Z

Reading 3

Chapter 3 Notes – Cinematography

Director of Photography (DP/DoP)

  • Leads the camera team and oversees the visual style and lighting of the film.

  • Works closely with the director to compose shots.

Camera Department Roles

  • First AC (Focus Puller): Runs day-to-day operations, maintains focus, adjusts aperture, manages camera setup.

  • Second AC: Assists First AC, swaps lenses, carries media cards, sets focus marks.

  • Clapper Loader (Third AC): Loads cards or drives, operates the slate, manages media.

  • DMT (Digital Media Technician): Transfers footage and checks data (sometimes combined with DIT).

  • DIT (Digital Imaging Technician): Handles camera signal, LUTs, exposure checks, and color correction.

Camera Operators

  • May be separate from the DP, especially on multi-camera shoots.

  • Second Unit shoots action, B-roll, and scenes without lead actors.

Digital Shooting Basics

  • HD = 1920x1080; UHD (4K) = 3840x2160

  • Aspect Ratio: 16:9 is standard; others include 4:3 and 2.35:1.

  • Frame Rate: 24 FPS gives a cinematic look; 30 FPS looks like TV.

Camera Movements & Angles

  • Static: No movement.

  • Pan/Tilt: Rotating left-right or up-down.

  • Zoom: Changes focal length without moving the camera.

  • Dolly/Track: Physically moves camera in/out/sideways.

  • Boom: Camera rises or lowers on a crane/jib arm.

  • Dutch Tilt: Slanted frame for dramatic effect.

  • POV Shots: Mimic what a character sees (subjective) or show from a distance (objective).

Lenses & Depth of Field

  • Focal Length: Short = wide angle; long = telephoto (compresses space).

  • Aperture (f-stop): Controls light; low f-stop = more light, less depth.

  • Focus Tools:

    • Shallow Focus: Blurs background to highlight subject.

    • Rack Focus: Changes focus mid-shot for storytelling.

    • Depth of Field: Wider = more in focus; narrower = more cinematic.

Exposure & Color Balance

  • Exposure must be correct — blown highlights or dark noise can't be fixed in post.

  • ISO: Sensitivity to light. Higher ISO = more light, but more noise.

  • Use Histograms and zebras to judge exposure, not just the LCD.

  • White Balance ensures accurate color under different lighting types.

Composition & Framing

  • Rule of Thirds: Keep subjects aligned on grid intersections.

  • Headroom/Nose Room: Don’t cut off heads or crowd faces.

  • Foreground–Midground–Background: Creates visual depth.

Types of Shots

  • Wide Shot: Shows whole setting.

  • Full, Medium, Close-Up, ECU: Vary how much of a subject is shown.

  • OTS (Over-the-Shoulder), Dirty/Clean Singles, 50-50: For dialogue scenes.

  • Insert Shots: Close detail of something already seen.

  • Cutaways: Show something new for editing flexibility.

  • Reaction Shots: Show emotion or response; essential for editing.

Camera Support Gear

  • Tripod, Slider, Steadicam, Gimbal, Crane, Jib, Drone: Each provides different motion, stability, and style.

Greenscreen Tips

  • Even lighting is key.

  • Tracking marks are needed if camera moves.

  • Match lens, angle, and lighting between foreground and background plates.

Media & Marking

  • Never drag-and-drop — always use copy software (e.g., Shotput Pro).

  • Always make 3 backups of your footage.

  • Use tape marks for actors and camera focus.

  • Focus should be on the eyes for sharpness.