Chapter 5

Cinematography

Literally means 'writing in movement,' relying on photography, which means 'writing in light.'

Contrast

The comparative difference between the darkest and lightest areas of the frame, guiding the viewer's eye and providing emotional quality.

Exposure

Controls how much light passes through the camera lens, affecting the image's brightness or darkness and influencing photographic tonality.

Under- and over-exposure

Deliberate artistic choices by cinematographers to achieve specific expressive effects, not always mistakes.

Day-for-night shooting

A technique involving shooting in daylight with blue filters to create the illusion of nighttime.

Saturated color

Describes a color that appears vivid and intense, without being diluted by white or gray.

Tinting

The process of dyeing the lighter areas of an image during black-and-white film development.

Toning

The process of coloring the darker areas of an image during black-and-white film development.

Standard rate of filming

The standard rate for shooting and projecting film, which is 24 frames per second (fps).

Focal length

The distance from the center of the lens to where light rays converge on the film, affecting size, proportions, and depth perception.

Short focal-length (wide-angle)

Exaggerates depth, making objects appear farther apart.

Middle focal-length (normal)

Avoids noticeable distortion, showing realistic depth.

Long focal-length (telephoto)

Flattens space, making objects appear closer together.

Depth of field

The range of distances within which objects appear in sharp focus in an image.

Composing shots in deep space

Arranging elements on multiple planes to create a sense of depth.

Deep-focus cinematography

Involves keeping multiple planes in sharp focus, often combined with deep-space composition.

Selective focus (shallow focus)

Focusing on one plane while other planes remain blurred to direct the viewer's attention.

Rack focus

A technique that shifts focus between foreground and background within a shot.

Academy ratio (1.33:1)

The aspect ratio where the width of the frame is 1.33 times its height.

Hard matte

Masking parts of the film to achieve a specific aspect ratio during projection.

Off-screen space

Areas outside the visible frame that can be suggested or implied, crucial for directing attention.

4 Camera positionings

Includes angle, height, level, and distance of the camera relative to the subject.

Canted frame

A tilted frame creating a skewed or off-balance look.

Steadicam

A type of camera movement that provides smooth, stable movement.

Handheld camera work

Creates a dynamic, raw, or shaky effect in cinematography.

Reframing

Slight adjustment of the camera's position to keep the subject properly composed.

Long take

A single, uninterrupted shot lasting a significant duration.

Extreme long shot

A shot where the subject is tiny within a vast environment.

Long shot

A shot that shows the entire subject along with its surrounding context.

Medium long shot

Frames the subject from about the knees up.

Medium shot

Shows the subject from the waist up.

Medium close-up

Frames the subject from the chest up.

Close-up

Focuses on the subject's face or an object.

Extreme close-up

Zooms in on a small detail.

Mobile framing

refers to the ability to move the frame within the scene, altering the viewer's perspective and focus.

Types of camera movement

Includes pan, tilt, tracking, and crane movements, each offering different expressive and narrative possibilities.