves through space — forward, backward, or sideways — usually on tracks, a dolly, or a stabilizer, following characters or exploring the environment.

Craning (Crane Shot)

A camera movement in which the camera is lifted or lowered through the air by a crane, jib, or mechanical arm, allowing sweeping, elevated, or floating views of the scene.

Mobile Frame and Space

Camera movement helps direct attention and change how we see the space in a scene.

Mobile Frame and Time

Camera movement takes time, which can build anticipation for what’s about to be shown.